liladiurne

[liladiurne]

  ― Billy-Ray Belcourt, A History of My Brief Body

[text ID: To love someone is firstly to confess: I'm prepared to be devastated by you.]

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"why do you write?" because it’s the only way to silence the characters pacing around my brain like victorian ghosts with unresolved issues that prevent them from moving on.

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there’s something about the sight of steps leading down into the water. it feels like the ocean telling me to come home

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How to Write a GREEN FLAG Love Interest

As the romance genre grows more and more in popularity, it's hard to not notice the abundance of red flag love interests. And while yes, that makes it fun and interesting, it's still toxic at the end of the day.

So how do you write a love interest that's a green flag, then?

1. Imperfection

Your love interest is not going to start off as the perfect girlfriend or boyfriend. We want them to be the ideal partner, of course, but that doesn't mean they're born without any flaws.

They might have some bad habits, regrets, hesitation, secrets, and boundaries, but they're considered "green flags" because they can overcome those imperfections to contribute positively to their relationship.

2. Communication

Communication is one of the most crucial points in a trusting relationship. Your characters have to be able to talk honestly with one another.

Now, I get it if your character has trust issues or some kind of obstacle that makes it difficult for them to open up, but they should at least be willing to communicate.

3. Patience and Supportiveness

This shouldn't be a huge revelation; any good partner should have patience and support their loved one. These two traits are also key to having a healthy and open relationship.

Patience and communication are also important to highlight when the characters fight. Yes, they might get whisked away in the moment and spew words they don't agree with, but the aftermath should be a healthy resolution in which both parties speak honestly and listen patiently.

Additionally, remember that everyone has boundaries. They have topics they don't wish to talk about or moments they'd rather forget. An ideal relationship would include partners that know each other's vulnerabilities and difficult past events, but it takes work to get there.

The best thing to start with is patience. Your love interest should not force their significant other to talk about sensitive subjects that they don't want to talk about. That's simply being inconsiderate and pushy.

4. Teamwork

A couple is a team. They might not always agree on the same method or ideal, but they should listen to each other and be willing to compromise if necessary.

They need to tackle problems together.

5. Trust

This is a no-brainer. Your characters should trust one another, because what's the point in a relationship where they're constantly skeptical of their partner? Show their faith in each other.

6. Overprotectiveness

AVOID EXTREME OVERPROTECTIVENESS.

I know being overprotective is quite romanticized these days, but it's an objectively toxic trait. Being overprotective is controlling--your character is controlling whom their partner can or can't interact with--and it shows a lack of faith in their significant other. It can feel exhausting to the receiver.

7. Love Bombing

Here's another thing to avoid, whether you do it on purpose or not: love bombing.

For those who don't know, love bombing is a manipulation tactic in which one showers their partner with gifts, sweet words, and kind actions for a short period to make their partner attached before the former reverts to their normal self, in which there isn't all of this generosity and pampering.

Yes, being a good partner can mean spoiling your lover and treating them well, but if you cannot keep such actions up for the duration of their relationship, then it's basically love bombing. It's dishonest--it's not genuine.

8. Growth and Effort

Realistically, your character will have some detrimental traits that could harm the relationship. That's reality. A green flag doesn't necessarily need to have all of the characteristics I listed above, but they should be striving to achieve them all.

The greenest flag of them all is putting in actual effort into the relationship and themselves to improve what they have.

Perhaps they're bad at communication but try their best to open up. Maybe they have a bad temper but are working on reining it in and staying calm. That's growth. That's effort. That's respectable.

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For anyone who needed to see this, I hope this has helped!

Happy writing~

3hks <3

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What to Give a Sh*t About While Brainstorming Your Book

(A.K.A. Before You Even Touch That Shiny Blank Page)

↳ What You’re Actually Obsessed With Stop trying to write what’s trendy. What do you spiral about at 2 a.m.? What ideas make you grin like a gremlin and mutter, “Ohhh, that’s juicy”? That’s your story. Chase that weird, niche, can’t-let-it-go stuff. Your obsession will be the fuel that drags you through chapter 27 when everything sucks and you kind of want to fake your own death.

↳ Your Story’s “Why the Hell Should Anyone Care?” Not in a mean way. But genuinely—why should a stranger give up sleep to read this? What itch does it scratch? What feeling does it deliver? Figure that out early and let it guide you like a tiny emotional compass. If you can’t answer it yet, cool. But keep poking at it until you can.

↳ A Character With Big, Messy Feelings Don’t start with a plot. Start with a person. A disaster with a wound and a want. Someone who wants something so badly it makes them do unwise things. Get to know them like a nosy therapist. Let them tell you what kind of story they want to be in.

↳ Conflict That Isn’t Just Vibes Mood boards are fun. But conflict is what makes a story move. Make sure you’ve got some stakes, emotional, relational, existential, literal. If your idea doesn’t have anything to push against, it’s not a story yet. It’s an inspiration board.

↳ A Rough Emotional Shape Not an outline. Not yet. Just… the feeling. Where does it start (lonely)? Where does it go (rage)? Where does it end (hopeful)? Think of your book like a rollercoaster. You need the high points, low points, and those slow creaky climbs that make people scream. If it’s all flat? Snoozefest.

↳ The One Vibe You Want to Nail Every great book has a thing. An atmosphere. A flavor. Your job during brainstorming is to catch the scent of it. Is it spooky and tender? Funny and tragic? Cozy but secretly brutal? Whatever it is, write it down. Tattoo it on your brain. Let it infect every scene.

↳ Something You’re Scared to Write About You don’t have to go here. But if something in your gut says, “Oh god, I could never write about that”… maybe poke it. Maybe there’s gold in there. Maybe the story wants to heal something. You don’t have to bleed for your art—but if it makes you uncomfortable in a thrilling way? That’s your fire.

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unavoidable that you will be the villain in someone else's story. You will be painted in an unfavorable light. You will be the irredeemable one. and all of this will happen despite how nice you might usually be or how kind or how respectful or how warm. and you will just have to move on.

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What to Give a Sh*t About While Editing Your Book

↳ Emotional Impact

Ask yourself: Do I actually feel something here? If a scene is technically “well-written” but emotionally flat, it’s dead weight. Your readers won’t remember your clever metaphors, but they’ll remember the way a quiet line of dialogue made their stomach drop. So yeah—give a sh*t about that.

↳ Character Motivation That Actually Makes Sense

If your characters are making decisions just because the plot needs them to… we’ve got a problem. In edits, zoom in on their choices. Are they acting like real, flawed, complex humans? Or puppets? Edit until their actions make you nod and go, “Yep. That’s exactly what that little disaster would do.”

↳ Cutting the “Almost Good” Stuff

This hurts, but it’s necessary. Some lines are nice. Pretty. Kind of smart. But if they’re not serving the story, they’ve got to go. Save them in a “kill darlings” file. Grieve if needed. But don’t let “kinda good” block the greatness trying to come through.

↳ Scene Purpose

Every scene needs to earn its place like it’s paying rent. Does it move the plot? Deepen character? Build tension? Ideally, two out of three. If the answer is “it’s vibes,” that might work for a paragraph—but not for 3,000 words. Cut. Condense. Clarify. Your future reader will thank you.

↳ Pacing That Doesn’t Bore People to Death

Look, I love a moody slow burn too. But if your story crawls for 50 pages without conflict, tension, or curiosity—your reader will ghost you. Read your scenes out loud. If you’re zoning out? So will they. Tighten that sh*t up.

↳ Dialogue That Sounds Like Real People (and Not AI)

If your characters sound like they're reading from a very polite script, it’s time to rewrite. Interruptions, unfinished thoughts, weird little phrases—those are gold. Make it messy. Make it sound like how people actually talk when they’re nervous, angry, or halfway in love and lying about it.

↳ Themes You Accidentally Nailed (and Can Now Strengthen)

Themes tend to sneak in while you’re drafting. During edits? Time to spotlight them. Don’t slap it on with a neon sign—but do lean into the emotional throughline you already created. It’s probably smarter and more beautiful than you gave yourself credit for.

↳ Your Voice

Don’t edit your weird out. Editing is for clarity, not sanding down your style until it sounds like generic internet writing. Keep the voicey bits. The odd metaphors. The lines that sound exactly like you. That’s what readers fall in love with—not perfection.

↳ Trusting That You’ll Need Multiple Rounds

This isn’t one-and-done. Your second draft will suck differently than your first. Your third might suck less, but still suck. That’s fine. It’s part of the process. What matters is that each time, it gets sharper, truer, and more you.

↳ Not Quitting Halfway Through Just Because It’s Hard

Editing is hard. But you’ve already done the impossible: you wrote a damn book. That’s massive. Now you’re just sculpting it. Don’t give up because it’s messy. Don’t panic because it’s not “there” yet. Keep showing up. Even if it’s just one scene at a time. Even if you’re crying into your tea. Especially then.

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I've already said that my number one piece of writing advice is to read.

But my number two piece of advice is this: be deliberate.

Honestly this would fix so many pieces of bad writing advice. Don't forbid people from doing something, tell them to be conscious and deliberate about it. This could help stop people from falling into common mistakes without limiting their creativity. Black and white imperatives may stop a few annoying beginner habits, but ultimately they will restrict artistic expression.

Instead of "don't use epithets": "Know the effect epithets have and be deliberate about using them." Because yes, beginners often misuse them, but they can be useful when a character's name isn't known or when you want to reduce them to a particular trait they have.

Instead of "don't use 'said'" or "just use 'said'": "Be deliberate about your use of dialogue tags." Because sometimes you'll want "said" which fades into the background nicely, but sometimes you will need a more descriptive alternative to convey what a character is doing.

Instead of "don't use passive voice": "Be deliberate about when you use passive voice." Because using it when it's not needed can detract from your writing, but sometimes it can be useful to change the emphasis of a sentence or to portray a particular state of mind.

Instead of blindly following or ignorantly neglecting the rules of writing, familiarize yourself with them and their consequences so you can choose when and if breaking them would serve what you're trying to get across.

Your writing is yours. Take control of it.

It probably sounds like I'm preaching to the choir here because most of my mutuals are already great writers. But I'm hoping this will make it to the right people.

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10 Writing Things That Have Saved My Creative Soul (and Sanity)

↳ If your character’s arc isn’t making you slightly emotional or existential, it’s probably not finished. If they start and end the story the same person, that’s not a character arc—it’s a flatline. Make them squirm, learn, lose, grow. Bonus points if they make you question your own moral compass in the process.

↳ Worldbuilding is not a license to drown your reader in lore like it’s Game of Thrones on steroids. If you have to write a wiki page to understand your own plot, fine...but that doesn’t mean your reader has to read it. Give us breadcrumbs, not a 12-course feast on page one.

↳ If the theme of your story can’t be summed up in one slightly aggressive sticky note, you’re probably overcomplicating it. (“This book is about choosing yourself even when no one else does”—boom, theme. Now go make your characters suffer for it.)

↳ You will hate your manuscript somewhere between 30k and 50k words. That’s your cue to keep going, not quit. It’s like the literary version of hitting mile 18 in a marathon. Everything hurts, but that means you're doing it right.

↳ That “genius idea” you had at 2 a.m.? Save it. Write it down. But don’t drop everything for it. New ideas are seductive chaos demons. Your current project deserves monogamy… at least until the second draft.

↳ A character’s greatest fear is a shortcut to their heart. Forget favorite color or coffee order...what keeps them up at night? What would destroy them if it came true?

↳ If you don’t know how to end your story, figure out what question it’s been asking the whole time. Once you know the question, the ending becomes the answer. Maybe not a happy answer, but a satisfying one.

↳ No one’s going to write your weird little story the way you will. That’s your superpower. So go ahead and write the morally gray necromancer love triangle in space. Your people are out there. And they’re hungry for it.

↳ You are allowed to be a slow writer. You are allowed to be a fast writer. You are not allowed to be a cruel writer—to yourself. The world will criticize your art for free. Don’t do their job for them inside your own head.

↳ Some stories just aren’t meant to be novels. And that’s okay. Maybe it's a short story. A play. A fever dream disguised as a poem. The shape doesn’t matter. The story does. Let it tell you what it wants to be.

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art will save you, being unreasonably passionate about something niche will save you, letting past sources of joy show you the way back to yourself will save you, earnestness over composure will save you, the natural world will save you, caring for something bigger than yourself will save you, daring to be seen will save you, kindness not as a whim but a principle will save you, appreciation as a practice will save you, daring to try something new will save you, grounding will save you, love will save you, one good nights sleep will save you

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Leonard Cohen writes to Marianne Ihlen on her deathbed He followed her into the dusk, just a season behind.

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One of the key elements that make a story memorable is its characters. Whether they’re heroes or villains, the people we create in our writing need to feel unique, complex, and alive. It was a part of writing that I struggled with the most at the beginning. How do you make sure your characters stand out from the crowd? How do you give them a voice and presence that’s distinct and unforgettable?

Give Them Unique Voices

One of the easiest ways to make your characters feel distinct is to give each of them a unique voice. A character’s way of speaking—the words they use, the rhythm of their sentences, their tone—says a lot about them. A witty, sarcastic character will speak differently from someone who’s more reserved and thoughtful. You can achieve this by paying attention to how they express themselves, not just through dialogue but through their internal monologues as well. A character who’s quick-tempered might use short, sharp sentences, while someone more introspective might speak in longer, more reflective phrases. The key is consistency. Once you establish a character's way of speaking, try to keep it consistent throughout your story.

Focus on Their Backstory and Motivations

Every character is shaped by their past, even if you don’t fully show it on page. A character who grew up in a strict, loving household will behave differently than someone who had to survive in a rough, unpredictable enviromnent. You don’t need to go into every detail, but having a clear sense of where your character came from—and what they want in the present—will help guide how they act in different situations. Their goals, fears, and desires should reflect their decisions and relationships, making them feel more like real.

Give Them Distinct Physical Traits

Physical traits can help differentiate characters, but they should go beyond just eye color or height. Think about how a character’s appearance might reflect their personality or history. Maybe a character with messy hair and old clothes is someone who’s always in a rush or doesn’t care about their appearance. Perhaps a character who is meticulously groomed is someone who values control and order. Little details like this can communicate something about their character without you needing to say much. However, avoid making these physical traits stereotypes—make sure they reflect the essence of your character, not just visual clichés. (for the love of god stay away from the term orbs)

Let Them Have Quirks and Habits

The little things can go a long way in making a character feel real. Does your character always hum a certain tune when they’re nervous? Do they tap their fingers when they’re deep in thought? Maybe they have a habit of checking their phone obsessively, or they’re always keeping an eye of their loved ones around them. These quirks don’t need to be extreme or over-the-top, but they should feel like part of who the character is. Quirks can be small behaviors that reveal something about how the character thinks or feels, adding depth and individuality.

Use Their Relationships to Define Them

A character’s relationships with others play a huge role in how they’re perceived. How a character interacts with their friends, family, and even strangers can say a lot about who they are. Maybe your character is the life of the party with their friends but acts shy and withdrawn around authority. Maybe they’re confrontational and hot-headed with others but soft-spoken when talking to animals. These shifts in behavior show different sides of a character, making them feel more distinct. Additionally, relationships are often the best way to highlight a character’s growth—how they change based on their experiences with others can make them more dynamic and engaging.

Give Them Flaws and Vulnerabilities

No one is perfect, and neither should your characters be. Flaws and vulnerabilities not only make your characters feel more human but also give them room to grow throughout the story. Maybe your character is overly self-critical, or they struggle with trust issues. Perhaps they have a tendency to lie to protect themselves or they’re stubborn to a fault. These imperfections make characters relatable and provide opportunities for conflict and development. Flaws also allow you to play with how characters change over time. Do they learn to overcome their weaknesses? Do their flaws lead to their downfall? It’s up to you, but either way, giving your characters room to grow through their flaws adds another layer to their distinctiveness.

Avoid Making Them Too Predictable

While consistency in character traits is important, it’s also crucial to avoid making your characters so predictable that they feel boring. People are complex, and so should your characters be. Let them surprise readers by acting in unexpected ways. Maybe your tough, no-nonsense character suddenly shows kindness to someone they barely know, or a seemingly shy character makes a bold move when it matters most. These moments of complexity help break the mold and keep readers engaged.

These are just a few tips of mine for writing characters. Hope they help! :)

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How to Avoid the Flawless MC

If you’ve created an MC that you believe is flawed and well rounded, but are still getting the feedback that they feel perfect or flawless—it may actually have nothing to do with them, but let’s dig into it.

1. Their flaws should hold them back

Flaws aren’t additional traits, but rather should be imbedded in the very bones of the plot. They are the reason a character doesn’t have what they want already—why they are going on their journey, and what they need to overcome or learn.

This means that their flaws will butt up against them time and time again and force them to make bad decisions and mistakes. That doesn’t always mean that they are bad traits, but rather that they are traits that sometimes take your characters further from their goal.

For example, in Tangled, Rapunzel’s greatest flaw is her naivete. This makes her an endearing character, and is as much of the reason as we root for her as her other traits. However, it also means that she is easily manipulated by Mother Gothel, and succumbs to her clutches at the midpoint.

2. They should face consequences

As seen above, a flaw without consequences isn’t really a flaw. Flaws hold the character back from their goal, and to do that, they must have consequences. If a character is insecure, that insecurity needs to manifest in them abandoning their date at prom and being subsequently hated by them. If they are headstrong, they need to push forward into a decision that leads to failure.

When they fail, it should be directly related to who they are as a person—and the flaws that they have. Otherwise, the failure falls flat—we could say that it was bad luck, and the MC gets off scot-free.

3. Not everyone likes or forgives them

This is probably the biggest reason why some protagonists are said to be flawless when they aren’t. I saw someone say that Katniss in the Hunger Games is a flawless protagonist, which I think is just untrue—she’s very deeply flawed and makes mistakes that lead to her world breaking out in revolution and many, many people dying. But what makes Katniss at times feel flawless is that she is unconditionally loved and forgiven by almost everyone—especially the people that matter the most: her family, Peeta, and Gale.

              If your character can do no wrong in everyone else’s eyes, it doesn’t matter that they very much can and do, do wrong. It’ll feel as though they fail the above two points. Allow other meaningful characters to fight with your protagonist, to dislike them for a bit, to condemn their actions and maybe not forgive them. Everyone missteps from time to time and upsets the people that they love, I promise it won’t make your protagonist any less likeable. In fact, seeing them experience this real, raw experience will bond your readers to them even more.

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Cause of my insomnia number one: