Writing, At Its Core, Is About Stepping Into Someone Else’s Shoes. It’s Not Just About Creating Characters

Found on twitter, going to adopt this now

Writer friends, tell me how many WIPs and how many UFOs you have. I have 2 WIPs and [redacted] UFOs (jk it’s around 16 across my three main fandoms)

I've got a lot of respect for smut writers. you write something incredibly sexual, it's probably somewhat of a look into your own soul, and then bitches are too scared to leave kudos of comments half the time, so it looks as though everyone hates your work. And yet yall still do it, and I love that

Ah hello plotline that I forgot to write down but wanted to remember, nice of you to show up at a time where I *still* can't write you down. I will remember you this time.........I think.

And you know what, we’re just not gonna talk about how many wips I’ve started lately. We’re just not gonna do it. And I’m definitely not coming up with world building for another one based on a tiktok.

How to Make Your Characters Almost Cry

Tears are powerful, but do you know what's more impactful? The struggle to hold them back. This post is for all your hard-hearted stoic characters who'd never shed a tear before another, and aims to help you make them breakdown realistically.

The Physical Signs of Holding Back Tears

Heavy Eyelids, Heavy Heart Your character's eyelids feel weighted, as if the tears themselves are dragging them down. Their vision blurs—not quite enough to spill over, but enough to remind them of the dam threatening to break.

The Involuntary Sniffle They sniffle, not because their nose is running, but because their body is desperately trying to regulate itself, to suppress the wave of emotion threatening to take over.

Burning Eyes Their eyes sting from the effort of restraint, from the battle between pride and vulnerability. If they try too hard to hold back, the whites of their eyes start turning red, a telltale sign of the tears they've refused to let go.

The Trembling Lips Like a child struggling not to cry, their lips quiver. The shame of it fuels their determination to stay composed, leading them to clench their fists, grip their sleeves, or dig their nails into the nearest surface—anything to regain control.

The Fear of Blinking Closing their eyes means surrender. The second their lashes meet, the memories, the pain, the heartbreak will surge forward, and the tears will follow. So they force themselves to keep staring—at the floor, at a blank wall, at anything that won’t remind them of why they’re breaking.

The Coping Mechanisms: Pretending It’s Fine

A Steady Gaze & A Deep Breath To mask the turmoil, they focus on a neutral object, inhale slowly, and steel themselves. If they can get through this one breath, they can get through the next.

Turning Away to Swipe at Their Eyes When they do need to wipe their eyes, they do it quickly, casually, as if brushing off a speck of dust rather than wiping away the proof of their emotions.

Masking the Pain with a Different Emotion Anger, sarcasm, even laughter—any strong emotion can serve as a shield. A snappy response, a bitter chuckle, a sharp inhale—each is a carefully chosen defence against vulnerability.

Why This Matters

Letting your character fight their tears instead of immediately breaking down makes the scene hit harder. It shows their internal struggle, their resistance, and their need to stay composed even when they’re crumbling.

This is written based off of personal experience as someone who goes through this cycle a lot (emotional vulnerability who?) and some inspo from other books/articles

Nothing frustrates more than the realization that the world behind your eyes will never look back at you like a mirror from the page. But the frustration dissipates when you realize that if you fill the entire page so airtight with your world, then there would be no room for the reader.

Creates a perfect playlist for writing. Spends the entire session skipping songs, getting lost in lyrics, and staring dramatically out the window instead of writing.

hi! i need help with writing descriptions, no matter they always feel very boring and repetitive, especially if it’s a one character scene, when i try to describe emotions and such — it just all feels very tell no show?

Hey anon!

So I'll divide your question into 2 parts :

a) the general description and b) describing emotions

GENERAL DESCRIPTIONS:

1. Describe With Purpose, Not Just for Filler:

Every description should do something—set the mood, reveal character, or add tension. Ask yourself:

Does this description tell us something about the character?

Does it affect the scene's mood?

Would the scene feel different without it?

Example: Instead of listing details about a room, show how a character interacts with it.

The room was small, with a wooden desk, a single chair, and a bookshelf in the corner. (Factual but lifeless.)

The room barely fit the essentials. The bookshelf leaned slightly to one side, stuffed past its limit, and the desk was clean—too clean, like someone had wiped it down one too many times. (Gives a sense of personality.)

note: this is not to say that simple doesn't work. Simple does work too. In fact in descriptions I prefer not to overload the reader with too much info. Sometimes tell not show is exactly what you want.

2. Use Comparisons, But Make Them Interesting

Instead of just saying something is big, small, cold, warm—compare it to something vivid. But avoid clichés like "as cold as ice" or "as dark as night."

Example:

(The house was huge.)

The house loomed over the street like it had been dropped there by mistake, too grand for the tiny patch of land it stood on.

3. Vary Sentence Structure & Rhythm

If every description is the same length, it starts feeling robotic. Mix short and long sentences to create flow.

Example:

The sky was dark. The streetlights flickered. The pavement was wet from the rain. (Too stiff, repetitive.)

The sky hung heavy, a sheet of unbroken black. The streetlights flickered—weak, sputtering ghosts against the dark. Rain pooled in the cracks of the pavement, reflecting the city in distorted, shattered pieces. (More dynamic and immersive.)

4. Make Mundane Actions More Engaging

Common actions—walking, drinking, sitting—can feel repetitive. Instead of always describing how someone moves, describe what their movement says about them.

Example: (She sat down on the chair and drank her coffee.)

The coffee was bitter, but she didn’t add sugar. She was too tired to care, or maybe just used to the taste of things that didn’t quite go down easy.

5. Use the Five Senses

Relying only on sight makes descriptions feel flat. Bring in sound, touch, smell, and taste to create depth.

Example: (The market was busy and full of stalls.)

The market was a riot of noise—fishmongers shouting deals, the metallic clang of knives against chopping boards. The air smelled of salt, spices, and the sharp tang of citrus from a freshly cut lemon.

6. Avoid “List” Descriptions

Instead of dumping all details in one go, weave them into the action.

Example:

The car was old. The paint was peeling. The tires were worn out. The seats were cracked. (Feels like a checklist.)

She ran a hand over the car’s hood. The paint peeled away in thin, brittle flakes, catching on her fingertips. One of the tires sagged, low on air. Inside, the leather seats were cracked, their stuffing exposed like old battle wounds. (More immersive.)

7. Change the ‘Camera Angle’

If descriptions feel stale, shift perspective. Zoom in on small details or pull back for a bigger picture.

Example: (The sky was blue and the trees were tall.)

(Zoom in) The sky stretched unbroken, a shade of blue so deep it looked painted on. A single cloud drifted by, lazy and indifferent.

(Zoom out) The valley lay sprawled below, a patchwork of green and gold, rivers carving silver veins through the earth.

DESCRIBING EMOTIONS:

1. Ditch the Label, Focus on the Reaction

Instead of saying "She was nervous," think about how that nervousness manifests. Does she tap her fingers against the table? Does she try to swallow, only to realize her throat is dry? Does she force a smile that doesn’t quite reach her eyes?

(She was scared.)

Her grip tightened around the mug, the warmth failing to chase away the cold in her hands.

The doorknob rattled. She flinched so hard her knee slammed into the desk, sending a sharp jolt up her thigh.

2. Use the Environment as a Mirror

Solo scenes can feel isolating if it’s just a character thinking in a void. Use the surroundings to echo their mood. If they’re anxious, maybe the room feels too still, the clock ticking just a little too loud. If they’re sad, maybe the sky outside is stubbornly blue and bright, like the world refuses to match their mood.

Example: The cold wind pushed against her back, and for a second, it felt like someone was there. But when she turned, it was just the empty street behind her.

3. Sensory Details Are Your Best Friend

People experience emotions with their whole body. What does fear taste like? What does joy feel like against the skin? Even a simple emotion like anger can be described in different ways—burning hot like a wildfire, or cold and simmering like a blade pressed to the throat.

Example:

Her jaw ached from clenching so hard. The words pressed against her teeth, sharp and bitter, demanding to be let out.

His vision blurred at the edges, not from tears, but from the heat rising in his skull. He could hear his own pulse, a steady drumbeat against his eardrums.

4. Using body language:

Example:

He smiled, but it was tight—too tight. Like if he let go, he might crack right down the middle.

5. Break the Inner Monologue Habit

If your descriptions feel like a constant stream of thoughts (I feel sad, I feel angry, I feel lonely), try breaking it up with actions.

Example:

She stared at the email, her fingers hovering over the keyboard. Then she backspaced everything she had typed, closed the tab, and shut the laptop. She’d try again later. Maybe.

His fingers found the bracelet at his wrist, the one she had given him years ago. He traced the worn-out engravings with his thumb, the metal warm against his skin.

She set two plates on the table before remembering. Staring at the extra one, she let out a breath and put it back in the cabinet. Old habits.

At the end of the day, writing descriptions is like learning to see the world through your character’s eyes. The more you practice, the more natural it’ll feel.

Hope this helps! 💛

You don't need anyone's approval for the stories you write and the art you create. But it's also absolutely valid to want some approval from your audience. Kudos and likes don't determine your creation's worth. But it just feels amazing to receive them.

saying ao3 needs to censor certain content is like saying a museum can't have still life art that includes strawberries because you don't like them.

these are not real strawberries. you do not have to, and in fact cannot, eat them. no one with a strawberry allergy will be harmed by looking at them. no migrant workers were exploited in the picking of these strawberries. there were no questionable farming practices or negative environmental impacts from growing or transporting them.

because - and i cannot stress this enough - they are not real strawberries.

if you don't like strawberries, you don't have to look at the paintings. in fact, you can get a map of the museum that lists what works are in what rooms and just. not go in there. if you see one by mistake, you can look away. just keep walking. there's plenty of other stuff to see.

yes, real strawberries can cause real quantifiable harm to real people.

but again. these are not real strawberries.

you may have whatever feelings you like about strawberries, and so can i. you can draw and write about whatever fruit floats your boat, and so can i, even if that happens to be strawberries. and we can hang our art side by side in the same gallery, provided you understand that my strawberries are not about you (and your kumquats are, shocker, not about me) and that - and this is true - neither are real.

and when the fascists break down the doors and grab all the strawberry paintings and heap them in the street and set them on fire, please know that they are coming for your kumquats next.

so if you want a place where you can show off your beautiful kumquat art safely, you're gonna have to tolerate having some strawberries in the next room.

and that's okay. because the strawberries aren't real.