How To Make Your Characters Almost Cry

PLEASE Write Your Book!

I'm serious. Please write it. If you need a sign to start, continue, or whatever is inbetween, this is it. Go do it.

I spent the past couple weeks indulging myself in some BookTok recommendations. While some were indeed good (Kings of Sin, my beloved), some were just...I don't need to finish my sentence there.

I DNF'd some books for the first time since I read Lord of the Flies (sorry Golding, you put me to sleep with your descriptions) and I powered through others in hopes that they would eventually get better. The general consensus I ended up getting was that I could not understand for the fucking life of me how these books got published. The writing in some of them was no better than that of a 2010s teen writing Maximum Ride fic on Wattpad for the first time, with the characterization abysmal enough to match.

I don't want to knock any specific author or book here, because I will concede one thing: they finished their books. They got them published. They're successful. For that, I commend them, because I'm still on my way there myself and I can't take that away from them. Jolly good show.

But that brings me to my point: if they can do it, YOU absolutely can do it too.

If some of these Amazon and NYT bestsellers can have prose on a Wattpad level with characters that have enough poorly-written cognitive dissonance to make Deadpool or Walter White jealous, your fleshed out, deeply intuitive, and remarkably creative epic can sit right alongside them no problem. Whether you're writing the next GoT or a romantic slice-of-life, there is a not a goddamn thing on this planet stopping you from rolling up with the big dogs.

If these guys can do it, so can you.

So, stop telling yourself you can't. Stop letting other people tell you you can't. Stop comparing yourself to these authors who, respectfully and bluntly, can't write for shit (or at least need to fire their fucking editors, good lord).

WRITE YOUR DAMN BOOK. PLEASE. WE NEED IT.

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Don't abandon your writing

It’s pretty common to lose love for a project at some point during the writing process. If that happens, it’s always okay to step away.

But (and this is the important part), don’t quit! Take a break, give yourself a breather, but always remember to come back. Your story deserves to be told.

You ever reach that point when you wonder if anyone will even want to read your story? Because that’s where I’m at. Like I’m in too deep to drop it, but I’m also questioning how insane I was when I started it.

Reasons Why 80% of Romantic Plots Fall Through.

Haven't you wondered why a romantic story you have so much hope for suddenly flops? Whether it's yours or not, let's see what could be the problem.

• Relying Too Much on the Outcome

Unfortunately, no romance is complete without an arc. In other words, it is more than just the intimacy. When writers don't allow the relationship to develop naturally, it feels forced. Rushing to the final romance without building a solid foundation will make the story feel shallow and unconvincing. Take your time, flesh out the idea, and follow the plot gradually.

• Creating Unnecessary Victimization

I often see writers make the mistake of portraying one character as too weak or pitiful only for the sake of it. This unnecessary victimization can undermine the character's depth and make the story less compelling. Your readers won't cry along with a female character whose decisions are pretty sour compared to a five-year-old. It's just simply annoying.

Instead, both characters should have strengths and weaknesses, make realistic decisions, making them more relatable and balanced.

• Cringy Conflict.

Realistic conflict is essential for a compelling romance. Over-the-top or contrived conflicts can make the story feel forced and cringy. Conflict should come naturally and blend perfectly into the plot. It's not advisable to pop a challenge that's definitely not necessary in the name of 'keeping the stakes high.'

Rather, focus on creating believable challenges that the characters must overcome, adding depth and authenticity to the plot.

• Neglecting Other Emotions Outside Romance.

It's not only about love, or roses, or dinner nights, or lucky dates with the billionaire. Show the other emotions fighting for dominance: the hurts, pains, joy, frustration, desperation, anger, sadness, jealousy, anxiety, or even moments when a character falls out of love with the other and can't understand their feelings.

Focusing solely on love can lead to a one-dimensional story. For a well-rounded narrative, explore these emotions to create a richer and more immersive experience for the readers.

• Underdeveloped Characters.

What's a story without a fully-fledged character, especially if they are the main character in a story?

You might have heard people talk about the importance of backstories and others saying too much of it tires them out, but here's the thing—balance. It's what people fail to incorporate. I'll try to cover this in any of my upcoming blog posts. Follow to keep up.

To better understand why we should cry for, laugh with, pity, admire, adore, scold, yell at, advocate for, and smile with your character, we need to know why they are what they are, who they are, and why they make the choices they make.

It's important to create characters with distinct personalities, backgrounds, and motivations. When readers care about the characters, they become more invested in the story and its outcome.

And that's my Christmas gift from me to you 🎁. Merry Christmas 🎄

There is nothing worse than having inspiration and the will to write and having to go to work, knowing you won’t have it in you to write after.

You know it’s bad when you’re writing a fictional story and wonder if you’re a genuinely bad person for what you’re about to inflict upon these characters

Writer Jargon 101 ✨

Show, Don’t Tell – The golden rule! Instead of flatly stating emotions, reveal them through actions, dialogue, and sensory details. Like, don’t say, “She was angry.” Show her slamming a door or clenching her fists.

Head-hopping – When you switch POVs in the middle of a scene without clear demarcation. It's confusing and jarring, like taking a sudden detour while driving.

Purple Prose – Over-the-top, flowery writing that can come off as trying too hard. A little flair is fine, but don’t smother your reader with excess.

In Medias Res – Starting a story in the middle of the action. No boring build-up, just bang—we’re already in the heat of things.

Foreshadowing – Dropping subtle hints about what’s coming next. A small detail now could be a huge reveal later. It’s like dropping breadcrumbs leading your readers to an epic twist.

Chekhov’s Gun – If you introduce an object or detail, it better serve a purpose later. No random things just hanging around. Everything matters.

Canon vs. Fanon – Canon refers to the original source material, while Fanon is the fan-created version. You can take liberties with Fanon, but Canon needs to stick close to its roots.

Saturation Point – That place in your writing where things become too repetitive, too familiar. You’ve got to find a way to push beyond it to keep your writing fresh and engaging.

Bait and Switch – Leading your reader to expect one thing, then suddenly giving them something unexpected. It’s like pulling the rug out from under them.

Plot Device – Any element (object, event, or person) that drives the plot forward or allows the resolution of the story. It’s the item or moment that has to exist for the plot to make sense.

Vignette – A brief, evocative scene that focuses on one moment or idea, often without a formal plot. It's about capturing a snapshot of a bigger picture. Think of it like a small, poetic portrait within a larger narrative.

Mise-en-Scène – A French term used to describe the setting or visual elements within a scene, especially in film and theater. It refers to how everything is placed or designed to create a specific atmosphere.

Framing Device – A structure or technique used to tell a story within a story. It's like having a character tell their experiences through flashbacks or letters, giving the plot a layered, nested feel.

Endowment Effect – When writers unintentionally overvalue a character or plot point simply because they created it. It’s the I’m so proud of this, it’s got to stay! mindset. Sometimes less is more, so watch out for this.

Conflict (Internal/External) – Internal conflict is the emotional struggle within a character (e.g., wanting something but being afraid of it), while external conflict comes from forces outside of the character (e.g., fighting an enemy or dealing with societal pressures).

Pacing Breathers – Moments in the story where the action slows down to allow the characters to breathe and reflect. These help balance the high-energy scenes and give readers time to process.

Symbolism – Using objects, actions, or settings to represent larger ideas. Think of a wilting flower symbolizing the decay of a relationship. It’s subtle but adds layers to your story.

Subtext – The hidden or underlying meaning in a scene or dialogue. What isn’t said, what’s implied but not directly stated. Like that tension between two characters that’s so obvious but never spoken aloud.

Red Herrings – Misdirection! These are the details or clues that seem significant but lead readers down the wrong path. It’s like planting a fake trail to keep your reader guessing.

Narrative Whiplash – When you suddenly change tones or perspectives, jerking the reader’s expectations. It’s like riding a bike and then suddenly taking a sharp, unexpected turn. Used well, it adds suspense, but too much can feel disorienting.

To those readers who became writers ✍🏻, we instinctively and intuitively know what works and what doesn’t, but just in case I’m putting it out here so writing becomes easier. The more you write, the more these little tricks and tools become second nature. Keep going, trust yourself, and keep honing your craft. ✨

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.

why is it that i can write dialogue for hours, but the second i try to have a conversation with a real person, my brain short-circuits? i can have my characters banter back and forth with wit and charm, but ask me how my day is going and i’m like 'uhhhh, fine?'