Writerblr - Blog Posts
Types Of Writer’s Block (And How To Fix Them)
1. High inspiration, low motivation. You have so many ideas to write, but you just don’t have the motivation to actually get them down, and even if you can make yourself start writing it you’ll often find yourself getting distracted or disengaged in favour of imagining everything playing out
Try just bullet pointing the ideas you have instead of writing them properly, especially if you won’t remember it afterwards if you don’t. At least you’ll have the ideas ready to use when you have the motivation later on
2. Low inspiration, high motivation. You’re all prepared, you’re so pumped to write, you open your document aaaaand… three hours later, that cursor is still blinking at the top of a blank page
RIP pantsers but this is where plotting wins out; refer back to your plans and figure out where to go from here. You can also use your bullet points from the last point if this is applicable
3. No inspiration, no motivation. You don’t have any ideas, you don’t feel like writing, all in all everything is just sucky when you think about it
Make a deal with yourself; usually when I’m feeling this way I can tell myself “Okay, just write anyway for ten minutes and after that, if you really want to stop, you can stop” and then once my ten minutes is up I’ve often found my flow. Just remember that, if you still don’t want to keep writing after your ten minutes is up, don’t keep writing anyway and break your deal - it’ll be harder to make deals with yourself in future if your brain knows you don’t honour them
4. Can’t bridge the gap. When you’re stuck on this one sentence/paragraph that you just don’t know how to progress through. Until you figure it out, productivity has slowed to a halt
Mark it up, bullet point what you want to happen here, then move on. A lot of people don’t know how to keep writing after skipping a part because they don’t know exactly what happened to lead up to this moment - but you have a general idea just like you do for everything else you’re writing, and that’s enough. Just keep it generic and know you can go back to edit later, at the same time as when you’re filling in the blank. It’ll give editing you a clear purpose, if nothing else
5. Perfectionism and self-doubt. You don’t think your writing is perfect first time, so you struggle to accept that it’s anything better than a total failure. Whether or not you’re aware of the fact that this is an unrealistic standard makes no difference
Perfection is stagnant. If you write the perfect story, which would require you to turn a good story into something objective rather than subjective, then after that you’d never write again, because nothing will ever meet that standard again. That or you would only ever write the same kind of stories over and over, never growing or developing as a writer. If you’re looking back on your writing and saying “This is so bad, I hate it”, that’s generally a good thing; it means you’ve grown and improved. Maybe your current writing isn’t bad, if just matched your skill level at the time, and since then you’re able to maintain a higher standard since you’ve learned more about your craft as time went on
An eight word story
Happy Sunday everyone
Have a beautiful day 🌺🌺🔥🔥
can you write about the reader never drinking/smoking so jj stops doing it as much too?
(sober-ish) with you
requested - blurb
pairing: jj maybank x reader (she/her)
summary: read request ^
approx. reading time: around one minute
warning(s): drinking, smoking, pet name (baby)
note: i did briefly talk about this in this fic, fireworks (go check it out if you haven’t) you weren’t specific with what you wanted so i just wrote what felt right for me! let me know if you want something more specific!
requests are open, send them in!
masterlist | navigation | request guidelines
you didn’t like drinking or smoking. so when you met jj’s friends, the people you knew went to keggers and smoked so much the smell was radiating off them, you were intimidated.
jj knew your dislike of these habits and although he still did them, it wasn’t as bad as before you came into his life. he didn’t drink every day from the moment he woke up ‘till he passed out at night. he occasionally drank and only smoked outside of the house, he would then take a shower to get the smell off of him before he laid in bed with you.
you didn’t want to change him, you only wanted him to be safe and healthy.
after being introduced and realizing they weren’t what everyone had whispered about, you relaxed. and so did jj.
he started drinking one beer, then two, then two turned into four and you couldn’t help but notice it.
“hey j?” you whisper.
“yeah baby?” his full attention to you.
“you’re drinking a lot.”
“you’re right i’m sorry.” he immediately gives his beer to john b.
“you’re already done man?” he hesitantly takes the beer.
“yeah yeah, i’m good we gotta get home safe.”
although you could tell john b wanted to say more he didn’t.
like jj promised he didn’t drink the rest of the night and you both got home safely.
Genres
What is a genre?
A genre is a category that your story belongs to based on form, style, or subject matter.
Action/Adventure
Your book belongs to this genre if your characters are on a quest or journey to reach a concrete goal. Take The Lighting Thief by Rick Riordan. The goal is to return the lighting bolt to Zeus before summer solstice, or there will be war.
Fantasy
Your book belongs to this genre if the world in your story has a type of magic system, or includes mythical creatures. Think of Dragons, Centaurs, Pixie dust, et cetera.
Mystery
Your book belongs to this genre if the story centers around a question(Who, What, Where, Why, and How). Think of Criminal Minds, Mondays Not Coming, Lucifer, etc.
Romance
Your book belongs to this genre if your story centers around the romantic relationship of two or more characters. Think of Five Feet Apart, To All The Boys I’ve Loved Before, Love, Simon, etc.
(Keep in mind, your story can belong to more than one genre. There are no limitations.)
If anyone has any questions, or feels as though I’ve left something out, feel free to let me know!
The Moon Singing on Homely Nights
The moon sings softly on the nights Esther climbs in through her brother’s window. These nights turn sparser as Amador stays in his new apartment across the country. During these nights, her heart beats in a lulled pace while she sits on his empty bed.
There’s a soft click as she unlatches the window and when she crawls in, she makes sure to land on her toes. She finds more than just her older brother. She doesn’t know what she’ll see or what she hopes to see. When she’d last seen him, he’d slammed the door, tears streaking down his face and voice hoarse from screaming. She still doesn’t have the full pieces from the fight that led to her father’s roaring voice startling their home into silence and the unusual pitch of Amador’s voice as he walked out the door.
She opens his bedroom door to see if he is in the living room or spending his time in a library. She hopes he’s found a library he likes here despite all that has transpired.
Amador’s head is lolled on the couch, his mouth parted and dead to the world. His body is slightly tilted with one arm around his childhood friend, Maya’s sleeping form who was hugging her brother’s waist. The ugly green blanket Esther had gifted him as a joke is bunch around their feet as if kicked. There’s Snakes n Ladders, playing cards, and Candyland strewn across the table.
Maya had always filled Amador’s head with ideas—little fantasies that didn’t include Esther most likely that he could escape into. Frowning, she steps forward, fully planning to yank the woman out but the floor creaks loudly under her feet. They both jolt open, Amador’s shaking his head and Maya drags her hands across her face to remove her hair from her mouth, scrunching her face.
When Amador turns around to face the source of the sound, he finds her face and gives a dopey smile. ‘Hey, you’re home. When d’you come here?’
This is the first time she heard him call this place home, and a little piece of Esther’s heart cracks as if he’s renouncing the family home. Something vicious crawls onto Esther’s tongue as she bites out, ‘Thought you’d know that you’ve not succeeded in getting rid of me yet.’
Milas flinches as hurt flashes across his face, and in an instant, Maya grips his arm. Esther can never guess how Maya knows that while still keeping her piercing gaze fixed on her.
‘I don’t want to get rid of you,’ Amador says in confusion before letting out a shaky laugh, ‘no matter how annoying you are, you little rugrat.’
Esther should ideally know that. She doesn’t have the full pieces of the fight he had with mom and dad, or the unfamiliar way he’s glancing at Esther, still wary but now distant. Even in the moonlight, she can see the color back on his face, the surety of his movements as he tidies up the table and the blanket to give Esther a place to sit.
When Maya flicks on the floor lamp in the corner, his eyes crinkle at Esther and he pats the seat next to him. His cheeks are no longer sallow, his face no longer as pale as Esther, and he no longer sways in a way that makes Esther worry that a faint breeze could have knocked the husk of a rock her brother used to be.
Her brother had been wasting away for months, and Esther had not noticed.
From the corner of her eyes, Maya walks in with two plates balanced in a tray and slides the biggest portion of what looks like heated leftover lasagna to her brother, glancing warily, as she reminds him, ‘You’d promised you’d eat tomorrow nine hours ago. It’s 12:03. Eat up.’
She offers another to Esther as she leisurely nibbles on peanuts to keep her brother company. Her brother makes a little face at the size, and Maya produces a bar of chocolate in her fingers seemingly out of thin air as a bribe and chews obnoxiously loud until he drops it. He slouches to rest his head on Maya’s shoulders in acquiesce like Esther had seen him do a thousand times since she could remember, and the woefully domestic scene sours her heart.
Her plate remains untouched and she nods her head in gratitude for the food and the company. She makes excuses poorly at best and outlandish at worst, and walks out the door.
One day, she would know the words of the fight and Amador’s dreams if he’d let her, but for now, she takes the earliest train home. As she looks through the window, she sees her mother’s eyes with dark circles underneath. They both have her eyes, but this new Amador’s eyes gleam bright enough to quiet the moon.
Dreamlike Laughter
Reality kisses his sleepless nights, until he dreams of her again.
“Really wish you weren’t here anymore, love,” Milas tells Zimi, sitting by the window of his apartment. When he squints outside, the moonlight gleams too sharply off of the blades of grass.
He needs to tell her tonight. Right here in the dreamscape she made for them to meet across the mountains and rivers between.
She barks out a short laugh, but her shoulders hunch. She begins, “I don’t know who I can trust enough to practice this type of spell. I truly didn’t know I was bothering, hones—”
‘I miss sneaking mom’s pastries to you and spending all night awake because you got a new board game and you’re a horrible, horrible cheater and.’ Words. Words tangle in his mouth, so he blurts out, ‘And, I miss all the ands.’
Quick as a wildfire, she grasps his face with both her hands. He never feels them, but he can see her dark eyes looking into his sandy ones. In these moments, he thinks her a phantom. That the sentinels who swore their loyalty to her killed her before she could cross the city’s borders. With their history, the years stretching like scars on knobby knees and dolls, he could create something real enough to fool him.
Something creaks, like twigs snapping under a wheel. It takes Milas back to the evening before, his hand digging into Elijah’s wheelchair, light stubble not smooth skin, and soft hair brown not black under his hands. When he pulls away abruptly, she puts her hands up in surrender.
The view outside the window fades into fog, but so do the corners of his room. He needs to tell her.
‘I’m sorry, Kazimiera’ he chokes out. ‘I don’t deserve you.’ He slips onto his knees. Promises broken in a heartbeat, heartbeats jackrabbitting with Elijah’s laugh and the way he calls him endearments in something called French, and Milas was such a fool for the litany of mon chou, trésor, amour.
After a pause she says, ‘You kissed someone? ’
He shakes his head vehemently, ‘I didn’t, but I wanted to. I almost did.’
The world stills, or maybe it’s too loud in his head: exile, treason, Elijah. The fog obscures his vision until he can’t see anything past the table.
She grins up at him as if he’s the stupidest person on the planet, and asks, ‘And selfishly hoard your heart all to myself? I couldn’t fit it in the biggest rooms of the palace.’
All air rushes out of his lungs in a sharp exhale, dizzy with relief until he is gasping in short breaths—her forgiveness cooling the splinters under his skin.
When she leans forward to speak in his ear to tell her about him, he is back at the couch with a flickering lamp’s terrible wiring.
He is still talking about him when the fogs submerges him fully.
When he opens his eyes, Elijah’s laughter down the hallway is made of dreams.
character motivations:
fear
hurt
survival
failure
being pressured
instability
desire / hunger
guilt
belief they are doing something good
love
loyalty
vengeance / revenge
inequality
unfulfillment
hatred
honour / dishonour
pride
jealousy
death
humiliation
pain
greed
shame
rejection
loss
power
How’d I go from “It trickled down his side like thin, glistening sauce trickling down the side of steak, collecting under the squishy flesh” to “he holds out for the one who made him this foolishly sanguine, even as they carve out his heart from its vermeil abode”?
When you can’t remember that really great sentence you wrote in your head five minutes ago but you can remember that really stupid thing you did ten years ago on a random Tuesday
the guilt I feel when I’m doing something else instead of writing is there, it’s just not strong enough to make me stop doing that something else and start writing. so it’s just there; enough to make me feel guilt, but not enough to make me write.
thus most of the times, I’m doing something else while feeling guilty knowing I should be writing.
writers' resources
sick of using "very _____" ? : https://www.losethevery.com/
want to simplify your writing ? : https://hemingwayapp.com/
writing buddies / motivation ? : https://nanowrimo.org
word you're looking for but don't know ? : https://www.onelook.com/thesaurus/
need a fantasy name ? : https://www.fantasynamegenerators.com/
need a fantasy name ? : https://nameberry.com/
want a name with meaning ? : https://www.behindthename.com/
who wants a map maker! : https://inkarnate.com/
story building / dnd ? : https://www.worldanvil.com/
need some minimalistic writing time ? : https://zenpen.io/
running out of ideas ? : https://blog.reedsy.com/creative-writing-prompts/
setting a goal ? how about 3 pages / day ? : https://new.750words.com/
what food did they eat ? : https://www.foodtimeline.org/
questions on diversity within writing ? : https://writingwithcolor.tumblr.com/
now what was that colour called ? : https://ingridsundberg.com/2014/02/04/the-color-thesaurus/
want more? : https://www.tumblr.com/blog/lyralit :]
Words related to “afraid”:
jittery
jumpy
fearful
scared
rattled
shaken
startled
panicky
anxious
worried
terrified
hesitant
alarmed
agitated
shocked
petrified
spooked
timorous
unnerved
distraught
lily-livered
frightened
distressed
concerned
intimidated
fainthearted
yellowbellied
apprehensive
disconcerted
panic-stricken
Writing Update 5/15/2025
Hi hi! For the most part, I've finished the hero side of the worldbuilding. I mostly just have to think of more holidays. Anyways, here are the categories of heroes for anyone interested (keep in mind this is a draft that needs more polish):
Commons - Heroes that represent common hopes and dreams.
Pinnacles - Heroes that represent hopes that are achievable, but need a lot of work to become reality, and depend highly on the direction of the future. This can include heroes that represent concepts like world peace or futuristic technology.
Ambitions - Heroes that represent hopes and dreams that are more personal, such as hopes for one's family, personal goals, and so on.
Unattainables - Heroes that represent human desires or dreams which can not be attained. Some are obvious like those based on things like flying or shape shifting dreams, while others are more abstract and connect to humans attempting to disregard their humanity.
Tag list: @aweirdshipp, @floofyboi57, @aralithmenathere
Writing Update 5/15/2025
Hi hi! For the most part, I've finished the hero side of the worldbuilding. I mostly just have to think of more holidays. Anyways, here are the categories of heroes for anyone interested (keep in mind this is a draft that needs more polish):
Commons - Heroes that represent common hopes and dreams.
Pinnacles - Heroes that represent hopes that are achievable, but need a lot of work to become reality, and depend highly on the direction of the future. This can include heroes that represent concepts like world peace or futuristic technology.
Ambitions - Heroes that represent hopes and dreams that are more personal, such as hopes for one's family, personal goals, and so on.
Unattainables - Heroes that represent human desires or dreams which can not be attained. Some are obvious like those based on things like flying or shape shifting dreams, while others are more abstract and connect to humans attempting to disregard their humanity.
Tag list: @aweirdshipp, @floofyboi57, @aralithmenathere
Writing Update 5/15/2025
Hi hi! For the most part, I've finished the hero side of the worldbuilding. I mostly just have to think of more holidays. Anyways, here are the categories of heroes for anyone interested (keep in mind this is a draft that needs more polish):
Commons - Heroes that represent common hopes and dreams.
Pinnacles - Heroes that represent hopes that are achievable, but need a lot of work to become reality, and depend highly on the direction of the future. This can include heroes that represent concepts like world peace or futuristic technology.
Ambitions - Heroes that represent hopes and dreams that are more personal, such as hopes for one's family, personal goals, and so on.
Unattainables - Heroes that represent human desires or dreams which can not be attained. Some are obvious like those based on things like flying or shape shifting dreams, while others are more abstract and connect to humans attempting to disregard their humanity.
Tag list: @aweirdshipp, @floofyboi57, @aralithmenathere
Writing Update 5/15/2025
Hi hi! For the most part, I've finished the hero side of the worldbuilding. I mostly just have to think of more holidays. Anyways, here are the categories of heroes for anyone interested (keep in mind this is a draft that needs more polish):
Commons - Heroes that represent common hopes and dreams.
Pinnacles - Heroes that represent hopes that are achievable, but need a lot of work to become reality, and depend highly on the direction of the future. This can include heroes that represent concepts like world peace or futuristic technology.
Ambitions - Heroes that represent hopes and dreams that are more personal, such as hopes for one's family, personal goals, and so on.
Unattainables - Heroes that represent human desires or dreams which can not be attained. Some are obvious like those based on things like flying or shape shifting dreams, while others are more abstract and connect to humans attempting to disregard their humanity.
Tag list: @aweirdshipp, @floofyboi57, @aralithmenathere
Writing Update 5/15/2025
Hi hi! For the most part, I've finished the hero side of the worldbuilding. I mostly just have to think of more holidays. Anyways, here are the categories of heroes for anyone interested (keep in mind this is a draft that needs more polish):
Commons - Heroes that represent common hopes and dreams.
Pinnacles - Heroes that represent hopes that are achievable, but need a lot of work to become reality, and depend highly on the direction of the future. This can include heroes that represent concepts like world peace or futuristic technology.
Ambitions - Heroes that represent hopes and dreams that are more personal, such as hopes for one's family, personal goals, and so on.
Unattainables - Heroes that represent human desires or dreams which can not be attained. Some are obvious like those based on things like flying or shape shifting dreams, while others are more abstract and connect to humans attempting to disregard their humanity.
Tag list: @aweirdshipp, @floofyboi57, @aralithmenathere
Why "No One Talks Like That" Is Unhelpful
I've been thinking about some unhelpful critiques I have been given in the past and what made them so unhelpful, which lead me to sort of wanting to deconstruct why "no one talks like that" is such a bad critique.
So, things to consider before you give the critique "no one talks like that", which will likely reveal what you're actually trying to say:
Conversational conventions are often different in fictional worlds.
Just because something is normally "uncouth" or "strange" to say in reality, that does not mean the same can be said about fictional worlds. I personally got the "no one talks like that" critique because one of my characters was, supposedly, too blunt about their marriage proposal. This was in a fantasy world where marriage was treated in an extremely practical fashion, the same way someone would treat buying a new house. I got treated as the "person who constantly interrupts people giving critiques because they can't handle it" for simply trying to give my teacher some much needed context. This type of critique is not helpful to anyone, because it completely fails to understand or even attempt to understand author intent. "No one in real life talks like this", yes, and that is the point. To actually give helpful critiques to fantasy dialogue, you need to first understand how that fantasy culture differs from the ones you are accustomed to, and judge the dialogue based on it.
2. When you say "no one talks like that", who are you really referring to? The general population, or the people specifically within your social circle, area, or culture? Because you will likely find it is the latter.
I don't think it's necessarily bad for people to draw from their experiences when giving critiques, but I do think it's important to analyze one's biases in doing so. Before you say, "no one talks like that", always sit down to analyze why exactly you think that, and consider having a proper discussion with the writer about what experiences they are drawing from. As one examples, a straight person who is unfamiliar with queer culture may feel inclined to say "no one talks like that" about queer characters using terms or addressing topics like gender, sexuality, etc. in ways they are not accustomed to. It's not because no one truly talks like that, it's because they are completely unfamiliar with it.
3. Always, always, always consider context.
This ties into the fictional world idea, but goes beyond that. "No one talks like that" can feel extremely tone deaf as a critique if the person isn't properly engaging with the context of a scene or a character. "No one talks like that," okay, but this particular character is stressed and running on adrenaline, they're not exactly meant to be talking normally. "No one talks like that," this is a literal demon from Hell, why should they talk like we do? "No one talks like that," this character is neurodivergent, and it makes complete sense for them to talk like that. Also, keep in mind the genre and the style of the story. Not all stories are trying to have realistic dialogue. You wouldn't criticize a story set in wonderland for having unrealistic dialogue, as this is very much the point. Now, unrealistic does not mean meaningless, which is why considering the context of a story helps you give more specific and helpful critiques when it comes to dialogue.
4. Does nobody talk like that, or is it just socially unacceptable to talk like that? There is a difference.
I mentioned neurodivergent characters, so let me expand on that issue here. There's this attitude I think really needs to be squashed that characters must talk in a neurotypical fashion or else they are badly written, because neurotypical individuals find this easier to understand and see it as more "proper". And it expands to this general attitude I've seen that, if characters are not following certain social rules or etiquette, then the dialogue is badly written. This puts so many constraints on character dialogue that doesn't actually help with character writing.
Sure, not everyone is going to go out to a parking lot and scream profanities to see the shock and horror of those passing by, but this shit stain character I created absolutely would. "But characters need a good reason to break this etiquette", not everyone cares about social etiquette, and characters are absolutely the same way. So long as their character has been established as such, this is fine. Also, reactionary responses like, "no one would talk to their parents that way!", in response to a character severly breaking a social rule or greatly going against a certain social value, are not actually helpful critiques. It is an emotional reaction that reflects what you view as proper, not if the action is accurate to the character or not.
5. Is it true that nobody talks like that, or do you just not understand the dialogue?
If dialogue is confusing, you need to delve deeper into why that is, and consider whether this is intentional or not. Just because the dialogue does not personally resignate with you, that does not mean it is poorly written. Same goes for dialogue that is meant to be confusing at first, and is given further context later. Have a conversation with the writer to see if this dialogue is meant to be confusing, or if there's been a miscommunication. It's also important you reflect on whether a project is for you when critiquing. If you hate dialogue full of rhymes, then you probably shouldn't critique a story where everyone talks in rhymes.
6. Is the issue the way they are talking, or the way they are talking about something in the specific context of the story?
When analyzing why dialogue doesn't sit well with you, is it because the characters' reactions feel off or out of character? For instance, is the character that is well established to hate sweets now ranting and raving about how good milk chocolate is? The issue then isn't that "no one talks like that", the issue is, "it feels out of character for them to address (topic) like that". Yes, it could be argued no one hates sweets one second and then praises milk chocolate the next, but phrasing it as "no one talks like that" doesn't actually get to the meat of the issue. As a more serious example, is the character who hates all magic being oddly casual when actually confronted with a mage? Of course, some inconsistencies are done on purpose, and, as I said above, context matters.
Conclusion
Going through this, I think a lot of people will find "no on talks like that" is not actually what they want to say. Rather, they likely want more context, think a conversation needs better build up, believe the dialogue feels inconsistent with the characters/world, or may outright just be a bad fit for that particular project. So before you say, "no one talks like that," consider why you feel that way and find a way to word this critique that is more productive.
Writing update 5/8/2025
It's time for another writing update. Still working on Every Hero Needs a Villain, my object head project. I'm making my way through the character bios. I am trying to just get the basics down, then I'll go over them again and add more personality. Here's Spark's description, because I thought it was cute:
They have a gently yellow and ruffled lamp shade with a lighter and brighter light bulb on their head. They typically wear a skirt that matches paired with a lighter blouse or suit top. Their clothes typically having a shimmering or glittery component to them. They sometimes wear different lamp shades for different effects, having a particular fondness for colorful glass lamp shades for special events, or cloth dotted lamp shades when they're feeling cute. Sometimes they don't even wear a lamp shade for emphasis.
I definitely want to edit it for readability, but so far so good! I hope to have all the bios down by the end of the week, and will notify y'all on Sunday if this is the case.
Taglist: @aweirdshipp, @floofyboi57, @aralithmenathere
Writing update 5/1/2025
I am continuing to write Sleep Laughing slowly but surely. I'm getting caught up in making the logs detailed, and trying to get myself to realize, "you need to write the skeleton of this idea before you can go into the depths of this character's suffering". And also, during the first logs he's so weak/in so much pain he's barely concious or thinking straight, so it makes sense why they're not as detailed.
Still, I managed to get extremely good progress for logs 7 and 8. Here's my favorite snippet (tw body horror and agony):
I've come to a conclusion. Even if I am in Hell, it really isn't such a bad thing. It just means I'm being punished, and, if I'm being punished, that means there's a chance to redeem myself, right? Every single agony I experience is a debt being paid, a sin washed away. This pain isn't a curse. No… …this pain is a blessing! It's giving me a chance to repent for everything. Oh God I'm sorry, I'm so sorry. I'll never do it again. So please, just let the light take me!
Also, I am looking for beta readers for my stories The Diary of Spinel Bramford and The Breeding Grounds. You can find their descriptions here. If that'd interest you, please let me know!
Taglist: @aweirdshipp
Writing update 5/1/2025
I am continuing to write Sleep Laughing slowly but surely. I'm getting caught up in making the logs detailed, and trying to get myself to realize, "you need to write the skeleton of this idea before you can go into the depths of this character's suffering". And also, during the first logs he's so weak/in so much pain he's barely concious or thinking straight, so it makes sense why they're not as detailed.
Still, I managed to get extremely good progress for logs 7 and 8. Here's my favorite snippet (tw body horror and agony):
I've come to a conclusion. Even if I am in Hell, it really isn't such a bad thing. It just means I'm being punished, and, if I'm being punished, that means there's a chance to redeem myself, right? Every single agony I experience is a debt being paid, a sin washed away. This pain isn't a curse. No… …this pain is a blessing! It's giving me a chance to repent for everything. Oh God I'm sorry, I'm so sorry. I'll never do it again. So please, just let the light take me!
Also, I am looking for beta readers for my stories The Diary of Spinel Bramford and The Breeding Grounds. You can find their descriptions here. If that'd interest you, please let me know!
Taglist: @aweirdshipp
"In a way, there are more mysteries than tragedies"
Kofi | Wattpad | AO3 | Writing Master List | Pillowfort | Bluesky
(Profile art by @floofyboi57)
Hi hi! I'm an aroace trans man in a system that loves to write horror mysteries. Though I dabble in other genres depending on what a story needs. My works typically include morally gray characters, strangely cute monsters, and dark content, so make sure you read the content warnings before engaging with them. Some themes you can expect are light in the deepest darkness, heroes being worse than the villain, weirdcore settings, humans as the true evil, religious trauma, finding queer acceptance, and so on. I also litter my works with trans, plural, and aroace themes.
Important notes:
Why did I make a new blog, outside of wanting a fresh start? To be honest, my notifications were so broken that it made the decision easy. I do recognize that, one day, I'll have to accept having an account for a long time just means things will break, but this is not that day!
Taglist and Tags
@aweirdshipp
If you like our work, please consider asking to be added to the taglist! This shows us people are interested in our writing, and can help ensure you're notified about writing updates. Feel free to clarify if you want to be tagged for things like a specific WIP, writing ramblings, snippets, or if you want to be notified when I need beta readers.
#ourwriting, #writingrambles, #writingsnippet, #wipupdates, #essiehobbies
Disclaimer
I will not follow you if you do not properly warn about or tag triggering content. I'd love to be moots with others, but I can not comfortably follow you if you are not properly tagging your posts. I am a strong pusher for properly tagging content so people can curate their own space.
An Optional BYF For Those Who Want It
This is a Litmus Test
Yep, let's talk about the whole "fiction effects reality" thing. When I use this phrase, what I am not saying is that violent media will make you violent, or that all stories should be squeaky clean with the purpose of teaching a moral. It's a recognition of how harmful feeding into stereotypes can be, and how certain framing contributes to the spread of harmful ideas. For example, a work that glorifies violence done by the military via painting the other side of a conflict as "pure evil". And let me be clear, a character glorifying their own actions is not the same as the creator glorifying their actions, nor are stories where everyone is evil or sucks encouraging bad behavior.
The takes, "writing about horrific things does not make you a bad person", and, "a creator framing a character's horrific behavior as justifiable, and others negative reactions towards it as unjustifiable, could be a red flag", in my opinion, can and should coexist. (Ex: B being painted as in the wrong for not seeing a trans individual as crazy, while A is painted as justified for doing so). I am against censorship and harassment, but I am not against thoughtful critiques or discussions about how we present certain ideas within our writing. Discouraging this makes it more difficult to discuss when harm is intended or accidentally done, and can be used to silence minorities when they ask for better representation. It also makes it harder to blow the whistle on bigots. Both the extremes that everyone who writes dark things condones them, and that no one who writes dark things ever condones them are not helpful. Which brings me to my main point.
TDLR: Framing is everything, and just because fiction isn't going to turn us into murder hobos, that doesn't mean it can't contribute to the spread of harmful ideas. Being against censorship does not have to mean being against thoughtful discussion or critique.
Your reaction to these paragraphs will let you know whether or not my writing is for you. I'm a neurodivergent who's addicted to nuance, and this shows in not only my stories, but also how I approach them. As I write them, I twist the struggles, perspectives, and experiences of the characters to end up with a complex web of considerations. There's nothing wrong with a story full of horrible people being horrible just for the sake of it, or a story full of violence just because, but those aren't the type of things I tend to write. I also often cover the perspectives of trauma victims and plural individuals to put out the representation I as one want to see.
If you dislike horror that takes an interest in examining and criticizing human behavior, this is definitely not the blog for you. But, if you think tackling questions such as how far the heroes can go before they become just as bad, or even worse, than the villain, themes of characters overcoming evil, characters like oddly soft demons, and settings like weirdcore societies meant to comment on American society, are interesting, then I think you'll enjoy my works.
TDLR: I write horror with a gushy center and with representation that is important to me.
Foreshadowing is so fun! Even though I'm still on draft one of my novel, I may list which of these elements I've incorporated so far below.
Lozerief knows stuff she shouldn't. How did she know Izi's dad? If she knew his dad, did she know his mom? (Spoilers, yes, she did, duh.)
Colors. Everywhere. Lozerief wears black, foreshadowing her role as Hero of Earth. Izi wears white, foreshadowing his role as Hero of Cognition and her antithesis. Hota wears teal for their role as Hero of Mind.
I (mostly) know how this will end.
Not a Checkhov's gun but I repeatedly bring up Izi's old home for more reasons than just trauma.
I keep track of what I put in languages that I create so that only I (and the characters who speak those languages) know what they're saying. (I foreshadow the rise of the White Army this way.)
Names with meanings is a big one for Lozerief...
I realize only now that Lozerief is the character who hides the most, and it's amazing she doesn't spoil it all right away. Maybe she's bound by some old agreement...?
subtle ways to include foreshadowing
one character knowing something offhandedly that they shouldn't, isn't addressed until later
the crow rhyme
colours!! esp if like, blue is evil in your world and the mc's best friend is always noted to wear blue...betrayal?
write with the ending in mind
use patterns from tragic past events to warn of the future
keep the characters distracted! run it in the background until the grand reveal
WEATHER.
do some research into Chekhov's gun
mention something that the mc dismisses over and over
KEEP TRACK OF WHAT YOU PUT. don't leave things hanging.
unreliable characters giving information that turn out to be true
flowers and names with meanings
anything with meanings actually
metaphors. if one character describes another as "a real demon" and the other turns out to be the bad guy, you're kind of like...ohhh yeahhh
anyways add anything else in the tags
I'm not accustomed to happiness, I wouldn't know how to deal with it.
Rather, I crave a bearable melancholy. Not the kind that is soul-crushing, but the kind that slices like a fine paper cut on your wrists. It stays tucked away in a corner of your heart, quiet and patient. Like a nightingale who sits in darkness and sings in solitude.
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