Writing Is All Fun And Games Until You Have To Describe A Room.

Writing a fanfic sometimes feels like having a plan...only for that plan to magically transform into a slice of cake. Now you have to bake the rest of the cake because you can't just serve a single slice whilst random cake slices of unidentified origin rain down from the sky tempting you like some kind of cake demon.

if you feel like you forgot how to write: good. forget the rules. be ungovernable. invent a new genre.

Your Protagonist is a Liar. If your story follows only the main character, we see things how they see them. A main character is an unreliable storyteller, if they mean it or not. We, just like the MC, aren't in other characters' minds. So, moments are misinterpreted. Your main character sees the world through their own biases. We only know the main character's impressions of the side characters, and the villains. We read only their perception of these characters.

That doesn't make them a villain, its normal. It's realistic and purely understandable. They can't fill gaps of information simply because they weren't there. So, they make assumptions, they make judgements, they remember things incorrectly. Memory isn't perfect, details are changed or forgotten. It's only natural.

Let your protagonist lie. Maybe they don’t even realize they’re doing it. Maybe they do. See what happens.

And there’s no inbetween

Going back to old writing is either just like:

1. “Who wrote this masterpiece?! It was ME?!”

2. “Who wrote this absolute shit? Oh fuck my life, that was me, wasn’t 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 🎄

Tips for writing internal conflict

1. Define the Core Dilemma

• Internal conflict occurs when a character faces a choice or emotional struggle within themselves. This dilemma should challenge their values or identity.

• How? The struggle should feel deeply personal and tied to the character’s motivations.

• Example: A character who values independence but must rely on others in a life-or-death situation.

2. Make it tied to their core values

• The conflict should challenge what the character holds dear—whether it’s their morals, desires, or goals.

• How? The inner conflict should push the character to re-evaluate their beliefs and priorities.

• Example: A soldier torn between duty and personal ethics, forced to choose between following orders and doing what’s right.

3. Amplify with external consequences

• Link internal conflict to external consequences that impact the character and those around them. The choices they face should have significant repercussions.

• How? Show how the character’s internal conflict influences their decisions in the real world.

• Example: A character haunted by guilt must choose whether to admit their past mistakes, risking their career and relationships.

4. Show the pressure building over time

• Internal conflict intensifies when it’s compounded by time, increasing stakes, or mounting external pressure.

• How? Create scenes where the character feels the weight of their choices growing heavier with every passing moment.

• Example: A character whose addiction threatens to ruin their life, struggling to break free but tempted by old habits every day.

5. Conflict arises from competing desires

• Internal conflict often stems from having two equally strong desires that cannot coexist.

• How? Put your character in situations where they must choose between these desires, both of which seem vital.

• Example: A character torn between pursuing their dream job across the country or staying to care for a dying parent.

6. Explore their fears and insecurities

• Internal conflict can also be driven by the character’s deepest fears or insecurities, which affect their actions and decisions.

• How? Fear of failure, rejection, or loss can prevent them from acting, making every decision feel like a battle.

• Example: A character who has been hurt before refuses to let anyone in, even though they deeply crave connection.

7. The power of self-sabotage

• Let the character’s internal conflict lead to self-sabotage. They may avoid decisions or create obstacles to protect themselves from facing their own feelings.

• How? Show how the character's fear or internal resistance undermines their progress.

• Example: A character constantly pushes away someone they care about because they fear their own vulnerability.

8. Use internal dialogue to show the battle

• Let readers hear the character’s internal struggle through thoughts, doubts, or justifications. Internal dialogue can make the conflict feel more immediate and real.

• How? Keep the internal dialogue sharp, reflective, and in line with the character’s voice.

• Example: “I want to tell them the truth, but what if they leave? Can I really risk that?”

9. Drive change through resolution

• The internal conflict should lead to growth or change in the character. They should evolve, learn, or make peace with their internal struggle.

• How? The resolution should feel earned and reflect the character’s journey.

• Example: A character who fears commitment learns to trust and embrace vulnerability in the face of love.

10. Let it affect the bigger picture

• The resolution of internal conflict should impact the story’s larger arc, showing how the character’s inner change leads to progress or a new direction.

• How? The resolution should tie back to the theme and forward momentum of the plot.

• Example: A character who learns to forgive themselves is able to take the final step in reconciling with a loved one, mending broken relationships.

Follow for more!

I hate to break it to you, but they were right. You really do just have to finish that first draft. It can be a hot mess, but you can’t clean up a room that doesn’t exist

Something I'm fond of saying is "The villain drives the plot but the hero sets the tone." Something that's very important about this is that the resolution to the conflicts presented need to match the hero's tone. If your story doesn't believe problems can be solved the way the hero wants to solve them... why is this the hero?

If you want your problems to be solved with brutal catharsis, then your hero should be someone who believes in brutal catharsis.

If you want your problems to be solved with forgiveness and reconciliation, then your hero should be someone who believes in forgiveness and reconciliation.

They don't have to begin there. This can be something they come around to over the course of the story, as they grow and change per their character arc. But by the time of their ultimate encounter with the villain, their values should be the values that drive the story forward.

There's this thing in D&D that some DMs do. Where, when you roll enough damage to deplete the monster's hit points, they'll turn to you and say, "That's a kill. Describe for the group how you take the monster down." And you're allowed to come up with some cool maneuver or something that your character did in order to deliver the finishing blow.

The hero's ultimate triumph over the villain is a lot like this. More than any other part of the story, this moment is their apotheosis. It should be a celebration of everything they are and everything they stand for.

You have defeated the villain; Now describe for the group what form that victory takes.

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?'

It’s frustrating when writing is your restricted (special) interest, and it’s all you wanna do, but you have things you have to do so you can use all your energy on it. Like it’s making me (more) depressed, but if I write now I’ll be too tired for poetry practice later.

(Sorry if this grammar is bad, again, I’m very tired and not okay)