I Also Want Writers To Stop Assuming If A Male And Female Character Are Friends They They Have To Be

Saint John’s water or Faery Water is made with specific herbs such as: hypericum (Saint John’s Wort), yarrow, rue, verbena, fern, wild fennel, marigold, elder, laurel, lavender, mugworth, mauve, mint, rosemary, sage, chamomile, rose, poppy, cornflower, and wildflowers. According to the tradition, these herbs must be gathered at sunset by fasting women and infused in spring water for an entire night. During the night it’s believed that gods and spirits of nature are going to put their blessing to the water giving it magical properties. This magical water is used to bring love, prosperity, luck and health.

I wish other authors thought like this

hi mr gaiman! how are you? i've been meaning to ask this question ever since i've heard the first queen song in go, and i can't handle my curiosity anymore. did crowley ever got to meet freddie mercury? like actual, face to face, meeting him. and if he didn't, does he regret not seeing him while he was alive?

That's one for fanfiction, not for me to answer.

Tips for Writing a Scene

Whether you’ve been writing for a long time or want to start, everyone begins in the same place—with a scene.

Not an entire chapter.

A scene.

Here’s how you can make it happen on the page.

Step 1: Have Characters In Mind

Scenes can’t happen without characters. Sometimes you might have a place in mind for a scene, but no characters. Sometimes, it’s the opposite. 

Pick at least two characters if you’ll have external conflict (more on that in step 4). One character can carry a scene with internal conflict, but things still have to happen around them to influence their thoughts/emotions.

Step 2: Give Them Goals

Short stories combine mini scenes into one plot with a beginning/middle/end. Longform manuscripts combine chapters to do the same thing, but with more detail and subplots.

You don’t need to know which form you’re writing to get started.

All you need are goals.

What should your scene do? What does your character(s) want? It will either use the moment to advance the plot or present a problem that the character solves in the same scene/short story.

Step 3: Include the Senses

If you’re recounting an experience to someone, you don’t say, “I had the worst day. My shoes got wet and I couldn’t get home for 10 hours.”

You’d probably say, “I had the worst day. I stepped in a puddle so my shoes got soaked, which made my socks and feet wet all day. Then I had to wait 10 hours to get home. It was miserable! And now my feet smell terrible.”

Okay, you might not use all of those descriptors, but you get the picture. The story is much more engaging if you’re talking about the feeling of wet socks, soaked shoes, and the smell of stinky feet. The other person in your conversation would probably go ugh, that’s horrible!

Your scene should accomplish the same thing. Use the five senses to make the moment real for the reader.

As a reminder, those senses are: touch, taste, smell, sight, and hearing.

You don’t need to use all of them at once, but include at least two of them to make your stories shine. You also don’t have to constantly use environmental or sensory descriptors. Once you establish the scene for your reader, they’ll place your characters and want to keep the plot moving.

Step 4: Identify the Conflict

Speaking of plot, scenes and stories can’t move forward without conflict. There are two types:

Internal conflict: happens within a single character (may or may not affect their decisions at any given time; it can also be the reasoning for their goals and dreams)

External conflict: happens outside of a character or between two characters (may or may not have to do with their internal conflict or personal goals; it always advances their character growth, relationship development, or plot development)

A scene could touch on either of these types of conflict or both! It depends on your story/plot/what you want your scene to accomplish.

Step 5: Pick a Point of View (POV)

Sometimes you’ll know you want to write a specific POV because you’ll have a character/plot in mind that requires it. Other times, you might not know.

It’s often easier to pick a POV after thinking through the previous steps. You’ll better understand how much time you want to spend in a character’s head (1st Person) or if you want to touch on multiple characters’ minds through 3rd Person.

Example of Setting a Scene

Step 1, Have Characters in Mind: Two sisters arrive back home from their first fall semester in different colleges.

Step 2, Give Them Goals: Sister A wants to ask for dating advice, but the sisters have never been that close. Sister B knows that Sister A wants a deeper conversation, but is doing anything to avoid it.

Step 3, Include the Senses: They’re in a living room with shag navy carpet and the worn leather couches have butt-shaped shadows on the cushions. The house smells of vanilla bean, the only scent their dads can agree on. Christmas lights hang on a fake tree that sheds plastic fir leaves on the floor. Their family cat purrs from within the metal branches.

Step 4, Identify the Conflict: Sister B will do anything to avoid talking about feelings. That includes trying to get the cat out of the tree (shaking the branches and reaching into them doesn’t work), checking to make sure the windows are closed against the winter air, and faking an obviously unreal phone call. This makes Sister A go from passively hoping for advice to chasing her through the house. 

Step 5, Pick a POV: 3rd Person, so internal thoughts and feelings from both sisters are obvious to the reader and emphasize the scene’s comedy.

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These are also useful ways to rethink a scene you’ve already written. If something about it doesn’t seem to be working, consider if it’s missing one or more of these points. You don’t need to include all of them all the time, but weaving more sensory details or conflict into a short story/chapter could solve your problem.

Best of luck with your writing, as always 💛

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

How to plant information elegantly

Say, for example, you’re writing a swimming pool scene and you need to plant the fact that Susan is blonde, because in a few chapters, the detective will find a blond hair at the crime scene.

You want the planted information to be memorable, but at the same time not stand out too much. The ideal is to push the information into the reader’s subconscious without a neon light arrow saying, “You might want to remember this, dear reader. This will be relevant!” The planted information needs to feel natural, organic, but memorable enough so when it turns out to be ✨a clue✨, your reader thinks, “I should have seen it!”

Let’s look at some options.

Susan, who is blonde, took a deep breath and dived into the pool.

This feels forced and awkward. The two pieces of information (pool + blonde) are not connected, the fact that she is blonde feels irrelevant and shoved in. If the reader remembers this, it’s because they noticed how the information is forced upon them.

Elegant ⭐

Memorable ⭐⭐

Organic ⭐

The blonde Susan swam across the pool. / The blonde, Susan, swam across the pool.

This feels more natural, but there’s a danger that only the swimming will stick into the reader’s mind because her being blonde is so unnoticeable. There is also a minor danger that the reader will expect an non-blonde Susan to show up in the first variation.

Elegant ⭐⭐

Memorable ⭐

Organic ⭐⭐

Susan was annoyed. She had just washed her hair with that ridiculously expensive Luscious Blonde shampoo and now her friends wanted to go swimming? What a waste of money.

This feels natural and organic, because both elements are conveyed from Susan’s point of view. They are both relevant and connected, and on top of that you get to build Susan’s character.

Elegant ⭐⭐⭐

Memorable ⭐⭐⭐

Organic ⭐⭐⭐

Her friends were already in the pool, but Susan held up her pocket mirror, making absolutely sure that the latex cap wouldn’t let any water in. She just had her hair bleached and after the debacle of 2019, she would never forget what chlorinated water did to bleached hair.

Susan’s POV makes her blond hair relevant to the swimming, as with the example above, but this time you’re presenting a completely different character. It feels organic and personal, and the fact that she is blonde will be lodged into the reader’s mind without screaming “It’s a clue!”.

Elegant ⭐⭐⭐

Memorable ⭐⭐⭐

Organic ⭐⭐⭐

I hope this is helpful! Follow me for more writing tips or browse my entire collection of writing advice now.

Happy writing!

sometimes you need dialogue tags and don't want to use the same four

Its really funny and weird how, of all the european pagan mythologies, greek is the one white ppl know the most of by far.

Like, of course it makes sense, greco-romans were hailed as the peak of civilization by white european elites at least like, twice in history, but it’s still really wild like. We’ll know the names of every olympian and what exactly their deal is, know like 20 different random greek monsters who only appeared in like One Story,

but then u ask abt the british isles, site of a people who would eventually colonize the fucking world, and its like “uhhhhhh theres morrigan? Also some fairies. Is morrigan a fairy? I think there were some tree worshippers. Some dudes put blue paint on their body and had big shields i think?” and a book’s gonna claim there was an irish potato god and you’re going to believe them bcs you’ll be so wrapped up in the potato famine thing that you’ll forget potatos were IMPORTED FROM THE ANDES MOUNTAINS.

And then like folks will be familiar with like 4 norse gods maybe 5, know some words like asgard and ragnarok, but ask them who fenrir is and theyll be like “Is he important?”

Also if you ask them about germanic mythos they will draw a fucking blank bcs even tho the general public are familiar with at least a few germanic mythos things, we completely stripped out the germanic origins from them when we called them generic “fairy tales.” Same for france and the iberian penninsula i think. Also dont ask me which fairy tales come from where bcs i am a prime example of this, i do not fucking know, i just vaguely remember that they came from certain places and then spread from there.

Oh And absolutely FORGET about anything east of germany fucking forget about it. The slavic regions have a rich mythos and even ppl who are pretty knowledgable abt the stuff i said above won’t know shit about it, case in point, me! Go ahead! I know a bunch abt celtic stuff and norse stuff and a lill bit of german stuff, but ask me to bring up ONE slavic story! The only thing my brain is cookin up is that one about the lindwurm, and even that one i cant remember if its actually slavic!

Now Think abt how many white people claim heritage from places in europe that arent greece and italy. Think about how little those same ppl know abt their ancestor’s prechristian stories and beliefs. Im hispanic i know like one thing abt pre-christian spain and its that they had a funny word for fairies (i don’t even remember the name!), just as an example. Like isnt that fucking insane? You’d think a buncha colonizing douches competing with each other to take over the world would put a bit more effort into educating ppl abt the ancestral stories that set these guys apart from each other, but no, not really. And like dont get me wrong its not like this doesnt make sense. It does. The roman empire and later christianity overtook like all these myriad cultures years before colonialism and white supremacy was even a pipe dream, to say nothing about the internal strife that happened in the iberian peninsula and the british isles.

But at the same time, in recent years there’s been massive pushes to recover this lost culture (especially in those british isles places that arent england), and even with this effort, so much is unknown to a fuckton of people who, i repeat, claim heritage from these places. (In fact, one of those efforts probably set us back bcs it got caught up in bullshit ideology and mysticism and grabbed stuff from totally different people to support a bullshit point. Looking at you, nazis.) and it’s just kind of insane. Overall this is just a peak example to me of the hollowness and artificiality of the concept of whiteness. The master race can’t even remember their own ancestors, and ancient history had to be wiped away or made generic in order to support the notion that these people have something in common, and thus, something setting them apart from everyone else.

~GENTLE PROMPTS~

tickling you from the back before actually hugging you

knuckles brushing against each other and person a getting shy

hesitant glances at each other in a crowd

person a helping person b through panic/anxiety attacks

one small kiss before fully devouring the other person

THE SHY PERSON A INITIATING THE FIRST KISS ADJKSF

person a contemplating on whether to send person b a text

HOLDING HANDS UNDER THE TABLE

gentle ear rubs because person b knows person a loves them

knees touching intentionally and person a getting shy

person b complementing person a IN PUBLIC

PLAYING WITH EACH OTHERS HAIR

person a shyly playing with person b's rings while cuddling

small "shh' im here" when someone else is crying

FOREHEAD KISSES FOREHEAD KISSES FOREHEAD KISSES

pressing your foreheads together after a kiss

TRACING PERSON B'S TATTOOS kill me kill me now

holding hands while walking in a friend group

unintentionally caressing each other

SAYING I LOVE YOU BEFORE LEAVING TO WORK?? GIVE ME

acting foolish around each other

random flirty texts or hOrNy texts too

person b trying to cook person a's fav dish

DRUNK DANCING

lazy kisses that dont even count as kisses but you could live in that moment forever because LOVE

person a trying to keep person b still for a picture

MOVING PERSON A BY THEIR WAIST bye

person b winking at person a in public whILE A GETS ALL FLUSTERED

How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!