How To Write A Confession Of Love

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Shen Qingqiu was doomed.

He stood still, fluttering his fan nervously and trying to avoid catching his counterpart's, the real Shen Qingqiu, glaring eyes from across the room. Instead, he idly observed the other Cang Qiong Mountain Peak Lords, trying to spot the differences between the ones he knew and their alternates.

Liu Qingge had brought back a strange artifact from one of his hunts to the monthly Peak Lord meeting. It was a mirror, rimmed an ugly tarnished gold, topped with a decoration that was shaped into an unidentifiable creature with ruby red eyes.

[Important Artifact Detected: Red-Eyed Sphinx's Mirror! Quest starting...]

Shen Qingqiu had been trying to remember where it might have appeared in PIDW when the surface of the mirror suddenly began to glow a dull yellow. It quickly brightened until it obscured everyone's vision.

And then, there stood another set of peak lords across the room, facing them down.

System, what on earth is going on???

[Quest started: Lost Long Spirit in My Reflection! Other characters have been transported to this universe. Host must find a way to send them back without revealing his identity as a transmigrator.]

WTF? I didn't agree to this!

[Good luck!]

System??? Get back here!

While the two Yue Qingyuans and Xu Qinglis conversed together to try to understand what had happened, the other peak lords had begun to mingle with each other, curious about their counterparts.

Shen Qingqiu tried to suppress his panic, sticking close to Shang Qinghua. His Yue Qingyuan occasionally flicked his softened gaze towards the alternate Shen Qingqiu, likely noticing that the other still acted as he used to before his qi deviation. In fact, several of the peak lords he had gotten to know over the years were sending some looks at the other Shen Qingqiu.

With the original goods right there, how long would it be before something exposed him as a fraud?? What if he was confronted about why he acted so differently?

[Host must avoid having his identity exposed. Being revealed as a transmigrator will result in Host being immediately sent back to his old body.]

Yeah, yeah, same shit as always!

Looking to his side, Shang Qinghua seemed to be experiencing the same threats, desperately looking away from the more dead-eyed Shang Qinghua across the room who, luckily, was barely paying him any attention.

Fuck, what do we do?

---

Shen Qingqiu continued to glare at the Other Shen Qingqiu in the room. The other Shen Qingqiu was so obviously a fraud, he could tell within minutes of being here. While his alternate seemed somewhat familiar, he didn't act like him at all, his mannerisms were all off, and despite the attempt at keeping a poker face, Shen Qingqiu could tell that he was nervous. Probably at being caught out.

His alternate self had likely been replaced with a bodysnatcher or some sort of spirt, if they truly were supposed to be the same person. Was everyone else stupid, or had they had their brains sucked out by a Heart Mouthed Lobster-Squid?

Or maybe they simply like the bodysnatcher better and didn't bother to investigate.

Shen Qingqiu's face became stormier, turning his glare to the Other Yue Qingyuan, wondering if he had felt happier once his precious Xiao-Jiu had vanished. The other Yue Qingyuan's face grew even more pathetic. Tch. Typical.

"That stupid System--" Shen Qingqiu nearly snapped his neck in looking at the bodysnatcher upon hearing his murmur. The fraud, upon noticing his sudden attention, clammed back up and looked away. But Shen Qingqiu knew what he heard.

Xi Tong.

He hadn't heard those words in years, not since--

He stepped forward, scanning the other once more. Upon a second, more thorough look, Shen Qingqiu realized that he grew more familiar. He wore his hair in the way that Shen Qingqiu wore it, but looser and less severe. His eyes were clearer and lighter, with hints of a smile, despite his nerves. He occasionally quickly glanced up and to his left, as if seeing something there, before bringing his attention back to the room at large.

No. It couldn't be. He was long dead, despite Shen Qingqiu's best efforts. Even if the fake had some similar things about him, that doesn't mean--

Shen Jiu had once had a brother, besides Qi-ge. Slightly smaller than him, despite the fact that Shen Jiu passed him along as much food as he could when on the streets. He smiled so much despite their circumstances, and was so kind despite Shen Jiu constantly telling him that he was making himself a target. But he looked so, so similar to Shen Jiu himself. They could have switched their clothes and looked exactly the same, if one didn't notice the difference in their demeanors.

His brother has also always been a little odd, talking to himself and arguing with an imaginary friend that only he could see named Xi Tong. One of the reasons that they survived as long as they did on the streets was due to the inexplicable knowledge that his brother seemed to have. Somehow, his brother knew about the various plants or small animals that they could hunt and sell for a pretty coin in the markets. Shen Jiu never asked, not looking a gift horse in the mouth.

But his brother was dead. He had died years ago, in the time during when they were in Qiu's manor. During a punishment for Shen Jiu's attempt to get them both to join Wu Yanzi; he had switched their clothes and taken Shen Jiu's place and died for it. That had been the final catalyst that made him set the manor ablaze and escape, mourning his brother's death as his fault for daring to be free. Cursing Qi-ge for not coming back for them.

Dazed and his vision dim, Shen Jiu took another step forward, and another. Hope, something he thought he had killed off long ago, slowly rose in his chest.

Had his brother survived in this world? Had he managed to escape alongside Shen Jiu? Or had Shen Jiu died in his place? Dimly, he can't help but think that the world would be far kinder if that were the case. If his brother had made it to Cang Qiong Mountain and became a peak lord all on his own and still managed to keep his smile. If he didn't have Shen Jiu dragging him down with him.

The other Shen Qingqiu, not having noticed his approach, laughed at something the other Shang Qinghua said ("Wonder if Shang Qinghua is a traitor here, too," Shen Jiu thought dimly). His laugh was the same. He rose his fan to hide his face, but Shen Jiu noticed how his nose crinkled, and his eyes nearly closed in delight, exactly like--

"A-Yuan?"

120 ULTIMATE LIST OF CHARACTER FLAWS. Writers save this!

1. Moral Flexibility - Adapts their ethics to fit the situation, often justifying questionable actions as necessary.

2. Cognitive Dissonance - Holds two conflicting beliefs or values and struggles to reconcile them, leading to inner turmoil.

3. Overempathy - Feels others’ emotions too intensely, leading to burnout or an inability to make objective decisions.

4. Intellectual Arrogance - Dismisses others’ ideas as inferior, believing their own intellect is superior.

5. Chronic Overthinking - Analyzes situations to the point of paralysis, unable to take decisive action.

6. Restless Wanderlust - Has a constant desire for change or travel, leading to instability in relationships or careers.

7. Savior Complex - Feels compelled to “save” others, often to the detriment of their own well-being or others’ autonomy.

8. Emotional Vampirism - Drains others emotionally, needing constant validation or attention.

9. Righteous Indignation - Becomes excessively angry over perceived injustices, often alienating others.

10. Altruistic Self-Destruction - Sacrifices themselves for others to an unhealthy degree, often leading to self-neglect.

11. Pathological Modesty - Downplays their own achievements to the point of self-sabotage or invisibility.

12. Incapable of Solitude - Feels an intense fear of being alone, leading to codependent or unhealthy relationships.

13. Over-Rationalization - Justifies every action or decision, even when it’s clearly flawed, to avoid guilt or responsibility.

14. Constant Self-Sabotage - Subconsciously undermines their own success due to deep-seated fears or insecurities.

15. Misplaced Loyalty - Stays loyal to people or causes even when it’s harmful or undeserved.

16. Ethical Rigidity - Follows their moral code to the letter, unable to adapt to complex or gray situations.

17. Need for Obscurity - Prefers to stay unnoticed or in the background, avoiding recognition or responsibility.

18. Involuntary Aloofness - Appears distant or disinterested, often without meaning to, leading to misunderstandings.

19. Fear of Mediocrity - Terrified of being ordinary, they constantly strive for greatness, often leading to burnout.

20. Rejection Sensitivity - Overreacts to criticism or perceived slights, often withdrawing or lashing out.

21. Conflict Avoidance - Avoids confrontation at all costs, leading to unresolved issues and resentment.

22. Over-idealization of Others - Puts people on pedestals, only to be deeply disappointed when they don’t meet expectations.

23. Chronically Unfulfilled - No matter what they achieve, they always feel something is missing, leading to constant searching.

24. Compulsive Truth-Telling - Feels compelled to speak the truth, even when it would be kinder or wiser to remain silent.

25. Overactive Imagination - Sees threats or possibilities where there are none, leading to anxiety or missed opportunities.

26. Faux Humility - Pretends to be humble but secretly craves admiration or validation.

27. Micromanagement - Needs to control every detail, often suffocating others or hindering their own progress.

28. Anachronistic Thinking - Clings to outdated beliefs or practices, struggling to adapt to modern realities.

29. Over-Reliance on Routine - Becomes anxious or lost without their routines, struggling to adapt to change.

30. Selective Memory - Remembers events in a way that suits their narrative, often distorting the truth.

31. Paradoxical Fear of Success - Desires success but subconsciously fears the changes or responsibilities it might bring.

32. Compassion Fatigue - Once empathetic, now numbed or indifferent due to overwhelming exposure to others’ suffering.

33. Overwhelming Nostalgia - Lives in the past, unable to move forward or appreciate the present.

34. Unyielding Perfectionism - So focused on flawlessness that they struggle to complete tasks or accept anything less than perfect.

35. Epistemic Arrogance - Believes they know everything worth knowing, dismissing the possibility of learning from others.

36. Excessive Hedonism - Pursues pleasure to the point of neglecting responsibilities or moral considerations.

37. Over-Cautiousness - So afraid of making mistakes that they rarely take action, leading to missed opportunities.

38. Idealistic Naivety - Believes the world should operate according to their ideals, often clashing with reality.

39. Ambition without Direction - Desires greatness but has no clear path or plan, leading to frustration and failure.

40. Emotional Transference - Projects unresolved emotions onto others, often misinterpreting their intentions or actions.

41. Overdependence on Routine - Becomes anxious or lost without their routines, struggling to adapt to change.

42. Misplaced Guilt - Feels responsible for things outside of their control, leading to unnecessary self-blame.

43. Fear of Being Ordinary - Constantly strives to stand out, often at the expense of authenticity or well-being.

44. Chronic Indecisiveness - Struggles to make even simple decisions, constantly second-guessing themselves.

45. Faux Cynicism - Pretends to be jaded or cynical as a defense mechanism, while secretly caring deeply.

46. Romanticization of Suffering - Believes that suffering is noble or meaningful, often rejecting happiness or comfort.

47. Selective Compassion - Empathetic towards some but completely indifferent or cold to others, often based on biases.

48. Avoidant Optimism - Avoids negative thoughts or situations, clinging to an unrealistic positivity that ignores real problems.

49. Fear of Abandonment - Clings to relationships out of fear of being left alone, often leading to unhealthy dynamics.

50. Overidentification with Work - Sees their job as their entire identity, struggling with self-worth outside of work.

51. Excessive Altruism - Sacrifices their own needs to help others, often to their own detriment.

52. Self-Imposed Isolation - Withdraws from others out of fear of rejection or misunderstanding, leading to loneliness.

53. Over-Analysis Paralysis - Overthinks every situation to the point of being unable to make decisions or take action.

54. Eternal Romantic - Sees the world through a lens of idealized love, often leading to disillusionment or heartbreak.

55. Emotional Incontinence - Struggles to control their emotions, often overwhelming others with their intensity.

56. Fear of Aging - Obsessed with youth, they go to great lengths to deny or hide the aging process.

57. Intellectual Cowardice - Avoids challenging their own beliefs or ideas, sticking to what they know out of fear of change.

58. Emotional Hoarding - Holds onto past hurts or grudges, unable to let go and move on.

59. Unquenchable Curiosity - Always needs to knw more, often prying into others’ lives or crossing boundaries.

60. Romantic Escapism - Uses fantasy or daydreams as a way to avoid dealing with reality, leading to detachment.

61. Masochistic Tendencies - Deliberately seeks out situations that cause them pain or discomfort, believing they deserve it.

62. Incurable Wanderer - Can never settle down, always moving on to the next place or experience, leading to rootlessness.

63. Dependency on Validation - Needs constant approval or praise from others to feel good about themselves.

64. Constant Self-Reinvention - Continuously changes their identity or persona, never settling on who they truly are.

65. Moral Masochism - Finds satisfaction in self-punishment or guilt, often holding themselves to impossible standards.

66. Faux Bravado - Pretends to be fearless or confident to hide deep-seated insecurities or fears.

67. Over-romanticization of the Past - Idealizes past experiences, believing that things were better back then, leading to dissatisfaction with the present.

68. Chronic Hedging - Never fully commits to decisions or actions, always leaving themselves an escape route.

69. Fear of Stagnation - Constantly needs to be doing something or moving forward, fearing they’ll become irrelevant or bored.

70. Over-Attachment to Objects - Places excessive sentimental value on material possessions, struggling to let go.

71. Emotional Stoicism - Refuses to show or acknowledge emotions, leading to repression and eventual breakdowns.

72. Self-Flagellation - Constantly punishes themselves for perceived failures or mistakes, often disproportionate to the actual events.

73. Fear of the Unknown - Terrified of what they can’t predict or control, leading to anxiety or avoidance of new experiences.

74. Romantic Pessimism - Believes that love or relationships are doomed to fail, leading to self-sabotage or cynicism.

75. Intellectual Purism - Believes in the superiority of “pure” intellectual pursuits, often dismissing practical or emotional concerns.

76. Existential Dread - Obsesses over the meaning (or lack thereof) of life, leading to paralysis or despair.

77. Involuntary Nonconformity- Desires to fit in but can’t help standing out or going against the grain, often feeling alienated.

78. Self-Imposed Martyrdom - Puts themselves in a position of suffering or sacrifice, believing it’s their duty or fate.

79. Idealized Self-Image - Clings to an unrealistic self-concept, struggling to accept their flaws or limitations.

80. Compulsive Honesty - Feels compelled to always tell the truth, even when it’s hurtful or inappropriate.

81. Over-Reliance on Technology - Becomes helpless without modern conveniences, struggling to cope with real-world challenges.

82. Moral Exhibitionism - Shows off their ethics or principles to gain admiration or moral superiority, often insincerely.

83. Perpetual Student Syndrome - Always learning but never applying knowledge, avoiding real-world responsibilities.

84. Emotional Osmosis - Absorbs others’ emotions so deeply that they lose track of their own feelings or needs.

85. Pathological Frugality - So obsessed with saving money or resources that they miss out on life’s joys or opportunities.

86. Obsessive Self-Improvement - Never satisfied with themselves, constantly striving for unattainable perfection.

87. False Modesty - Pretends to be humble while fishing for compliments or validation.

88. Uncontrolled Impulsiveness - Acts on whims or impulses without considering the consequences, leading to chaos or regret.

89. Chronic Hedonism - Lives only for pleasure, often to the detriment of their long-term happiness or relationships.

90. Overly Abstract Thinking - So focused on big ideas or concepts that they lose touch with reality or practical concerns.

91. Romantic Idealism - Believes in a perfect love or relationship, often leading to disappointment or disillusionment.

92. Selective Altruism - Only helps others when it suits them, often ignoring those who don’t fit their criteria.

93. Pathological Shyness - So shy or introverted that they struggle to function in social situations, often missing out on opportunities.

94. Moral Superiority - Believes they are more ethical or righteous than others, often looking down on those who don’t share their views.

95. Over-identification with a Role - Sees themselves only as their job, family role, or social identity, losing sight of their true self.

96. Chronic Complaining - Constantly finds something to complain about, often bringing others down or creating a negative atmosphere.

97. Faux Stoicism - Pretends to be emotionally strong or unaffected, while secretly struggling with deep emotional turmoil.

98. Addiction to Drama - Thrives on conflict or chaos, often creating drama where there is none to feel alive or important.

99. Obsessive Collecting - Gathers possessions, knowledge, or experiences obsessively, often unable to let go or move on.

100. Inflexible Optimism - Refuses to acknowledge negative possibilities, often unprepared for setbacks or challenges.

101. Contrarianism - Always takes the opposite stance just to challenge others, often without genuine conviction.

102. Emotional Projection - Attributes their own feelings or issues onto others, often leading to misunderstandings.

103. Compulsive Heroism - Feels the need to be seen as heroic or brave, even in situations that don’t call for it.

104. Spiritual Narcissism - Uses spirituality as a way to feel superior to others or to avoid personal flaws.

105. Self-Defeating Humor - Constantly makes jokes at their own expense, using humor to deflect serious issues.

106. Identity Fluidity - Frequently changes their identity or beliefs to fit in with different groups, losing a sense of true self.

107. Overattachment to the Past - Can’t move on from past successes or failures, allowing them to define their present.

108. Pseudointellectualism - Pretends to know more than they do, using complex language or ideas to impress others.

109. Overidealization of Youth - Places youth on a pedestal, often dismissing the value of experience or aging.

110. Refusal to Accept Help - Rejects assistance from others, believing they must do everything on their own, even to their detriment.

111. Emotional Manipulation - Uses guilt, pity, or other emotions to control or influence others, often without realizing it.

112. Inconsistent Values - Holds contradictory beliefs or morals, leading to confusion or hypocrisy in their actions.

113. Obsession with Legacy - So focused on how they’ll be remembered that they neglect the present or make unwise choices.

114. Excessive Eagerness to Please - Goes out of their way to make others happy, often at the cost of their own needs or principles.

115. Emotionally Guarded - Builds walls around their feelings, making it difficult for others to get close or understand them.

116. Selective Memory - Chooses to remember events in a way that favors them, often distorting the truth.

117. Overattachment to Authority - Relies heavily on rules or leaders, struggling to make decisions independently or question authority.

118. Fear of Vulnerability - Avoids showing weakness or asking for help, leading to isolation or burnout.

119. Intellectual Detachment - Approaches everything with cold logic, often ignoring the emotional or human side of situations.

120. Obsession with Control - Needs to control every aspect of their life and others’, often leading to stress or strained relationships.

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basic things you should know about your main characters

how is their relationship with their family

what are their beliefs, if they have any

what is their motivation (preferably something unrelated to their love interest/romantic feelings)

who were they raised to be vs. who they became/are becoming

what are their plans for the future, if they have any

how they feel about themselves and how it affects their behaviour

how do they feel about things they cannot control

and last but not least: Why is This Character the Protagonist??

Have you ever seen a cat do a running leap onto a bed before either standing there confused or not making their mark?

I have. It's hilarious and sometimes they land on people! Which is arguably funnier when someone groans. Not so much when they land on you though. They can leave bruises bigger than the cat. Then they just stay there, purring, so you can't even be mad about it.

Radioactive Hero (but not really) au

Danny moves to Gotham, hear him out! There's really good jobs there that pay through the nose and the cost of living is cheap!

Plus, the city is riddled with heroes and vilains! It's so easy to slip under the radar!

Unfortunately, there are so many civilian casualties. Like, all the time. Even in Metropolis!

So Danny, for his first year in Gotham, opens small portals to the Far Frozen and gets schooled on being a field medic. None of his powers can really be used for healing, but they can make people feel better. He just has to be careful to be as far removed from the Phantom moniker as possible, so he can't use any obvious powers.

He gets a bit of a reputation in Gotham; a small time hero of the people, for the people. A hero not invested in fighting, but in dragging civilians away from the danger. He doesn't even have a moniker; people are too busy arguing over the best one for him.

So while aliens are attacking both Metropolis and Gotham, Danny is out in full kit; a gas mask to hide his face, all black, repurposed kevlar from the vests the GCPD did not properly dispose of, no identifying markers.

But one of the clean up crews notices something insanely worrying; the geiger counter they have to point at alien spaceship parts? Yeah. Yeah, it's going off when they point it at the new small-time hero.

That hero's power is radioactivity. Holy shit. It's not at a level that will hurt people, but when he's dodging through fighting the level goes up.

The clean up crew concludes and shares via Twitter that the medic-hero is only a danger to others if he gets too stressed.

Word spreads fast, and pretty soon the absolute second Danny shows up on a scene, all fighting stops.

After all, no one wants to piss off the living Nuclear Bomb.

Basically, Danny's ghost-everything sets off Geiger counters, and now absolutely everyone is convinced that the medic-themed hero only refuses to fight because his meta power is just...being radioactive.

But he isn't.

So now, because it's the perfect cover and completely disassociated from Phantom, he has to play along and pretend like yes; that is his power.

How to pull off descriptions

New authors always describe the scene and place every object on the stage before they press the play button of their novels. And I feel that it happens because we live in a world filled with visual media like comics and films, which heavily influence our prose.

In visual media, it’s really easy to set the scene—you just show where every object is, doesn’t matter if they’re a part of the action about to come or not. But prose is quite different from comics and films. You can’t just set the scene and expect the reader to wait for you to start action of the novel. You just begin the scene with action, making sure your reader is glued to the page.

And now that begs the question—if not at the beginning, where do you describe the scene? Am I saying you should not use descriptions and details at all? Hell naw! I’m just saying the way you’re doing it is wrong—there’s a smarter way to pull off descriptions. And I’m here to teach that to you.

***

#01 - What are descriptions?

Let’s start with the basics—what are descriptions? How do you define descriptions? Or details, for that matter? And what do the words include?

Descriptions refer to… descriptions. It’s that part of your prose where you’re not describing something—the appearance of an object, perhaps. Mostly, we mean scene-descriptions when we use the term, but descriptions are more than just scene-descriptions.

Descriptions include appearances of characters too. Let’s call that character-descriptions.

Both scene-descriptions and character-descriptions are forms of descriptions that we regularly use in our prose. We mostly use them at the beginning of the scene—just out of habit.

Authors, especially the newer ones, feel that they need to describe each and every nook and cranny of the place or character so they can be visualized clearly by their readers, right as the authors themselves visualized them. And they do that at the start of the scene because how can you visualize a scene when you don’t know how the scene looks first.

And that’s why your prose is filled with how the clouds look or what lights are on the room before you even start with the dialogues and action. But the first paragraph doesn’t need to be a simple scene-description—it makes your prose formulaic and predictable. And boring. Let me help you with this.

***

#02 - Get in your narrator’s head

The prose may have many MCs, but a piece of prose only has a single narrator. And these days, that’s mostly one of the characters of your story. Who uses third-person omniscient narrator these days anyway? If that’s you, change your habits.

Anyway, know your narrator. Flesh out their character. And then internalize them—their speech and stuff like that. Internalize your narrator to such an extent that you can write prose from their point-of-view.

Now, I don’t mean to say that only your narrator should be at the center of the scene—far from it. What I mean is you should get into your narrator’s head.

You do not describe a scene from the eyes of the author—you—but from the eyes of the narrator. You see from their eyes, and understand what they’re noticing. And then you write that.

Start your scene with what the narrator is looking at.

For example,

The dark clouds had covered the sky that day. The whole classroom was in shades of gray—quite unusual for someone like Sara who was used to the sun. She felt the gloom the day had brought with it—the gloom that no one else in her class knew of.

She never had happy times under the clouds like that. Rain made her sad. Rain made her yearn for something she couldn’t put into words. What was it that she was living for? Money? Happiness?

As she stared at the sky through the window, she was lost in her own quiet little corner. Both money and happiness—and even everything else—were temporary. All of it would leave her one day, then come back, then leave, then come back, like the waves of an ocean far away from any human civilization in sight.

All of it would come and go—like rain, it’d fall on her, like rain, it’d evaporate without proof.

And suddenly, drops of water began hitting the window.

You know it was a cloudy day, where it could rain anytime soon. You know that for other students, it didn’t really matter, but Sara felt really depressed because of the weather that day. You know Sara was at the corner, dealing with her emotions alone.

It’s far better than this,

The dark clouds covered the sky that day. It could rain anytime soon.

From her seat at the corner of the room, Sara stared at the sky that made everything gray that day. She…

The main reason it doesn’t work is that you describe the scene in the first paragraph, but it’s devoid of any emotions. Of any flavor. It’s like a factual weather report of the day. That’s what you don’t want to do—write descriptions in a factual tone.

If you want to pull off the prior one, get to your narrator’s head. See from their eyes, think from their brain. Understand what they’re experiencing, and then write that experience from their POV.

Sara didn’t care what everyone was wearing—they were all probably in their school uniforms, obviously, so I didn’t describe that. Sara didn’t focus on how big the classroom was, or how filled, or what everybody was doing. Sara was just looking at the clouds and the clouds alone, hearing everybody just living their normal days, so I mentioned just those things.

As the author, you need to understand that only you, the author are the know-it-all about the scene, not your narrator. And that you’re different from your narrator.

Write as a narrator, not as an author.

***

#03 - Filler Words

This brings me to filler words. Now, hearing my advice, you might start writing something like this,

Sarah noticed the dark clouds through the window. She saw that they’d saturated the place gray.

Fillers words like “see”, “notice”, “stare”, “hear” should be ignored. But many authors who begin writing from the POV of the characters start using these verbs to describe what the character is experiencing.

But remember, the character is not cognizant of the fact that they’re seeing a dark cloud, just that it’s a dark cloud. You don’t need these filler words—straight up describe what the character is seeing, instead of describing that the character is seeing.

Just write,

There were dark clouds on the other end of the window, which saturated the place gray.

Sarah is still seeing the clouds, yeah. But we’re looking from her eyes, and her eyes ain’t noticing that she’s noticing the clouds.

It’s kinda confusing, but it’s an important mistake to avoid. Filler words can really make your writing sound more amateurish than before and take away the experience of the reader, because the reader wants to see through the narrator’s eyes, not that the narrator is seeing.

***

#04 - Characters

Character-descriptions are a lot harder to pull off than scene-descriptions. Because it’s really confusing to know when to describe them, their clothing, their appearances, and what to tell and what not to.

For characters, you can give a full description of their looks. Keep it concise and clear, so that your readers can get a pretty good idea of the character with so few words that they don’t notice you’ve stopped action for a while.

Or can show your narrator scanning the character, and what they noticed about them.

Both these two tricks only work when a character is shown first time to the readers. After that, you don’t really talk about their clothing or face anymore.

Until there’s something out of the ordinary about your character.

What do I mean by that? See, you’ve described the face and clothes of the character, and the next time they appear, the reader is gonna imagine the character in a similar set of clothes, with the same face and appearance that they had the first time. Therefore, any time other than the first, you don’t go into detail about the character again. But, if something about your character is out of ordinary—there are bruises on their face, scars, or a change in the way they dress—describe it to the reader. That’s because your narrator may notice these little changes.

***

#05 - Clothing

Clothing is a special case. Some new authors describe the clothes of the characters when they’re describing the character every time the reader sees them. So, I wanna help you with this.

Clothing can be a way to show something about your character—a character with a well-ironed business suit is gonna be different from a character with tight jeans and baggy t-shirt. Therefore, only use clothing to tell something unique about the character.

Refrain from describing the clothing of characters that dress like most others. Like, in a school, it’s obvious that all characters are wearing school uniforms. Also, a normal teenage boy may wear t-shirts and denim jeans. If your character is this, no need to describe their clothing—anything the reader would be imagining is fine.

Refrain from describing the clothing of one-dimensional side-characters—there’s a high chance you’ve not really created them well enough that they have clothing that differs from the expectations of the readers. We all know what waiters wear, or what a college guy who was just passing by in the scene would be wearing.

You may describe the clothing of the important character in the story, but only in the first appearance. After that, describe their clothes only if the clothes seem really, really different from the first time. And stop describing their clothes if you’ve set your character well enough in the story that your readers know what to expect from them in normal circumstances—then, describe clothes only when they’re really, really different from their usual forms of clothing.

***

#06 - Conclusion

I think there was so much I had to say in this article, but I didn’t do a good job. However, I said all that I wanted to say. I hope you guys liked the article and it helps you in one way or the other.

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Really just wanted to draw a Camp Counsellor, Steddie. But being a bit of a horror fan I turned toward the awesome 80s videos of the day for inspiration. Where both of them think a warm summer and babysitting kids is going to be a breeze. Little do they know that they become the Final boys as something stalks the camp 😢 Is it really killing the kids? Or are the boys just stuck in their own nightmare the Camp created for them? DunDunDun!!!! 😨😈

Silly SVSSS AU/fic prompt when Shen Jiu is away on mission finds baby Shen Yuan and takes him back, Shen Yuan looks like his previous self similar to Shen Jiu but not identical. So everyone is convinced he is biologically Shen Jiu's child.

The peak lords find out and freak out...only instead of assuming that the child other parent is a concubine they think it's one of the other peak lords.

Shen Jiu: I found that brat on a mission he's not mine

Qi Qingqi: So you just happened to find a abandoned newborn who looks almost just like you while away on a nine month mission

Shen Jiu: Yes

Qi Qingqi:...

Just every single peak lord looking at all the others like 'Which one of you is the other parent?' just constantly looking between Shen Yuan and other peak lords trying to find similarities.

Shen Yuan terrified thinking all the peak lords are onto him when really they're just trying to figure out which of them gets to claim him as the other parent. (Also some of them really want to court Shen Jiu and are ready to propose... they're all been trying to court him for ages 1 look at Shen Jiu being all sweet with baby Shen Yuan and suddenly the wife beam KO'd all of them)

(Apart form Shang Qinghua who when people suspected him raise both hands like

SQH: NO WAY I DIDN'T HAVE SEX WITH HIM I COULDN'T HAVE I'M ENGAGED TO A DEMON...

Peak lords: Your what?

SQH:...oh fuck

Cue Shang Qinghua awkwardly asking Mobei Jun to pretend to be his fiancee please... Mobei Jun thinks his courting has finally worked)

12 Emotional Wounds in Fiction Storys

Betraying a Loved One. Your character made a choice, and it backfired, badly. They betrayed someone close to them, maybe on purpose, maybe by accident. Now, the guilt’s eating them alive. They might try to fix things, but can they even make up for what they did?

Guilt Over a Past Mistake. They made a mistake, one that cost someone else. Maybe it was reckless, maybe it was a dumb decision, but now it haunts them. They can’t stop thinking about it, and no matter how hard they try to make things right, the past keeps pulling them back.

Survivor’s Guilt. Imagine surviving something awful, an accident, a disaster, but someone else didn’t make it. Now your character is stuck asking, “Why me? Why am I still here?” They push people away, convinced they don’t deserve to be happy or even alive.

Feeling Powerless. Your character is trapped, maybe in an abusive home, a toxic relationship, or just in life itself. They feel stuck, with no control over their own future.

Being Wrongly Accused. They didn’t do it. But no one believes them. Your character has been falsely accused of something serious, maybe even a crime and now they’re fighting to clear their name. It’s not just about proving their innocence, though. They’re also battling the pain of being abandoned by people who were supposed to stand by them.

Public Humiliation. They’ve just been humiliated in front of everyone, maybe it’s a video gone viral, or they were betrayed by someone they trusted. Now, they can’t even look people in the eye.

Living in Someone’s Shadow. No matter what they do, it’s never enough. Someone else, a sibling, a friend, a partner, always shines brighter. They feel stuck in that person’s shadow, invisible and overlooked.

Abandoning a Dream. They had big dreams, but somewhere along the way, life got in the way, and now they’ve given up. Maybe it was because of fear or circumstances beyond their control, but the loss of that dream has left them feeling empty.

Childhood Trauma. Something happened to them when they were young, something painful that still affects them today. Whether it was abuse, neglect, or a significant loss, the trauma follows them into adulthood, shaping how they see themselves and the world.

Being an Outsider. They’ve never felt like they fit in, whether because of their background, their personality, or something else. They long for acceptance but fear they’ll never find it.

Struggling with Addiction. They’re caught in a destructive cycle, whether it’s with substances, behaviors, or even people. The shame and struggle to break free from addiction are real and raw.

Living with Chronic Illness. They’re living with a chronic illness or disability, and it’s not just the physical challenges that weigh them down, it’s the emotional toll, too. Maybe they feel isolated, or like they’re a burden to others.