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Enemies/Friends to Lovers & more Masterpost

Enemies to Lovers (and vice versa)

How to write Enemies to Lovers + Dialogue Prompts

Oblivious Enemies to Lovers Prompts

Enemies to Lovers: Falling for the flirt

Enemies to Lovers: Co-worker Edition Part I

Enemies to Lovers: Co-worker Edition Part II

Enemies to Lovers: Meet Ugly College Edition

Enemies to Lovers: Drama Club Edition

Enemies to Lovers: Apocalypse AU

Enemies to Lovers: Band Edition

Enemies to Lovers: Assassins Edition

Enemies to Lovers: Martial Arts Edition

Enemies to Lovers: Given up on life

Lovers to enemies

Reasons for lovers turning to enemies

Exes to Lovers

Exes to lovers prompts

Exes to lovers dialogue

Friends to Lovers

Reluctant allies to friends to lovers dynamic

Friends to lovers Prompts

Flirty friends to lovers Prompts

Friends with benefits to lovers Prompts

Friends to Lovers Ideas

Best friends to lovers Prompts

Childhood friends to lovers Prompts

Childhood friends to enemies to lovers Prompts

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Writing Notes: Detective Story

References (Elements; Subgenres; Tips; Some Vocabulary)

Detective story - one whose plot hinges on a crime that the characters investigate and attempt to solve.

Also called “whodunnit” stories or crime stories.

Most detective stories are written from the point of view of a detective.

5 Basic Elements

A Detective

Usually featured as the protagonist.

Spend time thinking about your detective’s personality, their motivations, their background, their strengths, and their weaknesses. You’ll want your detective to be unique among the other detectives out there.

A Crime

Most detective stories revolve around a central crime or string of related crimes.

Since the crime will be the catalyst of your short story or novel, it should be interesting, memorable, and seemingly unsolvable—that way, readers will be so tantalized by the mystery of it that they’ll need to keep reading.

A dead body is a very common crime in detective fiction, but there are plenty of other options—from robberies to disappearances.

Suspects

Many detective stories include an array of suspects that could have committed the crime (either they have weak alibis or have a history of lying).

Your suspects are a vital part of your detective story; they serve as red herrings (or distractions) that will direct readers’ attention away from the true culprit.

Some mystery novels don’t have any suspects—this is a deliberate choice by crime writers that serves to heighten the tension in the story, but if your story doesn’t have any suspects, find creative ways to keep the case from going cold.

An Antagonist

The person whose goals are in direct conflict with the antagonist’s.

Traditionally, the antagonist is the true culprit for the story’s crime (or crimes), but that’s not who your antagonist has to be; the antagonist of your story could be a police officer who wants to solve the crime first or someone who knows the identity of the culprit and is trying to cover it up.

A Setting

The setting is a very important part of any detective story because the action in most detective stories takes place on the streets of its location.

Therefore the stories are inextricably linked to the time and place they are set in and are memorable because of those details.

5 Subgenres

Here are just a few subgenres that fall under detective stories

Police-department procedurals. Focus on police work and often feature homicide investigators and other departments of a local police force.

Cozy mysteries. These have a lighter tone than traditional detective fiction and avoid explicit depictions of the murder. They are often set in a small town and focus on puzzle-solving rather than suspense.

Hardboiled detective stories. These stories are usually dark and explicit, featuring a veteran detective who treats violent crimes matter-of-factly.

Thrillers. Emphasize suspenseful storytelling, often featuring chase scenes or murder sprees that the detective must stop before the time runs out.

Locked-room mysteries. Feature crimes that, at the outset, appear impossible—for instance, a murder taking place in a seemingly locked room with no other way in or out.

5 Tips for Writing a Good Detective Story

Interesting Motivation

The motivation of the culprit is one of the most crucial and prominent parts of detective work—what readers want to know even more than who committed the crime is why they committed it.

Nothing spoils a good detective story more than an uninteresting or unbelievable motivation (for instance, a serial killer who is just “pure evil” and has no discernable reasons for murdering) or an unmotivated confession.

In the same vein, your detective should also have a strong motivation for being in this line of work—it’s not easy, and many people wouldn’t be able to stomach it.

Learn about Detective Work

Readers want to feel immersed in the world of your detective story—whether it’s the world of the law or the seedy underbelly of a small town.

That’s why it’s so important to get the details right when crime writing—so you can keep the reader’s attention with believable plot points.

Do the research to make sure that you know who would be the first to make it to the scene of a crime, how detectives would go about tracking people down or questioning them, and what role forensics would play in your crime scene, so that your readers don’t spend any time wondering if what they’re reading is accurate to real life.

Too Easy

Readers pick up detective fiction because they want to be intrigued by a good mystery—so if your crime is too easy for them to solve, they’ll get bored and likely not finish the story.

Trust in your readers’ ability for logical deduction and don’t give too much away, leaving them guessing and really shocking them.

A Payoff

Try to avoid an outcome where readers will feel let down by the answer.

In the words of S. S. Van Dine, a famous mystery-novel-writing art critic, “A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader.”

By that same logic, try to avoid any “deus ex machina”— an impossible-to-solve situation is suddenly resolved with little or no effort from the characters.

Experiment & Innovate

Read lots of detective fiction and then subvert the tropes—

What if your main character is the person who committed the crime, and your bad guy is the detective or official investigator working to solve it?

Or what if your character’s love interest was the victim?

Common Terms in Detective Fiction

Establish a working vocabulary will help improve detective fiction writing

accusation - statement that places blame on a specific person or persons

alias - an alternate name used to conceal identity

alibi - an explanation that removes a person from the scene of a crime when it occurred

angle - specific strategy or way of looking at facts as employed by the detective during an investigation

autopsy - the medical examination of a corpse to determine cause(s) of death

booking - the process whereby a suspect is officially arrested and charged with a crime

case - the investigation of a crime from the time it is reported/ discovered until it is resolved (closed)

charges - specific crime(s) a person is accused of

circumstantial - indicative but not conclusive

clue - anything that sheds light on a particular case

collar - the actual arrest by a police officer

corpus dilecti - the actual body that proves a murder has been committed

crime of passion - a crime committed in a rage of anger, hatred, revenge, etc.

culprit - the “bad guy;” criminal

D.A. - district attorney; works for the government

deduction - conclusion reached through a logical progression of steps

defense - the argument made to show the innocence of the accused person

evidence - material that will prove innocence or guilt

eyewitness - someone who actually observes a crime and/or criminal

felony - major crime (i.e., armed robbery, murder, rape)

foil - the detective’s “right hand man;” he/she is usually quite different in nature. Ex: Holmes/Watson; Nero Wolfe/ Archie Goodwin

frame-up - deliberate trap set to lay blame on an innocent person

habeas corpus - accusor has to produce a body in order to hold a suspect

homicide - the act of murder

hunch - guess; instinct

informer - relays information to police/detective for money (usually)

inquest/inquiry - legal questioning concerning a particular event or action

lead - something/someone that may help move an investigation to a solution

malice aforethought - criminal was already considering a hostile act before the crime occurred

manslaughter - accidental killing

misdemeanor - minor offense

modus operandi - method of operation (m.o.) that a criminal employs during his crimes

morgue - city government building where dead bodies are kept during investigations

motive - reason for committing a crime

perpetrator - offender; criminal

post mortem - the report from an autopsy

premeditation - deliberate intent to perform a crime before it occurs

private eye - private detective

prosecutor - attorney working for the District Attorney; person trying to prove guilt in a courtroom

red herring - a false clue that usually misleads the reader (and often the detective)

set-up - a trap that is designed to catch a criminal or victim

sleuth - detective

statement - official document containing information supplied by witness, suspect, or any other person involved in an investigation

stool pigeon - informer

surveillance - constant visual or electronic monitoring of a person’s activities

suspect - someone who may have reason to have committed a specific crime

tank - jail cell

third degree - intensive questioning of a suspect

victim - person who is hurt or killed as a result of a criminal act

Sources: 1 2 Writing Notes: Autopsy ⚜ Word Lists: Forensics ⚜ Law-Related

Romantic Student Things

Locking eyes in the hallway like it’s a damn movie scene, except the only soundtrack is the sound of someone dropping their binder and cursing loudly in the background.

Scribbling little notes in the margins of textbooks, but instead of love letters, they’re inside jokes and sarcastic insults that somehow make them fall harder.

That moment when they both reach for the same book in the library and freeze... her fingers brushing his, the air between them suddenly too much and not enough all at once.

Staying up way too late to study together, but absolutely failing because they keep finding excuses to talk about literally anything else except what’s actually on the exam.

Leaving anonymous notes in each other’s lockers, but instead of sweet nothings, it’s absolute nonsense like “Your hair looked aggressively good today” and “You’re dangerously close to making me fall in love with you, stop it.”

Sitting next to each other in class, acting completely normal, while their knees are pressed together under the desk and their hearts are losing their minds over it.

Having full-on mental breakdowns over finals together, only for one of them to randomly say, “I think I might love you.” Because academic stress and emotional realizations go hand in hand, apparently.

Passing handwritten notes in class, except they’re not just notes, they’re confessions hidden inside random doodles and lyrics that will mean nothing to anyone else but them.

Accidentally falling asleep next to each other while studying, and waking up to realize their hands are still tangled together like some kind of cruel joke the universe is playing on them.

Finding the one place on campus where they can be alone, an empty classroom, a forgotten stairwell, a rooftop and making it theirs. Because stolen moments always feel more real than anything else.

That absolutely insane moment when they see each other outside of school for the first time, no uniforms, no backpacks, just them, and suddenly, they’re seeing each other differently.

Staying after school to “work on a project”, but the only thing getting worked on is their ability to pretend they’re not completely, recklessly, falling for each other.

Supporting each other during nerve-wracking presentations by holding eye contact across the room, because if one of them crashes and burns, at least they’ll have company in hell.

That heart-stopping moment during graduation when they realize this might be the last time they ever get to see each other like this, in this life, in this stage, before everything changes.

Finally saying screw it and kissing in the middle of campus, because the real test wasn’t their exams, it was this.

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Phrase List: Emotions

phrases and idioms to try to include in your poem/story

A crying shame - a situation that makes one feel sad or disappointed

Afraid to say - used as a way of expressing one's disappointment, regret, or sorrow

Agonies of guilt/remorse/regret - feelings of guilt, remorse, or regret

(As) happy as a clam - very happy

Beneath contempt - completely bad or worthless—used to describe someone or something that is too bad to deserve any respect

Calm, cool, and collected - not upset; not very bothered by things

Catch (someone or something) by surprise - to happen to (someone or something) unexpectedly; to attack, capture, or approach (someone or something) without warning

Debt of gratitude - appreciation or thanks that someone should give another person

Figure of contempt - a person who is regarded with contempt

Guilt trip - an instance of feeling guilty; a feeling of guilt or blame caused especially by another person's comment or accusation

Held in contempt - considered by the court to have broken the law by disobeying or disrespecting the judge

Jump for joy - to jump up and down because one is very happy

(Many) happy returns - used for wishing someone a happy birthday and to express the hope that he or she will live to celebrate many more birthdays in the future

More in sorrow than in anger - because of sadness or disappointment rather than anger

Poor/sad/sorry excuse for - a poor example of

Pride and joy - someone or something that makes someone very proud and happy

Put on a happy face - to appear happy even when one is not

Sad sack - a blundering, inept person

Scared stiff - very afraid—often + of

Scared to death - very afraid—often + of

Strike fear into the hearts of - to cause (someone) to be very afraid; to frighten

The calm/lull before the storm - a period of quiet that comes before a time of activity, excitement, violence, etc.

Tingle with excitement - to be very excited

To one's amusement - in a way that is amusing to someone; pleasing to someone

To someone's disappointment - causing someone to feel sad, unhappy, or displeased because something was not as good as expected or because something hoped for or expected did not happen

Source ⚜ More: Phrases ⚜ Word Lists ⚜ Writing Resources PDFs

Some tips on the do’s and don’ts of adding more description to your Writing

Do‘s:

Make your writing come alive by describing things that appeal to the senses. Instead of saying "It was a beautiful garden," you could say "The garden was filled with the scent of fresh roses, the sound of buzzing bees, and the vibrant colors of blooming flowers."

Instead of just saying what something is like, show it through your words. For instance, instead of saying "She was sad," you could describe her actions and surroundings to show her sadness: "Tears welled up in her eyes as she stared out the rain-streaked window, clutching a crumpled tissue in her hand."

Instead of using general words, get specific. Instead of saying "He drove a car," you could say "He drove a sleek, black convertible, the wind tousling his hair as he sped down the open highway."

Keep your writing interesting by mixing up short and long sentences. Don't always write in the same way. For example, "The sky was dark. The trees swayed in the wind. It felt eerie," could be improved by adding variety: "Dark clouds gathered overhead, causing the trees to sway ominously in the gusting wind, casting an eerie feeling over the landscape."

Use your descriptions to set the mood of your story. Instead of just saying "It was a scary place," describe the setting to evoke fear in your readers: "The abandoned house loomed in the moonlight, its broken windows and creaking doors whispering of unseen terrors lurking within."

Don't just drop descriptions randomly into your writing. Make sure they fit naturally into the flow of your story. Instead of stopping the action to describe something, weave it into the narrative: "As she ran through the forest, the branches clawed at her skin, leaving scratches like whispers of the dangers lurking in the shadows."

While descriptions are important, don't forget to keep your story moving forward. Don't spend too much time describing things at the expense of the action. Find a balance between describing the scene and keeping the plot moving.

Don't:

Using too many adjectives can make your writing sound cluttered and overwhelming. Stick to the essentials and choose your words carefully.

Don't forget that dialogue and interactions between characters are key parts of your story. Use them to reveal personality and move the plot forward.

Don't repeat yourself. Once you've described something, trust your readers to remember it. Don't keep saying the same thing over and over again.

Sometimes, what you don't say can be just as important as what you do say. Let your readers read between the lines and draw their own conclusions.

Avoid using tired old phrases that everyone has heard before. Try to come up with fresh, original descriptions that will grab your readers' attention.

Be mindful of the pace of your story. Don't slow things down with long descriptions in the middle of an action scene. Save the detailed descriptions for quieter moments when the pace naturally slows down.

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Writing a Morally gray character

Think about their backstory, what shaped them into who they are? What do they believe in? And, most importantly, what pushes them to get out of bed every morning and keep going? These characters aren’t simple good or bad. They’re caught in the middle, in that murky, complicated space between black and white. That’s where they get interesting because they’re constantly wrestling with themselves, trying to figure out the right choice, or if the “right” choice even exists for them.

You need to show this internal battle. Imagine your character being torn between what they believe is morally right and what they actually want. This is where the real drama comes in, it’s like watching them juggle their principles with their desires in real-time. They’ll mess up, and they’ll make decisions that are sometimes questionable, but that’s what makes them human and relatable. One way to really highlight their complexity is by putting them in situations where there’s no clear answer. You know, those moments in life where everything’s kind of a mess, and you’re stuck trying to figure out what the hell you’re supposed to do? Your character should face situations like that. These gray areas create tension because readers won’t know which direction the character will go, and honestly, your character might not know either.

And don’t forget, growth is a huge part of writing a morally gray character. People aren’t static, they change based on what happens to them, and your character should too. Maybe they start off with a strong sense of morality but, over time, that starts to shift. Or maybe they start with shaky ethics and slowly become a better person as they learn from their mistakes. Growth can also go the other way, they could spiral downward, giving in to darker impulses. Either way, they need to evolve, just like people do in real life. That’s what keeps the story fresh and unpredictable. The last thing you want is a character that stays the same the whole way through.

Also, please, no stereotypes. A morally gray character doesn’t have to be a brooding anti-hero with a tragic past (unless that’s your vibe, but even then, switch it up). Give them quirks that make them unique. Maybe they have unexpected motivations, like they’re doing something shady for a cause they genuinely believe in, or they’ve got a weird sense of humor that throws people off. Whatever it is, make sure they feel like an individual, not just a copy-paste character we’ve all seen a million times.

Even when your character makes decisions that aren’t exactly clean-cut or heroic, the reader still needs to understand why. Show their vulnerabilities, why they doubt themselves, why they hesitate, and why they ultimately make the choices they do. It’s all about making them relatable, even when they’re walking that fine line between right and wrong. People might not always agree with them, but they should at least be able to see where they’re coming from.

And remember, every choice your character makes should have consequences. They don’t exist in a bubble. Their decisions should ripple out and affect not only them but the people around them. Maybe they make a selfish decision, and it ends up hurting someone they care about, or they try to do the right thing, and it blows up in their face. One last thing, just because your character lives in that gray area doesn’t mean they don’t have any sense of right or wrong. They might have their own personal code they follow, even if it doesn’t line up with society’s morals. Maybe they justify their actions in a way that makes sense to them, even if other people wouldn’t agree. It’s all about exploring that space where they’re not totally good, but not totally bad either. That’s where things get really interesting.

Think about where your character is going. Is their journey going to push them to become a better version of themselves? Will they fall back into old patterns and never really change? Or will they stay stuck in that moral gray zone, constantly torn between doing what’s right and doing what feels right for them?

Kyoto 京都 // JiYeon 지연

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