Me Trying To Figure Out The Distance Between Places And How Long It’ll Take A Character To Get There

things i have to remind myself (writer edition)

writing doesn’t get easier.

sometimes you have to write for the sake of writing.

plot should be allowed to change.

the story in your mind will never perfectly translate into text and that’s okay.

characters change, they’re supposed to change.

you’re supposed to enjoy what you write.

educate yourself about the different cultures you write about.

your friends shouldn’t be your critics.

the side character you love so much? sometimes they need to be cut from the story.

write what you want to read and not what you think people want to read.

there is no age limit in publishing, you have all the time in the world.

not every idea will grow into a story, sometimes you need to let go.

love your story, because it will be just the two of you for a while.

it’s okay to not write every day, that doesn’t make you less of a writer.

Some words to use when writing things:

winking

clenching

pulsing

fluttering

contracting

twitching

sucking

quivering

pulsating

throbbing

beating

thumping

thudding

pounding

humming

palpitate

vibrate

grinding

crushing

hammering

lashing

knocking

driving

thrusting

pushing

force

injecting

filling

dilate

stretching

lingering

expanding

bouncing

reaming

elongate

enlarge

unfolding

yielding

sternly

firmly

tightly 

harshly

thoroughly

consistently

precision

accuracy

carefully

demanding

strictly

restriction

meticulously

scrupulously

rigorously

rim

edge

lip

circle

band

encircling

enclosing

surrounding

piercing

curl

lock

twist

coil

spiral

whorl

dip

wet

soak

madly

wildly

noisily

rowdily

rambunctiously

decadent

degenerate

immoral

indulgent

accept

take

invite

nook

indentation

niche

depression

indent

depress

delay

tossing

writhing

flailing

squirming

rolling

wriggling

wiggling

thrashing

struggling

grappling

striving

straining

random medical facts to use for your hospital whump writing. let your whumpee be a patient today!

if a patient has a seizure that lasts longer than 5 minutes, or if they suffer several seizures, they risk sustaining brain damage — because their brain can’t get oxygen during the seizure.

if a patient’s coughing up blood when they’re lying on their back, make sure to tune their face to the side so that they don’t choke on their own blood (the same applies to vomit too)

chest compression can and often leave patients with broken ribs. because you have to push down hard enough in order to help pump blood from the patient’s heart to their brain (the point is so that the brain gets blood, in order to prevent brain damage), and more often than not, you’ll end up breaking your patient’s ribs — that is normal and okay, because it’s better for your patient to have broken ribs than it is for them to lose their life.

after a course of electroconvulsive therapy, you’ll normally have to give your patient a dose of muscle relaxant, otherwise the aftermath of the shock may cause musculoskeletal complications.

you don't use a defibrillator to shock a patient if they already flat line, because their heart no longer has any electricity. quote "asystole isn't a shockable rhyme, and defibrillator may actually make it harder to restart the heart." (Cleveland Clinic)

the famous, classic "a character was knocked out and they stayed unconscious for hours before they woke up on their own with no lingering damage" trope is actually almost impossible if you want your work to be medically accurate (but if you don’t care about accuracy and are just here for the whump, that is totally fine!). if someone was knocked out and they stayed unconscious for more than several minutes, chances are that they suffer permanent brain damage, so they won't "wake up on their own in the next hour or two and be completely fine without intense medical attention".

Some words to use when writing things:

winking

clenching

pulsing

fluttering

contracting

twitching

sucking

quivering

pulsating

throbbing

beating

thumping

thudding

pounding

humming

palpitate

vibrate

grinding

crushing

hammering

lashing

knocking

driving

thrusting

pushing

force

injecting

filling

dilate

stretching

lingering

expanding

bouncing

reaming

elongate

enlarge

unfolding

yielding

sternly

firmly

tightly 

harshly

thoroughly

consistently

precision

accuracy

carefully

demanding

strictly

restriction

meticulously

scrupulously

rigorously

rim

edge

lip

circle

band

encircling

enclosing

surrounding

piercing

curl

lock

twist

coil

spiral

whorl

dip

wet

soak

madly

wildly

noisily

rowdily

rambunctiously

decadent

degenerate

immoral

indulgent

accept

take

invite

nook

indentation

niche

depression

indent

depress

delay

tossing

writhing

flailing

squirming

rolling

wriggling

wiggling

thrashing

struggling

grappling

striving

straining

How to Use an Ellipsis Properly in Fiction

Ever wonder why some ellipses seem to have three dots and others have four? Some have spaces between each dot and some don’t? Why sometimes you capitalize after an ellipsis and other times you lowercase?

To be honest, I don’t think most of us were taught properly how to use an ellipsis.  I know I wasn’t. I see a lot of writers who don’t understand all the rules of ellipses either.

Some of you may be wondering what an “ellipsis” is. It’s a fancy name for the three dots or “periods” you see in writing ( … ). The word “ellipsis” is Greek for “omission,” which is what it does. It shows that something has been omitted or left out.

Now with research papers, this might be obvious. Maybe you are quoting a source and don’t want to quote every single word of it, so you use an ellipsis to show that you left some stuff out. Like this:

Full quote:

“You know you’re in love when you can’t fall asleep because reality is finally better than your dreams.” - Dr. Suess

Quote with omission:

“You know you’re in love when … reality is finally better than your dreams.” - Dr. Suess

In fiction, we usually aren’t quoting sources. But the ellipsis works in similar ways, it conveys that something is omitted. This might be something directly omitted. Mamma Mia uses this method well:

July seventeenth, what a night. Sam rowed me over to the little island. We danced on the beach, and we kissed on the beach, and …

The ellipsis is used to imply they got intimate, but that part is “omitted.”

Other times things are omitted because they are incomplete–maybe an incomplete line of dialogue such as when a character trails off.

“I started to go to the school, but …” she trailed off.

Or an incomplete thought.

Would she actually want … ? she wondered. 

Or maybe something is “omitted” for the sake of something else, like a character trying to censor or tone down his word choice.

“Sarah is really very … fanciful, isn’t she?” David said. 

In pauses like this, the ellipsis may convey thinking. It’s completely fine to use them that way.

In rare occasions, an ellipsis might be used to indirectly convey the passing of time.

She ate … she drank … and she went shopping.

And you may occasionally see them used other ways stylistically, but these are the main situations.

In a sense, though, in all these examples, something is omitted, whether it’s directly, or indirectly, like an incomplete or changing thought, or actions in between.

When used smartly, ellipses can be powerful in fiction because they convey more than what is on the page, and that is vital to good storytelling.

Too often, however, newer writers just throw them in because they like the feel and sound of them or the long pause, or even in some cases … because they are lazy. Make sure if you use them, they have a point.

Now let’s get to the technicalities. Years ago, I used to be confused that sometimes ellipses seemed to be three dots and other times four, and I didn’t know when to use which. Ellipses are three dots. However, if it comes after a complete sentence, you still use a period.

I was so hungry… . chicken, cereal, tofu, pasta–all of it sounded good.

 If it follows an incomplete sentence, you don’t use a period.

“You know you’re in love when … reality is finally better than your dreams.” - Dr. Suess

If the words after the ellipsis are the start of a new sentence, you capitalize them.

 "They treated me like … Want to go to dinner?“ she asked suddenly.

 If not, you don’t.

When it comes to spacing before and after an ellipsis, handle it how you would a regular word.

Sarah was really very[space]…[space]fanciful. 

“I started to go to the school, but[space] …[no space]” she trailed off.

One exception to this is if there is a question mark following.

Would she actually want[space]…[space]? she wondered.

According to The Chicago Manual of Style, ellipses should have a space between each dot.

Would she actually want[space].[space].[space].[space]? she wondered.

 However, in APA style, there are no spaces between dots.

Would she actually want … ? she wondered.

Fiction typically follows The Chicago Manual of Style, but you may still see the ellipsis with no spaces, especially since word processors sometimes reformat ellipses automatically. So while technically they should have spaces between each dot, you probably aren’t going to get reprimanded if you don’t. Even The Chicago Manual of Style notes that some places will be fine with the no-space ellipsis. I use spaces because that’s how I was corrected by a mentor once.

One more thing: Ellipses do not signify an interruption.

WRONG:

“I wish …”

“Shut up!” Mike interrupted.

 Use em dashes for that.

Correct:

“I wish–”

“Shut up!” Mike interrupted.

Dashes are another subject.

But hopefully now you know how to handle ellipses!

How to Write Betrayal

Betrayal is a powerful plot element that is represented in countless stories. The gravity of betrayal brings a profound depth to character dynamics, plots, and themes alike, making it an indispensable tool for writers to explore emotions, conflicts, and the complexities of human nature. Let’s explore some quick tips on how to write betrayal!

Behaviour

Secretive actions

Dishonesty

Becoming emotionally distant

A sudden change in routine

Pushing people away

Nervous or fidgety movement

Frequent lying or making up stories

Unexpected aggression or irritability

Unjustified mood swings or emotional outbursts

Increasingly defensive

Interactions

Disturbed interpersonal relationships

Frequent misunderstandings or fights

Withholding information

Avoiding personal discussions

Insincerity in conversations

Frequently cancelling or missing plans

A sudden shift in relationship dynamics

Quick to deflect or place blame

Frequent subject changes

Gradual emotional detachment

Body Language

Avoiding direct eye contact

Defensive stance and crossed arms

Covering mouth or touching face

Shuffling or restless movements

Forcing smiles or laughter

Constantly looking around or at the ground

Stiff, tense posture

Heavy breathing or frequent sighing

Avoiding touch or skin contact

Exaggerated gestures

Attitude

A lack of concern or empathy

Increasingly personal and hurtful arguments

Erratic or unpredictable reactions

Self-centeredness

Insincerity

Dismissive or negative attitude

Callous disregard for other's feelings

A negative or pessimistic outlook

Inability to handle criticism

Withdrawal from relationships

Positive Story Outcomes

In the wake of a betrayal, a story can manifest various positive outcomes that add depth to the plot and its characters. Relationships can be strengthened, showing their resilience. Characters may discover newfound self-reliance and learn valuable lessons about trust and forgiveness, leading to an increase in empathy and understanding, personal growth, and the reinforcement of personal values. These experiences can encourage a clearer understanding of personal boundaries, prompt self-reflection, introspection, and the development of healthier coping mechanisms. Ultimately, these positive outcomes can bring about improved communication and honesty, forming the silver lining in the cloud of betrayal.

Negative Story Outcomes

The aftershocks of betrayal can reverberate throughout your story. This might include an irreparable fracture of trust and damage to relationships. Betrayal can trigger psychological trauma, leading to an increase in suspicion and insecurity. Feelings of inadequacy or self-blame may surface, and characters can experience a heightened sense of isolation. The fear of forming new relationships or trusting others can become overwhelming. There may also be an escalation of conflict or violence and the reinforcement of negative behaviours or patterns. Damaged self-esteem or self-worth may be another repercussion, and this can encourage destructive coping mechanisms.

Helpful Synonyms

Treachery

Deception

Double-crossing

Duplicity

Backstabbing

Two-faced

Disloyalty

Unfaithfulness

Infidelity

Falseness

Perfidy

Treason

Fraud

Deceit

Slander

Misrepresentation

Falsification

Chicanery

Double-dealing

STOP DOING THIS IN INJURY FICS!!

Bleeding:

Blood is warm. if blood is cold, you’re really fucking feverish or the person is dead. it’s only sticky after it coagulates.

It smells! like iron, obv, but very metallic. heavy blood loss has a really potent smell, someone will notice.

Unless in a state of shock or fight-flight mode, a character will know they’re bleeding. stop with the ‘i didn’t even feel it’ yeah you did. drowsiness, confusion, pale complexion, nausea, clumsiness, and memory loss are symptoms to include.

blood flow ebbs. sometimes it’s really gushin’, other times it’s a trickle. could be the same wound at different points.

it’s slow. use this to your advantage! more sad writer times hehehe.

Stab wounds:

I have been mildly impaled with rebar on an occasion, so let me explain from experience. being stabbed is bizarre af. your body is soft. you can squish it, feel it jiggle when you move. whatever just stabbed you? not jiggly. it feels stiff and numb after the pain fades. often, stab wounds lead to nerve damage. hands, arms, feet, neck, all have more motor nerve clusters than the torso. fingers may go numb or useless if a tendon is nicked.

also, bleeding takes FOREVER to stop, as mentioned above.

if the wound has an exit wound, like a bullet clean through or a spear through the whole limb, DONT REMOVE THE OBJECT. character will die. leave it, bandage around it. could be a good opportunity for some touchy touchy :)

whump writers - good opportunity for caretaker angst and fluff w/ trying to manhandle whumpee into a good position to access both sites

Concussion:

despite the amnesia and confusion, people ain’t that articulate. even if they’re mumbling about how much they love (person) - if that’s ur trope - or a secret, it’s gonna make no sense. garbled nonsense, no full sentences, just a coupla words here and there.

if the concussion is mild, they’re gonna feel fine. until….bam! out like a light. kinda funny to witness, but also a good time for some caretaking fluff.

Fever:

you die at 110F. no 'oh no his fever is 120F!! ahhh!“ no his fever is 0F because he’s fucking dead. you lose consciousness around 103, sometimes less if it’s a child. brain damage occurs at over 104.

ACTUAL SYMPTOMS:

sluggishness

seizures (severe)

inability to speak clearly

feeling chilly/shivering

nausea

pain

delirium

symptoms increase as fever rises. slow build that secret sickness! feverish people can be irritable, maybe a bit of sass followed by some hurt/comfort. never hurt anybody.

ALSO about fevers - they absolutely can cause hallucinations. Sometimes these alter memory and future memory processing. they're scary shit guys.

fevers are a big deal! bad shit can happen! milk that till its dry (chill out) and get some good hurt/comfort whumpee shit.

keep writing u sadistic nerds xox love you

ALSO I FORGOT LEMME ADD ON:

YOU DIE AT 85F

sorry I forgot. at that point for a sustained period of time you're too cold to survive.

pt 2

also please stop traumadumping in the notes/tags, that's not the point of this post. it's really upsetting to see on my feed, so i'm muting the notifs for this post. if you have a question about this post, dm me, but i don't want a constant influx of traumatic stories. xox

HOW TO WRITE A CHARACTER WHO IS IN PAIN

first thing you might want to consider: is the pain mental or physical?

if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc

if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc

because your character will react differently to different types of pain

PHYSICAL PAIN

sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.

acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).

dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).

if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?

neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.

EMOTIONAL PAIN

grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)

heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.

betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.

there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.

hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.

fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.

and I think that’s it for now! feel free to add anything I may have forgotten to mention here!

Inner Conflict Prompts

Have a character wrestle with guilt over a past mistake.

Introduce a scenario where a character must choose between two equally important things.

Show a character struggling with their own identity or sense of self.

Have a character battle their own fears or phobias.

Introduce a moral dilemma that challenges the character’s values.

Show a character torn between loyalty to their friends and their personal ambitions.

Reveal a character’s internal struggle with jealousy or envy.

Have a character grapple with feelings of inadequacy or imposter syndrome.

Show a character dealing with the aftermath of a traumatic event.

Have a character question their own sanity or reality.