A List Of 100+ Buildings To Put In Your Fantasy Town

Ways I Show a Character Is Falling Apart While Pretending to Be a Perfectionist

Some characters don’t collapse in a blaze of glory. No, they disintegrate politely, with color-coded planners and a frozen smile that says, "Everything’s fine, Susan, stop asking."

They cling even harder to routines. Morning jog, 5 a.m. journaling, bullet-journaling their dog’s bowel movements. Because if they just keep checking boxes, they can pretend nothing’s crumbling underneath.

They hyperfixate on weird tiny details. The report can be on fire, but by god, they will die on the hill of choosing the right font. ("If I find the perfect serif, maybe my life will stop feeling like it's slipping through my fingers!")

They say "I'm just really busy!" like it’s a badge of honor, when it’s actually a giant red flag made out of calendar invites and suppressed emotions.

They can't finish anything anymore. They start 14 different projects, convinced each new thing will "finally get them back on track"…and end up ghosting every single one like a bad Tinder date.

Their compliments to others are laced with self-hate. "You’re so talented, I could never pull that off" they say, smiling while beating themselves bloody on the inside.

They apologize. For everything. Late by two minutes? "I’m so sorry." Sent an email? "Sorry if that’s annoying!" Existing? "Sorry for breathing the same air!"

They're "fine." Always "fine." It's said with the same energy as someone duct-taping a broken chair and inviting you to sit on it.

They self-medicate with "productive" coping. Organizing their spice rack at midnight? Totally normal. Redesigning their resume for no reason while crying into a box of crackers? Absolutely fine. Nothing to see here.

They get defensive about the dumbest things. “Of course I’m okay! Look at my to-do list!” (Sure, babe. Tell that to your bloodshot eyes and the way you just called your boss "Mom" on Zoom.)

Their version of self-care is making another list titled “How to Fix Myself” and then immediately feeling guilty for needing it.

Ways to show a Character is Hiding a Secret They’re Desperate to Protect

Secrets are juicy. But the best ones aren’t just plot bombs—they’re personal, shameful, dangerous because they mean something...

They flinch when a specific topic comes up. Just a little. Not enough for anyone to call it out, but enough to tell you they’re holding something back.

They avoid eye contact when someone asks a question they almost can’t dodge.

They rehearse conversations in their head, just in case “it” comes up. Always planning a version of the truth that’ll hold water without leaking too much.

They hate silence, not because they’re bored, but because it gives people time to think.

They keep a part of their past oddly vague. “Oh yeah, I lived in Boston for a bit,” they say, casually skipping over the why like it’s not loaded with dynamite.

They’re overly controlling of one specific detail. Always driving. Always cleaning. Always checking someone’s phone is face-down. Not because they’re picky—because if that one thread unravels, it all falls apart.

They sometimes seem exhausted by the lie they’re living. The weight of holding it together shows in subtle ways: headaches, bad sleep, irritability. Their body is cracking before the truth ever does.

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

Overused Words in Writing & How to Avoid Them

We’ve all got our comfort words—those trusty adjectives, verbs, or phrases we lean on like a crutch. But when certain words show up too often, they lose their impact, leaving your writing feeling repetitive or uninspired.

1. “Very” and Its Cousins

Why It’s Overused: It’s easy to tack on “very” for emphasis, but it’s vague and doesn’t pull its weight.

Instead of: “She was very tired.” Try: “She was exhausted.” / “She dragged her feet like lead weights.”

💡 Tip: Use precise, vivid descriptions rather than vague intensifiers.

2. “Looked” and “Saw”

Why It’s Overused: It’s functional but flat, and it often tells instead of shows.

Instead of: “He looked at her in disbelief.” Try: “His eyebrows shot up, his lips parting as if words had failed him.”

💡 Tip: Focus on body language or sensory details instead of relying on generic verbs.

3. “Suddenly”

Why It’s Overused: It’s often used to create surprise, but it tells readers how to feel instead of letting the scene deliver the shock.

Instead of: “Suddenly, the door slammed shut.” Try: “The door slammed shut, the sound ricocheting through the empty room.”

💡 Tip: Let the action or pacing create urgency without needing to announce it.

4. “Said” (When Overdone or Misused)

Why It’s Overused: While “said” is often invisible and functional, using it in every dialogue tag can feel robotic.

Instead of: “I can’t believe it,” she said. “Me neither,” he said. Try: Replace with an action: “I can’t believe it.” She ran a hand through her hair, pacing. “Me neither.” He leaned against the counter, arms crossed.

💡 Tip: Don’t ditch “said” entirely; just mix it up with context clues or action beats.

5. “Felt”

Why It’s Overused: It’s a shortcut that tells instead of showing emotions.

Instead of: “She felt nervous.” Try: “Her palms slicked with sweat, and she couldn’t stop her leg from bouncing.”

💡 Tip: Let readers infer emotions through sensory details or behavior.

6. “Really” and “Actually”

Why It’s Overused: They add little to your sentences and can dilute the impact of stronger words.

Instead of: “I really don’t think that’s a good idea.” Try: “I don’t think that’s a good idea.”

💡 Tip: If a sentence works without these words, cut them.

7. “Walked” or “Ran”

Why It’s Overused: These are go-to movement words, but they can feel bland when used repeatedly.

Instead of: “He walked into the room.” Try: “He strolled in like he owned the place.” / “He shuffled in, avoiding everyone’s eyes.”

💡 Tip: Use verbs that convey mood, speed, or attitude.

8. “Just”

Why It’s Overused: It sneaks into sentences unnecessarily, weakening your prose.

Instead of: “I just wanted to say I’m sorry.” Try: “I wanted to say I’m sorry.”

💡 Tip: Delete “just” unless it adds essential nuance.

9. “Thought”

Why It’s Overused: It tells readers what a character is thinking instead of showing it through internal dialogue or action.

Instead of: “She thought he might be lying.” Try: “His story didn’t add up. The timelines didn’t match, and he wouldn’t meet her eyes.”

💡 Tip: Immerse readers in the character’s perspective without announcing their thoughts.

10. “Nice” and Other Vague Adjectives

Why It’s Overused: It’s generic and doesn’t give readers a clear picture.

Instead of: “He was a nice guy.” Try: “He always remembered her coffee order and held the door open, even when his arms were full.”

💡 Tip: Show qualities through actions instead of relying on vague descriptors.

Final Tips for Avoiding Overused Words:

1. Use a thesaurus wisely: Swap overused words for synonyms, but stay true to your character’s voice and the scene’s tone.

2. Read your work aloud: You’ll catch repetitive patterns and clunky phrases more easily.

3. Edit in layers: Focus on eliminating overused words during your second or third pass, not your first draft.

20 Subtle Ways a Character Shows They're Not Okay (But Won’t Say It)

(For the emotionally repressed, the quiet imploders, the “I’m fine” liars.)

✧ Cancels plans they were excited for.

✧ Sleeps too much—or barely at all.

✧ Snaps at tiny things, then immediately regrets it.

✧ Can’t stand silence, suddenly always has noise on.

✧ Dresses in oversized clothes to hide their body.

✧ Laughs too loudly. Smiles too tightly.

✧ Picks at their nails, lips, or skin.

✧ Constantly checks their phone, even though no one is texting.

✧ Stops answering messages altogether.

✧ Forgets to eat—or pretends they already did.

✧ Eyes scan the room like they’re waiting for something bad.

✧ Overcommits. Can’t say no. Burns out quietly.

✧ Stops doing the things they love “just because.”

✧ Apologizes too often.

✧ Avoids mirrors.

✧ Can’t sit still—but won’t go outside.

✧ Says “I’m tired” instead of “I’m hurting.”

✧ Tries to clean everything when their life feels out of control.

✧ Uses sarcasm as armor.

✧ Hugs people just a second too long—and then acts like nothing happened.

What the hell is the difference between -, –, —?

And how do you use them?

Hyphen -

A single-length dash is called a hyphen. Here are some uses:

1. To connect compound words

You can use it for compound words. Now, what the hell are compound words, you may ask? These are words you pair together (can be more than two) to create a new word with a new meaning.

short-term plan

full-time job

six-pack

well-known author

2. With prefixes

(Not always, so be sure to check.)

ex-boyfriend

anti-inflammatory

self-loathing

3. With numbers

Smash a hyphen between numbers (21–99):

twenty-one

seventy-three

4. For stuttering

Need to make your blorbo stutter? Shove a hyphen in there. …In between the letter and the word, you dirty-minded fuck.

“I’m s-sorry.”

If you want to read more on hyphens, here’s an excellent article

En Dash –

It’s a slightly longer dash than the hyphen—perhaps we could say double length. Use it to:

1. Show a range (meaning "to" or "through")

Pages 15–32

Monday–Friday

1990–2020

2. Show a connection or contrast between paired items

The New York–London flight

The liberal–conservative divide

Em dash —

Finally, the big daddy dash. The triple-length bad boy. The writer’s favorite.

It’s mostly used to create a strong break in a sentence. Use them to:

1. Replace parentheses for emphasis

You can use big boy em dashes to insert extra information or asides in a sentence, with more emphasis than parentheses.

The wizard—Mystra’s Chosen One—wandered into the market.

2. Replace a colon for dramatic effect

You can use it to introduce a conclusion in a stronger way than a colon.

She had only one goal—survival.

3. Show interruption or sudden change

If you want to show someone being cut off or switching thoughts, throw that em dash in.

“I just thought you should—” “No, you didn’t think at all!”

He turned the corner—and froze. 4. Add emphasis or a final thought

He wasn’t just tired—he was defeated.

Want more? Here's how to use commas. Here's how to use semicolon.

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Making a Character Whine in Monologue

I’m a big believer in letting characters bleed quietly. You know, the kind of emotional tension that simmers just under the surface—not the dramatic “I am torn!” speeches. Here’s how I like to sneak internal conflict into my writing without making my characters feel like they belong in a bad soap opera... Have Fun! (｡♥‿♥｡)

╰ Saying the opposite of what they feel. Like insisting they’re fine while gripping a coffee mug like it personally insulted their ancestors.

╰ Pausing before responding to something simple. Because sometimes the silence says “I’m thinking too hard about this” louder than a whole paragraph ever could.

╰ Changing the subject when things get too close to their emotional soft spot. Classic evasion. Bonus points if they pretend it's for someone else’s sake.

╰ Making choices that contradict their stated goals. "I swear I’m over them"—cut to them rerouting an entire road trip to pass by their ex’s hometown.

╰ Being too nice. Yep. People-pleasing? Avoidance in a trench coat.

╰ Fixating on a tiny, irrelevant detail while avoiding the bigger thing. They can’t deal with their grief, but they can definitely spend 12 minutes lining up pens perfectly.

╰ Snapping at someone they trust—then immediately regretting it. Because pain has to leak out somewhere, and it’s usually not in a convenient monologue.

╰ Doing something “just in case,” but obviously hoping for the opposite. Packing a goodbye gift they never plan to give. Writing a message they never send.

╰ Rewriting memories in their head. “It wasn’t that bad. They didn’t mean it. I probably deserved it.” A spiral in slow motion.

╰ Being hyper-aware of how others are reacting to them. Internal conflict often turns into external paranoia: “Did she flinch? Was I too cold? Did he see that?”

How a Character’s Anger Can Show Up Quietly

Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.

╰ They go still. Not calm... still. Like something is pulling tight inside them.

╰ They smile, but their eyes? Cold. Flat. Done.

╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.

╰ They ask questions they already know the answers to, just to watch someone squirm.

╰ Their words are clipped. Polite. But razor-sharp.

╰ They laugh once. Without humor. You know the one.

╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.

Write Characters Who Feel Dangerous (Even If They’re "Good")

╰ Make their unpredictability a feature, not a bug

A dangerous character isn’t just the guy with the gun. It’s the one you can’t quite predict. Maybe they’re chaotic-good. Maybe they’re lawful-evil. Maybe they’re smiling while they’re plotting the next five ways to ruin your day. If the reader can’t tell exactly what they’ll do next — congrats, you’ve made them dangerous.

╰ Give them a weapon that's personal

Anyone can have a sword. Yawn. Give your character a weapon that says something about them. A violin bow turned garrote. A candy tin full of arsenic. Their own charisma as a leash. The weapon isn’t just what they fight with, it’s how they are.

╰ Let them choose not to strike and make that scarier

Sometimes not acting is the biggest flex. A truly dangerous character doesn’t need to explode to be terrifying. They can sit back, cross their legs, sip their coffee, and say, “Not yet.” Instant chills.

╰ Layer their menace with something else, humor, kindness, sadness

One-note villains (or heroes!) are boring. A dangerous character should make you like them right up until you realize you shouldn’t have. Let them charm. Let them save the kitten. Let them do something that makes the eventual threat feel like betrayal.

╰ Show how other characters react to them

If every character treats them like a nuclear bomb in the room, your reader will, too. Even if your dangerous character is polite and quiet, the dog that won’t go near them or the boss who flinches when they smile will sell the danger harder than a blood-soaked axe.

╰ Make their danger internal as well as external

It’s not just what they can do to others. It’s what they’re fighting inside themselves. The anger. The boredom. The itch for chaos. Make them a little bit scary even to themselves, and suddenly they’re alive in ways pure external "baddies" never are.

╰ Don't make them immune to consequences

Even the most dangerous characters should get hit—physically, emotionally, socially. Otherwise, they turn into invincible cartoons. Let them lose sometimes. Let them bleed. It’ll make every moment they win feel twice as earned (and twice as scary).

╰ Tie their danger to what they love

Real threats aren't powered by anger; they're powered by love. Protectiveness can be feral. Loyalty can turn into violence. A character who's dangerous because they care about something? That's a nuclear reactor in a leather jacket.

╰ Remember: danger is a vibe, not a body count

Your character doesn’t have to kill anyone to be dangerous. Sometimes just a glance. A whispered rumor. A quiet, calculated decision to leave you alive — for now. Dangerous characters control the room without ever raising their voice.