Write Rivals With Chemistry So Hot It Hurts

welcome  to  a  guide  for  2025  rpc  and  a  throwback  to  the  importance  of  creating  well  rounded  ,  developed  characters  .

a  general  lovenote  and  reminder  on  how  to  create  characters  people  want  to  rp  with  ,  as  discussed  by  g.    please  note  ,  these  are  all  my  own  thoughts  and  feelings  ,  but  i'm  not  '  married  '  to  any  of  this  .  i'm  happy  for  open  conversation  ,  thoughts  ,  feedback  etc  ,  but  i  don't  tolerate  aggressive  messaging  .

the  first  thing  i  think  about  when  i  think about  my  character  ,  whether  for  a  rp  ,  a  book  ,  a  short  story  ,  or  a  1x1  partner  is  .  .  .  where  is  my  character  ?  not  just  physically  ,  but  emotionally  .  what  got  them  there  ?  what  have  they  already  overcome  ?  what  do  they  have  LEFT  to  overcome  ?

whenever  i  write  or  create  a  character  ,  i  think  about  them  in  the  same  way  i  think  about  any  story  making  .  stories  (  typically  and  in  some  manner  )  have  beginnings  ,  climaxes  and  ends  .  they  also  have  problems  that  need  to  be  solved  (  or  not  solved  )  .  there's  an  arc  we  follow  .  we  go  up  the  mountain  ,  then  back  down  again  .

a  beginning  is  not  necessarily  '  born  in  1982  ,  to  two  loving  parents  '  .  it  doesn't  need  to  be  a  beginning  of  time  ,  but  can  just  be  the  beginning  to  your  characters  story  .  e.g  '  despite  having  two  loving  parents  ,  she  had  a  deep  focus  on  soccer  .  if  not  soccer  ,  then  maths  .  if  not  maths  ,  something  else  .  from  a  young  age  ,  she  strove  for  perfection  and  being  the  best  at  something  .'

this  beginning  sets  the  tone  of  your  character  .  in  a  few  sentence  ,  we  can  already  see  what  kind  of  person  she  is  and  know  that  she  has  some  internal  demons  she's  battling  .  we  don't  necessarily  need  her  entire  family  tree  unless  it's  critical  to  the  story.

from  there,  we  have  our  climax  or  problem  statement  ,  where  things  really  begin  to  boil  .  again  ,  it  doesn't  necessarily  need  to  be  '  everything  came  to  a  head  when  her  mother  died  '  .  we  can  make  it  more  character  focused  by  writing  '  in  2012  ,  her  mother  died  and  she  threw  herself  into  trying  to  create  the  perfect  replacement  family  .  she  got  married  to  4  different  men  in  the  space  of  5  years  ,  and  has  5  children  shared  among  them  ,  as  well  as  2  step  children  .  but  she  is  unable  to  settle  down  .  she  feels  restless  .  she  finds  it  hard  to  be  a  mother  because  everything  reminds  her  of  her  own  mother  ,  and  the  loss  she's  endured  .  '  now  ,  we  already  know  two  things  about  our  character  :

1  .  she  wants  to  be  perfect  and  the  best  ,  including  at  creating  families

2  .  she  is  terrified  of  her  role  in  motherhood  due  to  the  loss  of  her  own  mother  and  feeling  unmoored  without  her

this  can  then  take  us  to  the  problem  solving  portion  of  the  character  .  this  is  usually  where  i  like  to  start  my  character  in  rps  and  1x1  and  novel  worlds  .  we  have  these  2  issues  and  2  core  beliefs  within  the  character  .  they're  instrumental  to  her  .  how  are  we  going  to  overcome  it  ?  ARE  we  going  to  overcome  it  ?

we  can  begin  to  think  of  the  butterfly  effect  in  terms  of  our  character  .  we  can  begin  to  think  of  the  tree   and  its  branches  growing  within  her  ,  extending  out  to  other  characters  .  we  can  see  how  she  effects  other  people  ,  including  those  close  to  her  ,  not  close  to  her  ,  new  friends  ,  old  friends  ,  new  love  interests  ,  past  interests  .  we  can  create  drama  and  connections  because  we  have  a  strong  foundation  .

so  .  where  does  it  end  ?  does  it  need  to  end  happily  ?  simple  answer  is  no  .  your  character  can  end  in  the  exact  same  place  as  they  did  at  the  beginning  ,  but  the  point  is  that  we've  gone  on  the  journey  with  the  character  .  maybe  we've  seen  her  talk  to  her  mother's  grave  .  maybe  we've  seen  her  go  to  grief  counselling  .  maybe  she's  gotten  pregnant  or  married  again  .  the  problem  statement  doesn't  stop  her  or  stick  her  in  one  place  .  in  fact  ,  if  anything  ,  it  can  encourage  her  to  keep  making  the  same  mistakes  .  on  the  coin  flip  ,  she  can  learn  .  she  can  grow  .  she  can  heal  .  she  can  mend  the  relationships  with  her  kids  ,  her  past  partners  ,  rekindle  love  ,  or  find  new  love  .  the  whole  point  in  the  made-up  'ending'  for  a  character  ,  is  that  we  have  options  .  we  haven't  locked  her  down  .  we  can  continue  to  plot  ,  connect  ,  develop  ,  etc  ,  as  we  go  along  .

QUESTIONS  AND  THOUGHTS  I  CONSIDER  WHEN  CREATING  A  CHARACTER  :

how  has  your  character  ended  up  where  they  are  right  in  this  moment?  think  about  where  you’re  starting  them  from,  and  what  that  looks  like  realistically.  not  just  physically  :  how  did  they  get  to  this  place  ?  but  also  mentally  :  what  did  they  have  to  do  to  become  the  person  they  are  ?  was  it  good  or  bad  ?  everything  you  are  and  do  and  become  as  a  human  is  made  up  of  tiny  almost  inconsequential  decisions  or  choices  you  made.  you  decided  to  study  x.  you  broke  up  with  y.  your  parent  passed  away  so  you  had  to  come  back  to  your  childhood  home.  your  illustrious  career  came  crashing  down  and  you  need  a  place  to  cool  off.  you  never  left  here,  you’ve  been  here  from  the  beginning,  because  you’re  searching  for  something.  what  is  it?  what  is  the  thing  that  has  your  character  right  where  they  are  in  this  exact  moment  ? 

what  emotion  do  they  feel  the  most?  regret,  anger,  longing,  nostalgia  ?  this  helps  drive  your  characters  motives  past  and  presently.  it  also  helps  you  understand  their  goals.  what  they  want  to  achieve  and  why.  maybe  they  yearn  for  longing  and  friendship  and  connection  because  they  never  got  it  as  a  child,  whether  at  home  or  at  school.  maybe  they  regret  not  keeping  in  touch  with  their  childhood  friends  because  now  they  are  surrounded  by  people  they  can’t  trust  and  work  in  a  shitty  environment  where  you  have  to  climb  over  others  to  get  on  top.  everyone  has  a  goal.  everyone  has  an  emotion  that  drives  it.  what  is  your  characters  and  why  does  it  matter?  how  does  it  present? 

when’s  the  last  time  they  cried  and  why?  everybody  cries  and  everybody  cries  in  very  different  ways.  it  says  a  lot  about  the  emotional  state  of  a  character  and  their  emotional  health.  are  they  in  tune  with  their  emotions  and  cry  at  appropriate  times?  do  they  compartmentalise  it?  do  they  only  cry  when  angry?  dig  into  it  and  think  of  the  why  why  why.  why  does  my  character  only  cry  at  this  one  thing?  why  does  my  character  only  feel  safe  crying  alone?  why. 

what  is  your  characters  biggest  regret  in  life?  did  they  get  on  a  plane  when  they  should  have  stayed?  did  they  study  a  subject  only  because  their  parents  wanted  them  to?  did  they  not  kiss  the  girl  when  they  wanted  to?  let’s  be  honest.  our  lives  are  filled  with  “if  only  i’d  done  xyz”  .  if  only  .  this  also  provides  a  great  opportunity  to  MAKE  these  plots  and  plot  with  other  people.  now  we  can  come  up  with  exes  or  ex  best  friends  or  old  flames  or  whatever  whatever  ,  because  there’s  a  good  chance  your  character  regrets  something  that  impacts  someone  else  and  they  regret  it  BECAUSE  of  that  impact  . 

ADDITIONAL  THOUGHTS  AND  TIPS  I'VE  PICKED  UP  WHILE  RPING

honestly  the  more  “whys”  you  can  answer  for  your  character,  the  more  in  depth  you’re  getting.  in  order  for  other  people  to  understand  your  character,  you  need  to  understand  them  yourself.  you  can’t  expect  people  to  write  with  your  character  if  they  don’t  really  have  much  of  a  stable  personality  and  your  plots  don’t  make  much  sense.  remember:  plotting  should  contribute  to  your  character  and  their  development.  human  relationships  don’t  just  exist  because  we  like  them.  they  exist  because  they  serve  an  unserved  part  within  ourselves. 

genuinely  think  of  their  hobbies.  it’s  all  well  and  good  to  say  “she’s  a  bookworm  and  loves  puzzles”  “he  likes  music”  but  like.  what  does  that  actually  mean?  WHY  do  they  like  certain  things  ?  do  they  like  reading  books  or  writing?  do  they  like  fantasy  and  escapism  because  it  reminds  them  of  childhood?  do  they  listen  to  only  their  dads  favourite  music  because  they  miss  him?  do  they  make  playlists  for  niche  and  specific  moods  only  applicable  to  them?  why  are  their  hobbies  important  to  them? 

consider  their  connections,  not  just  future  but  npc  and  current.   how  would  5  close  friends  describe  them  in  one  word?  how  would  their  ex  describe  them  in  one  word?  what  is  one  thing  that  others  could  safely  always  rely  on  your  character  for  (eg  designated  driver  on  nights  out,  always  having  some  type  of  fidgeting  device,  knowing  a  phone  app  to  help  you  meditate  or  streamline  a  process  etc  etc).  we  all  exist  in  the  worlds  of  our  loved  ones,  past,  present  and  future.  we  leave  marks  with  them.  we  are  known  to  them.  so  what  is  your  character  known  and  loved  for? 

pick  your  plot  first,  not  your  fc  or  your  character.  i  know  this  sounds  counterintuitive  but  when  you  have  a  plot  for  a  character  and  a  clear  path  for  development  -  it  helps  everything  else  fall  into  place.  the  worst  thing  are  characters  that  are  plotless  (specifically  for  group  rping).  i’m  going  to  be  honest  here:  your  character  has  to  have  something  to  give  other  characters.  whether  it’s  drama,  information,  hidden  secrets,  a  connection…  your  character  has  to  have  something  of  substance.  i’d  actually  prefer  they’re  a  stereotype  then  they’re  just  aimless  and  personality-less.  when  you  have  a  big  overarching  plot  and  path  for  your  character,  it  will  not  only  help  you  plot  with  others,  but  also  help  keep  your  character  moving  and  not  JUST  reliant  on  others  to  pick  up  the  slack

rping  has  always  used  the  yes  and…?  rule.  that  extends  to  your  characters.  instead  of  yes  and…?  think  of  So…  what?  your  character  loves  to  bake.  ok.  so  what?  what  does  that  mean  for  a  thread,  or  another  character?  why  do  we  care?  maybe  we’d  care  if  your  character  bakes  experimental  stuff  and  loves  to  test  it  on  other  muses.  maybe  we’d  care  if  your  character  used  to  be  a  professional  baker  but  hasn’t  baked  lovingly  in  a  while.  maybe  we’d  care  if  your  character  is  a  baker  but  has  lost  their  charm  and  schtick  and  can’t  bake  the  way  they  used  to.  this  stuff  is  important.  don’t  just  stick  arbitrary  things  onto  your  character  and  expect  others  to  care,  especially  when  you  don’t  care  and  have  just  put  it  on  your  character  as  a  random  quirk.  that’s  not  how  people  and  humans  work.  everything  means  everything. 

your  character  doesn’t  have  to  be  likeable  but  they  do  have  to  be  memorable.  evil  nasty  girls,  manipulative  jerks…  yeah  that’s  all  ok!  but  also  you  kinda  have  to  show,  don’t  tell.  you  can’t  just  SAY  your  character  is  the  “head  bitch  in  charge”  and  then  she  never  actually  talks  or  says  anything  or  does  anything.  sorry,  but  in  order  for  me  to  see  your  character,  you  actually  have  to  write  them  or  at  the  very  least  headcanon  them.  otherwise,  they’re  just  a  blob  of  musings  in  the  ether. 

in  order  to  create  a  character  ,  you  have  to  write  your  character  .  i  see  this  a  lot  in  groups  ..  people  love  to  create  a  character  pinterest  ,  graphics  ,  aesthetics  galore  .  its  amazing  !  but  they  don't  actually  write  the  character  and  it  can  close  off  a  lot  of  opportunities  to  plot  because  people  don't  know  who  your  character  really  is  .  i  hate  to  say  it  ,  and  its  not  true  for  everyone  but  :  if  you're  relying  on  aesthetic  ,  then  you  could  be  lacking  in  the  actual  creation  and  writing  aspect  .  plus  ,  people  have  come  here  to  WRITE  with  YOU  .  not  just  see  fan  edits  of  your  character  .  write  .  write  badly  .  write  starters  ,  even  if  they  scare  you  .  write  with  people  you  don't  know  .  write  with  yourself  .  write  with  your  best  friend  .  but  you  have  to  actually  do  the  writing  part  .

Writing Tips Master Post

Edit: Some posts may be deleted

Character writing/development:

Character Arcs

Making Character Profiles

Character Development

Comic Relief Arc

Internal Conflict

Character Voices

Creating Distinct Characters

Creating Likeable Characters

Writing Strong Female Characters

Writing POC Characters

Building Tension

Writing Grumpy x Sunshine Tropes

Writing Sexuality & Gender

Writing Manipulative Characters

Writing Mature Young Characters

Plot devices/development:

Intrigue in Storytelling

Enemies to Lovers

Alternatives to Killing Characters

Worldbuilding

Misdirection

Things to Consider Before Killing Characters

Foreshadowing

Narrative (+ how to write):

Emphasising the Stakes

Avoid Info-Dumping

Writing Without Dialogue

1st vs. 2nd vs. 3rd Perspective

Fight Scenes (+ More)

Transitions

Pacing

Writing Prologues

Dialogue Tips

Writing War

Writing Cheating

Writing Miscommunication

Writing Unrequited Love

Writing a Slow Burn Btwn Introverts

Writing Smut

Writing Admiration Without Attraction

Writing Dual POVs

Worldbuilding:

Worldbuilding: Questions to Consider

Creating Laws/Rules in Fantasy Worlds

Book writing:

Connected vs. Stand-Alone Series

A & B Stories

Writer resources:

Writing YouTube Channels, Podcasts, & Blogs

Online Writing Resources

Outlining/Writing/Editing Software

Translation Software for Writing

Writer help:

Losing Passion/Burnout

Overcoming Writer's Block

Fantasy terms:

How To Name Fantasy Races (Step-by-Step)

Naming Elemental Races

Naming Fire-Related Races

How To Name Fantasy Places

Ask games:

Character Ask Game #1

Character Ask Game #2

Character Ask Game #3

Miscellaneous:

Writing Tips

Writing Fantasy

Miscommunication Prompts

Variety in Sentence Structure (avoiding repetition)

How to Write SIBLING Relationships

If you're looking to write a sibling relationship but don't fully understand how a sibling relationship actually works, this is for you! As someone who has a younger brother, here are some points you'll want to consider when writing siblings!

Oldest, Middle, and Youngest

First, let's talk about the three types of siblings and explore their general roles, expectations, and characterization within a family!

*Oldest*

Starting with the oldest child, oftentimes, the eldest child is expected to act as the most responsible and as the role model. This doesn't mean they will go out of their way to set an example, but typically, no matter their personality and relationship with their younger siblings, they will have an innate sense of duty and protectiveness over their siblings. They want their siblings to enter the right path.

As the role model, the oldest child normally feels the most stress and anxiety, yet they also try not to show it to avoid worry from others. They highly value independence.

*Middle*

I'm sure you've heard of the jokes that the middle child is invisible child, and while those jokes are often exaggerated, the truth isn't terribly far off.

Between the eldest and youngest child, the middle child has a more difficult time standing out, which may lead to more reckless behavior for attention. They are characterized as more free-spirited and might act as a mediator between the youngest and oldest.

They will likely be more responsible and experienced than the youngest but can act similarly to the youngest.

*Youngest*

The youngest child can look like many things. Sometimes, you'll see the youngest is the most spoiled because they're the parents' favorite, and sometimes they're ignored because they have the least experience. Despite that, they have their fair share of pressures and burdens because they are often expected to meet, if not surpass, the achievements of their older siblings.

The General Dynamic

A sibling relationship differs from a typical friendship. They WILL find each other more annoying, but that doesn't mean they can't get along.

Siblings are also more honest and nit-pickier with each other. For example, if a friend changes the radio without asking, the character might not think too much of it. However, if their brother changes the radio without asking, then the character will likely feel irritated and call them out for it.

And when I say honest, I don't mean that they're super honest with each other emotionally, because that's not always the case. When I mean honest, I mean they're rather honest with each other at a surface, verbal level. They hardly hesitate to say their thoughts and can be pushy about them.

They will have an opinion on everything.

Personalities

If you've ever had some friends that have siblings, I'm sure that you're aware sometimes siblings can be similar and sometimes they're total opposites.

However, this doesn't mean that a pair of "opposite" siblings are ying and yang. While they may seem visibly different, such as fashion sense, and whether they're an introvert or extrovert, there are still shared traits that they hold. This is especially true if they're biological siblings and/or raised in the same environment together.

They influence each other, so there's bound to be some similarities in personality or values no matter how distinct each one is.

Love, Even If Unseen

No matter what, siblings love each other. They might not say it, they might not express it, or they might show it in a toxic and unhealthy way, but there's always an underlying sense of familial love. These are the people that your character has (or was supposed to) grown up with, after all.

There's going to be attachment, they will defend each other, even if they claim to hate the other.

Parents

Okay guys, now let's move on to parents and how they might play a part in sibling relationships!

*Comparisons*

Regardless of whether you have a sibling or not, you've likely experienced what it feels like to be compared to someone else. I'm not saying people with siblings have it worse, but they do have a wider range of people to be compared with.

It's not uncommon for parents to compare their children to each other, and it's not uncommon either for a child to compare themselves to their siblings. Sometimes, outsiders and/or distant family members will also compare the siblings, causing feelings of inferiority and envy.

When siblings have a poor relationship, it can sometimes be because of the parents.

*Fighting and Arguments*

Siblings fight and argue a LOT. However, you'd be mistaken if you thought a parent resolves all of these fights.

The truth is, after a certain age is reached, parents won't step in or resolve a fight unless it's right in front of them. They expect their children to be mature enough to solve their issues out, and honestly? They were tired of breaking up conflicts years ago.

Bonus point: yes, siblings can fight often, but the quarrels are usually forgotten pretty quick too. I've had several fights with my brother in which we were back to normal literally a few hours later the spat. Will I remember it for the next year? Absolutely. But do I care anymore? Not really.

Conclusion

This post may not apply to all siblings--everyone has different types of relationships--but here are some good points to start at!

TL;DR: The eldest sibling has the most responsibility, the middle sibling is a blend between the oldest and youngest and often strives for attention, and while the youngest sibling may look like they have it the easiest, they have their pressures too. Sibling relationship does not mimic a friendship, and they will have similar traits despite distinct personalities. They love and care for each other, even if it doesn't look that way. Having siblings sets up for many comparisons between them, and parents won't always resolve sibling spats.

I'll likely release some posts detailing how to write specific sibling relationships, so let me know if you want to see one in particular! Thank you for making it here!

Happy writing~

3hks <3

100 Dialogue Tags You Can Use Instead of “Said”

For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words). 

1. Neutral Tags 

Straightforward and unobtrusive dialogue tags: 

Added, Replied, Stated, Remarked, Responded, Observed, Acknowledged, Commented, Noted, Voiced, Expressed, Shared, Answered, Mentioned, Declared.

2. Questioning Tags 

Curious, interrogative dialogue tags:

Asked, Queried, Wondered, Probed, Inquired, Requested, Pondered, Demanded, Challenged, Interjected, Investigated, Countered, Snapped, Pleaded, Insisted.

3. Emotive Tags 

Emotional dialogue tags:

Exclaimed, Shouted, Sobbed, Whispered, Cried, Hissed, Gasped, Laughed, Screamed, Stammered, Wailed, Murmured, Snarled, Choked, Barked.

4. Descriptive Tags 

Insightful, tonal dialogue tags: 

Muttered, Mumbled, Yelled, Uttered, Roared, Bellowed, Drawled, Spoke, Shrieked, Boomed, Snapped, Groaned, Rasped, Purred, Croaked.

5. Action-Oriented Tags 

Movement-based dialogue tags: 

Announced, Admitted, Interrupted, Joked, Suggested, Offered, Explained, Repeated, Advised, Warned, Agreed, Confirmed, Ordered, Reassured, Stated.

6. Conflict Tags 

Argumentative, defiant dialogue tags:

Argued, Snapped, Retorted, Rebuked, Disputed, Objected, Contested, Barked, Protested, Countered, Growled, Scoffed, Sneered, Challenged, Huffed.

7. Agreement Tags 

Understanding, compliant dialogue tags: 

Agreed, Assented, Nodded, Confirmed, Replied, Conceded, Acknowledged, Accepted, Affirmed, Yielded, Supported, Echoed, Consented, Promised, Concurred.

8. Disagreement Tags 

Resistant, defiant dialogue tags: 

Denied, Disagreed, Refused, Argued, Contradicted, Insisted, Protested, Objected, Rejected, Declined, Countered, Challenged, Snubbed, Dismissed, Rebuked.

9. Confused Tags 

Hesitant, uncertain dialogue tags:

Stammered, Hesitated, Fumbled, Babbled, Mumbled, Faltered, Stumbled, Wondered, Pondered, Stuttered, Blurted, Doubted, Confessed, Vacillated.

10. Surprise Tags

Shock-inducing dialogue tags:

Gasped, Stunned, Exclaimed, Blurted, Wondered, Staggered, Marvelled, Breathed, Recoiled, Jumped, Yelped, Shrieked, Stammered.

Note: everyone is entitled to their own opinion. No I am NOT telling people to abandon said and use these. Yes I understand that said is often good enough, but sometimes you WANT to draw attention to how the character is speaking. If you think adding an action/movement to your dialogue is 'good enough' hate to break it to you but that ruins immersion much more than a casual 'mumbled'. And for the last time: this is just a resource list, CALM DOWN. Hope that covers all the annoyingly redundant replies :)

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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Physical Contact Masterpost

Hand-Holding Dialogue

Hand-Holding

Touching

Hugs

Hugging Dialogue

Touch Starved Prompts

Touches Ask Games

Super soft intimacy

Casual Affections

Seeking out physical affection

Romantic, non-sexual intimacy prompts

Kisses

First Kisses

First Kiss Prompts

Accidental Kisses

Places for kissing

Angsty Kisses

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When Should You Describe a Character’s Appearance? (And When You Really, Really Shouldn’t)

It’s one of the first instincts writers have: describe your character. What they look like, what they wear, how they move. But the truth is — readers don’t need to know everything. And more importantly, they don’t want to know everything. At least, not all at once. Not without reason.

Let’s talk about when to describe a character’s appearance, how to do it meaningfully, and why less often says more.

1. Ask: Who Is Seeing Them? And Why Now?

The best descriptions are filtered through a perspective. Who’s noticing this character, and what do they see first? What do they expect to see, and what surprises them?

She looked like someone who owned every book you were supposed to have read in school. Glasses slipping down her nose. Sharp navy coat, sensible shoes, and an air of knowing too much too soon.

Now we’re not just learning what she looks like — we’re learning how she comes across. That tells us more than eye color ever could.

2. Use Appearance to Suggest Character, Not List Facts

Avoid long physical checklists. Instead, choose a few details that do double work — they imply personality, history, class, mood, or context.

Ineffective: She had long, wavy brown hair, green eyes, a small nose, and full lips. She wore jeans and a white shirt.

Better: Her hair was tied back like she hadn’t had time to think about it. Jeans cuffed, a shirt buttoned wrong. Tired, maybe. Or just disinterested.

You don’t need to know her exact features — you feel who she is in that moment.

3. Know When It’s Not the Moment

Introducing a character in the middle of action? Emotion? Conflict? Don’t stop the story for a physical description. It kills momentum.

Instead, thread it through where it matters.

He was pacing. Long-legged, sharp-shouldered — he didn’t seem built for waiting. His jaw kept twitching like he was chewing on the words he wasn’t allowed to say.

We learn about his build and his mood and his internal tension — all in motion.

4. Use Clothing and Gesture as Extension of Self

What someone chooses to wear, or how they move in it, says more than just what’s on their body.

Her sleeves were too long, and she kept tucking her hands inside them. When she spoke, she looked at the floor. Not shy, exactly — more like someone used to being half-disbelieved.

This is visual storytelling with emotional weight.

5. Finally: Describe When It Matters to the Story, Not Just the Reader

Are they hiding something? Trying to impress? Standing out in a crowd? Use appearance when it helps shape plot, stakes, or power dynamics.

He wore black to the funeral. Everyone else in grey. And somehow, he still looked like the loudest voice in the room.

That detail matters — it changes how we see him, and how others react to him.

TL;DR:

Don’t info-dump descriptions.

Filter visuals through a point of view.

Prioritize impression over inventory.

Describe only what tells us more than just what they look like — describe what shows who they are.

Because no one remembers a checklist.

But everyone remembers the girl who looked like she’d walked out of a forgotten poem.

The fuck are you supposed to do with the semicolon ; ?

We’ve discussed the comma and the dash brothers—finally, the time has come for the less sexy relative: the semicolon. But how do we use it?

1. To link two related independent sentences

He didn’t believe in fate; she made him reconsider.

The forest was silent; even the wind held its breath.

Slap a semicolon between two complete sentences that are closely related but not joined by a coordinating conjunction (like and, but, or so). This creates a subtle pause—somewhere between a comma and a period—and it shows the relationship between the two sentences.

2. To separate items in a complex list

She packed her bags with care: a red silk dress, delicate and expensive; an old photograph, creased and faded; and a knife, sharp as her resolve.

As you can see, semicolons help with clarity. If the items in your list already contain commas, use semicolons to avoid confusion.

3.  To balance contrast or comparison

He spoke in riddles; she answered in truths.

The sun warmed their backs; the storm waited ahead.

Here we have a slightly sexier use of semicolons. They can elegantly balance two ideas that contrast or reflect one another.

informal writing help post #2: 10 ways to tell someone "you're monopolizing my personal fucking space"

disclaimer: these can be used in real life. they are not only meant for writing a daria copy character!

previous entry

*looking pointedly at the space between them and the invader* "fascinating. it's like we're attempting some sort of advanced interpersonal osmosis experiment. unsolicited and loudly one-sided, of course."

*completely flat tone* "ah, yes. the human proximity sensor appears to be malfunctioning. perhaps a recalibration is in order." *steps back either subtly or aggressively*

"interesting gravitational pull you've got there. are you a newly discovered black hole of personal space?"

*staring straight ahead, as if thinking out loud* "one wonders if they realize the air molecules they're currently occupying were, mere moments ago, my air molecules."

"that's... close. almost as profound as the current level of encroachment on my spatial autonomy."

*with a slight sigh* "i believe the recommended viewing distance for human interaction is at least arm's length. unless, of course, you're planning to perform emergency mouth-to-mouth."

*the invader bumps into your character* "oh, excuse me. i didn't realize personal space was now a participatory sport."

*invader is talking too loudly and standing too close* "your vocal projection is truly impressive. it's almost as if you're trying to ensure your thoughts occupy not only my auditory space but my physical space as well."

*looks around vaguely* "is there some sort of hug-a-stranger event going on that i'm unaware of? because this feels... enthusiastic."

*your character simply raises an eyebrow and says, with maximum dryness* "personal. space. concept. familiar?"

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.