I Have Two Personalities When Im Writing. One Is "omg This Is The Easiest Thing In The World. I Just

i'm still not very good at drawing stan but that's not gonna stop me

🧃 How to Develop a Vibe AND a Plot (aesthetic doesn’t cancel arcs. let’s balance them.)

hey you. yes, you. the one with the moody playlists, the 73-tab Pinterest board, and a half-written draft that just keeps…vibing in circles.

if you’ve ever written 10k of immaculate vibes but couldn’t tell anyone what your story is about, this post is for you. because here’s the thing: ✨ aesthetic is not a substitute for stakes. ✨

let’s talk about how to keep your ✨vibes✨ and actually have a plot that moves. no ✧ fluff ✧ just structure, character arcs, and some lovingly blunt advice from your local writeblr gremlin (me).

🌊 1. aesthetic is a result, not a premise

the most common mistake i see is starting with a vibe as the story. like:

“sad girls on the beach in 1996”

“a cursed forest full of dead gods”

“a pastel academic rivalry with secrets and sexual tension”

cool. great. love that for you. but… what’s the story? what’s happening?

✨vibes = setting + mood + tone. ✨plot = choices + consequences + change.

your aesthetic can inspire the story (please keep making playlists. i love them). but don’t confuse the feel of your world with the function of your plot. start with tension. stakes. character flaws. emotional damage. that’s the engine. the aesthetic is the paint job.

🎯 2. define your “emotional throughline”

okay, so you’ve got an aesthetic. what’s the emotional core of it? your plot should orbit a single emotional question, like:

will this character ever let themselves be known?

what does it take to unlearn loyalty?

is love worth destroying something sacred?

start with that. then attach aesthetic scenes to it.

🧩 pro tip: aesthetic scenes are more powerful when they contradict or complicate your emotional throughline.

ex: your story’s about loneliness? show them at the loudest, busiest party. story’s about grief? show them smiling in photos while everything breaks behind the lens.

aesthetic is stronger with irony. contrast. juxtapositions. don’t just bathe the reader in vibes. weaponize them.

💥 3. let your aesthetic hurt your characters

whatever your aesthetic is--soft academia, vaporwave horror, regency witchcore, don’t make it just a backdrop. make it an obstacle.

your setting should create problems. friction. conflict.

if it’s a sleepy coastal town: what’s festering beneath the quiet?

if it’s a hauntingly beautiful forest: what does it take from people?

if it’s a cursed mansion: what happens to the girls who stay too long?

every time you design a pretty place or moody visual, ask: ❓ how does this setting test my characters’ beliefs or desires?

because then your aesthetic drives the story forward instead of just decorating it.

📚 4. develop plot like a playlist: structure the escalation

your aesthetic playlist has structure, right? (don’t lie. i know you’ve got a specific song for act 3 heartbreak.)

plot works the same way. it’s not a mystery. it’s escalation.

you want a structure? here’s a dead-simple one:

give your main character a desire (internal & external)

give them a reason they can’t have it (flaw, fear, lie)

make them try anyway (rising stakes)

make it cost them something (midpoint shift)

force them to change or break (climax)

let that change play out (falling action / resolution)

that’s it. apply that structure to your vibey little story and suddenly it’s a book.

👁‍🗨 5. plot is what they do - vibe is how it feels

don’t choose one. you can have both.

you can have a soft lighting scene on a rooftop and the secret betrayal reveal. you can have dreamy prose and broken character dynamics. you can give me worldbuilding so lush it smells like petrichor and rot and still give me a plot twist that leaves me feral.

you just need to be intentional.

every scene = a purpose. every aesthetic = an angle. every image = tied to stakes, desire, or change.

✨ that’s the difference between “ooh pretty” and “oh my god i can’t stop thinking about this story.” ✨

💌 so in conclusion:

start with an emotional arc

let your aesthetic scenes earn their place

make your world fight your characters

escalate, escalate, escalate

and stop hiding a lack of plot under “vibe” like a glittery throw blanket over a broken chair

you’ve got this. now go write the beautifully messy, aesthetic and emotionally devastating story you were meant to.

i believe in you.

🧃rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

FIC!!!

(I wrote an entire fic, posted it, and it DIDNT POST!! So this is a remake, so it might be worse quality. I’m just rlly pissed cause I wrote a decent sized fic and now it’s lost in space!)

(semi gore warning)

As many people may know, there is such a thing as a slayer. She stands against the forces of evil, and is practically the only reason the world isn’t overrun with vampires and demons.

Now you may think, “how can one measly girl protect the world?”, and to that I say, she’s a slayer! It may not be explainable, but she has all the power of the slayers before her, and it’s just the way it works. Now, I’m no longer taking questions. It’s time to get to the story!

Olive kicked the vampire, knocking it to the floor with a crack, presumably from its bones. The vampire hissed, trying to get back to its feet. Olive put her foot on its chest, keeping it down before she sunk a stake into its heart. The vampire exploded into a cloud of dust before even the dust went away. Marcus, her watcher, walked over. “Better than last time, but you really need to stop making a show of it. All you need to do is stab it. Not knock it down or anything.” Marcus spoke with a British accent, and he pronounced the letters carefully as if messing up was illegal.

Olive rolled her eyes, clenching her jaw. “Yeah yeah, whatever.” she muttered beneath her breath, and grabbed her bag off the ground. She stuffed the stake into her bag, and slung the bag over her shoulder. Marcus walked with her, out of the graveyard and to her house. He might be a pain in Olives a- (NO!!), but he was at least a gentleman.

“Goodbye, and I hope you get bit by a vampire.” Olive turned and said, and stepped inside before Marcus could reply. Marcus snorted, a d started walking home.

The next morning, Olives mother called from downstairs. “Olive, come downstairs. You can’t be late for school!” Olive sighed, and sat up. She swung her legs over to the floor, whispering “Oh no, that’d be terrible…” Beneath her breath and then getting up. She got ready, and went downstairs. She grabbed her school bag, walking to the kitchen.

Olives mom turned, handing her a plate of pancakes. Olive took the pancakes, scarfing them down and heading to leave. “Bye.” Her mother said, annoyed. Olive nodded, leaving. She walked to school, but once she entered her math class…

Everything got blurry, and then it turned black…

(Idk if I wanna continue this, so reactions wanted :3)

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

─────── ✦ ───────

👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

Description!!

(I’m sorry that I keep making these, but I seriously have trouble with it.)

Kinda a long post

————————————————————————

HE/HIM - 💚🥞 Hiya! I’m Atlas, and I’m the host of this DID system! I’m quite the neat freak, and I’ve got a list of things I do that normally ppl don’t!:

-DEPRESSION✨✨ (I have therapy, along with all the alters)

-Anxiety (more therapy)

-REALLY bad panic attacks when I’m yelled at (by people who’s opinion I care about (my moms))

-Isn’t it obvious? DID!!!

-I’m smart, but I get burnt out VERY easy

So, I might add more to this, but that’s all I have for now! I’m transgender, pansexual, and polygamous. I have two partners, one of which is also on tumblr (HII BABBYYY!!).

————————————————————

SHE/HER - 🌸🍬 IM CANDI!!! IM CHILD ALTER AND IS PROBABLY CRAZY!! I LOVE CANDY AND CATZ AND DOGGIES AND AGHHHHH!!! I HAS INSOMNIA!!

————————————————————

HE/IT - 💥💔 (Rex refuses to front so he doesn’t get a section)

————————————————————

ANY - 🌊💙 Hi. I’m Percy. I think I’m the protecter. I’m usually the most calm (Rex is kinda, he just tends to get angry fast). I love the ocean, and sea creatures!

————————————————————

SHE/HIM-🦈🦅

Hi! I’m Finn, I’m the memory holder. I love oceans, and I’m told I’m really similar to Percy! Actually, funny story, Atlas didn’t know I was here for a while cuz he thought I was Percy!

————————————————————

FANDOMS:

Gravity falls (Occasionally we’ll reblog stuff, but we’re not an avid fan)

FNAF (Oh dear, how I loved the aggressive Afton family phase)

Spongebob

Buffy the Vampire Slayer (Very aggressively)

Others that I hit can’t think of rn-

————————————————————

Alter Ages:

Atlas: 18

Rex: 19

Candi: 7

Percy: 17

Finn: 18

My other alters vary, and some don’t have ages. If any of them become more prominent I’ll get them to make a section in this.

————————————————————

By the way, these are my alters that front more than twice a month. I probably have over ten alters, they just prefer to not front. I might get them to make little things when they do front, but I’ll say, don’t expect much.

————————————————————

I might add on to this later, but that’s for now!

BYE!!!!!!!

Hidden Things

There are stories which hide beneath the stars.

You will not find them, nor will your scars

People ask where they came from,

You don’t know from where they come.

Nobody understands,

You can only clench your hands.

Roads are quite the fair

though, earth doesn’t blink, nor care.

Not even bother to stare.

But why would it bother?

It’d be odder,

Say it the Earth did care.

(A-A-B-B-C-C-D-D-D-E-E-F)

(Kinda random but oh well)

🧪 Character Arcs 101: what they are, what they aren’t, and how to make them hurt

by rin t. (resident chaos scribe of thewriteadviceforwriters)

Okay so here’s the thing. You can give me all the pretty pinterest moodboards and soft trauma playlists in the world, but if your character doesn’t change, I will send them back to the factory.

Let’s talk about character arcs. Not vibes. Not tragic backstory flavoring. Actual. Arcs. (It hurts but we’ll get through it together.)

─────── ✦ ───────

💡 what a character arc IS:

a transformational journey (keyword: transformation)

the internal response to external pressure (aka plot consequences)

a shift in worldview, behavior, belief, self-concept

the emotional architecture of your story

the reason we care

💥 what a character arc is NOT:

a sad monologue halfway through act 2

a single cool scene where they yell or cry

a moral they magically learn by the end

a “development” label slapped on a flatline

─────── ✦ ───────

✨ THE 3 BASIC FLAVORS OF ARC (and how to emotionally damage your characters accordingly):

Positive Arc They start with a flaw, false belief, or fear that limits them. Through the events of the story (and many Ls), they confront that internal lie, grow, and emerge changed. Hurt factor: Drag them through the mud. Make them fight to believe in themselves. Break their trust, make them doubt. Let them earn their ending.

Negative Arc They begin whole(ish) and devolve. They fail to overcome their flaw or false belief. This arc ends in ruin, corruption, or defeat. Hurt factor: Let them almost have a chance. Build hope. Then show how they sabotage it, or how the world takes it anyway. Twist the knife.

Flat/Static Arc They don’t change, but the world around them does. They hold onto a core truth, and it’s their constancy that drives change in others. Think: mentor, revolutionary, or truth-teller type. Hurt factor: Make the world push back. Make their values cost them something. The tension comes from holding steady in chaos.

─────── ✦ ───────

🎯 how to build an arc that actually HITS (no ✨soft lessons✨, just internal structure):

Lie they believe: What false thing do they think about themselves or the world? (“I’m unlovable.” “Power = safety.” “I’m only valuable if I’m useful.”)

Want vs. need: What do they think they want? What do they actually need to grow?

Wound/backstory scar: What made them like this? You don’t need a tragic past™ but you do need cause and effect.

Turning point: What moment forces them to question their worldview? What event cracks the surface?

Moment of choice: Do they change? Or not? What decision seals their arc?

🧪 Pro tip: this is not a worksheet. This is scaffolding. The arc lives in the story, not just your doc notes. The lie isn’t revealed in a monologue, it’s felt through consequences, relationships, mistakes.

─────── ✦ ───────

🛠️ things to actually do with this:

Write scenes where the character’s flaw messes things up. Like, they lose something. A person. A plan. Their cool. Make the flaw hurt.

Track their beliefs like a timeline. How do they start? What chips away at it? When does the shift stick?

Use relationships as arc mirrors. Who challenges them? Enables them? Forces reflection? Internal change is almost never solo.

Revisit the lie. Circle back to it at least three times in escalating intensity. Reminder > confrontation > transformation.

─────── ✦ ───────

🌊 bonus pain level: REVERSE THE ARC

Wanna make it really hurt? Set them up for one arc, and give them the opposite. They think they’re growing into a better person. But actually, they’re losing themselves. They think they’re spiraling. But they’re really healing. Let them be surprised. Let the reader be surprised.

─────── ✦ ───────

TL;DR: If your plot is a skeleton, your character arc is the nervous system.

The change is the thing. Don’t just dress it up in trauma. Don’t let your character learn nothing. Make them face themselves. And yeah. Make it hurt a little. (Or a lot. I won’t stop you.)

—rin t. // thewriteadviceforwriters // plotting pain professionally since forever

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

Write Characters with Deep Emotional Wounds

(Without Making Them Walking Tragedies)

╰ Start with the scar, not the stabbing. Everyone talks about what happened to your character (The Big Trauma) but honestly? It’s the aftermath that matters. Show me the limp, not the bullet wound. Show me the way they flinch at kindness or double-check locks three times. The wound shapes them more than the event ever did.

╰ Don't make them "Sad All The Time" People with deep hurts aren’t just dramatic sob machines. They make bad jokes. They find weird hobbies. They have good days and then get wrecked by a song in a grocery store. Layers, my friend. Pain is complex and it sure as hell isn’t aesthetic.

╰ Let them almost heal and then backslide. Real healing isn’t linear. One good conversation doesn’t erase ten years of bottled-up grief. Your character might think they’re over it, and then one tiny thing, a smell, a phrase, a look, knocks them right back into the hole. Make them earn their healing. Make us ache for them.

╰ Give them armor and show the cracks. Maybe it’s sarcasm. Maybe it’s perfectionism. Maybe it’s taking care of everyone else so no one notices they're broken. Whatever mask they wear, show us the hairline fractures. Let us catch the moments where they almost drop the act.

╰ Don’t turn their trauma into their only personality trait. Yes, they’ve been through hell. But they also love spicy chips and bad reality TV. They have dumb crushes and secret dreams. A tragic backstory isn’t a substitute for a full human being. Let them be more than the worst thing that ever happened to them.

╰ Let their wound warp their decisions. People protect their wounds. Even badly. Especially badly. They might sabotage good relationships. Or push away help. Or cling too tightly. Make their past live in their choices, not just their flashbacks.

╰ Don’t make the world validate them for existing. Not everyone is going to understand your wounded character. Some people will misunderstand them. Blame them. Get frustrated. And honestly? That’s real. Let your character find their people, after facing the ones who don’t get it. It’s so much sweeter that way.

╰ Wounds can make them kinder—or crueler. Pain changes people. Some become protectors. Some become destroyers. Some do both, depending on the day. Let your character’s hurt make them complicated. Unpredictable. Human.

╰ Don’t heal them just to tie a neat bow on your story Sometimes the best ending is messy. Sometimes the healing is just starting. Sometimes it’s just hope, not a full recovery montage. That’s okay. Healing is a lifelong, terrifying, brave process—and readers feel it when you respect that.

never forget how they gave you distance when u needed love

I refuse to stop posting these. They’re perfect!!!

✨ HOW TO ACTUALLY START A BOOK

(no ✨vibes✨, just structure, stakes, and first-sentence sweat)

hello writer friends 💌 so you opened a doc. you sat down. you cracked your knuckles. maybe you even made a playlist or moodboard. and then… you stared at the blinking cursor like it personally insulted your entire bloodline.

here’s your intervention. this post is for when you want to write chapter one, but all you have is aesthetic, maybe a plot bunny, maybe a world idea, maybe nothing at all. here’s how to actually start a book, from structure to sentence one.

—

🌶️ STEP 1: THE SPICE BASE ~ “WHAT’S CHANGING?”

start with this question:

what changes in the protagonist’s life in the first 5–10 pages?

doesn’t have to be earth-shattering. they could get a letter, lose a job, run late, break a rule, wake up hungover in the wrong house. what matters is disruption. the opening of your book should mark a shift. if their day starts normal, it shouldn’t end that way.

🏁 opening chapters are about motion. forward movement. tension. momentum. if nothing is changing, your story isn’t starting, you’re just doing a prequel.

—

⚙️ STEP 2: THE CRUNCHY BITS - CHOOSE AN ENTRY POINT

there are 3 classic places to start a novel. each one works if you’re intentional:

The Day Everything Changes most popular. you drop us in right before or during the inciting incident. clean, fast, efficient.

pro: immediate stakes con: harder to sneak in worldbuilding or character grounding

The Calm Before the Storm starts slightly earlier. show the character’s “normal” life, then break it. useful if the change won’t make sense without context.

pro: space to introduce your character’s routine/flaws con: risky if it drags or feels like setup

The Aftermath drop us in after the big event and fill in gaps as we go. works well for thrillers, mysteries, or emotionally heavy plots.

pro: instant drama con: requires precision to avoid confusion

📝 pick one. commit. don’t blend them or you’ll write three intros at once and cry.

—

🧠 STEP 3: CHARACTER FIRST, ALWAYS

readers don’t care about your setting, your magic system, or your cool mafia politics unless they’re anchored in someone.

in the first scene, we need to know:

what this person wants

what’s bothering them (externally or internally)

one trait they lead with (bold, anxious, calculating, naive, etc.)

that’s it. just one want, one tension, one vibe. no bios. no monologues. no “they weren’t like other girls” essays. put them in a situation and show how they act.

—

⛓️ STEP 4: OPEN WITH FRICTION

first scenes should create questions, not answer them.

there should be tension between:

what the character wants vs. what they’re getting

what’s happening vs. what they expected

what’s being said vs. what’s being felt

you don’t need a gunshot or a car crash (unless you want one). you need conflict. tension = momentum = readers keep reading.

—

✏️ STEP 5: WRITE THE FIRST SENTENCE - THEN IGNORE IT

okay. now you write it.

no pressure. you’re not tattooing it on your soul. this isn’t the final line on the final page. you just need something.

tricks that work:

start in the middle of an action

start with a contradiction

start with something unexpected, funny, or sharp

start with a small lie or a weird detail

💬 examples:

“The body was exactly where she’d left it - rude.” “He was already two hours late to his own kidnapping.” “There was blood on the welcome mat. Again.” “They said don’t open the door. She opened it anyway.”

once you’ve got it? keep going. don’t revise yet. don’t edit. just build momentum.

you can come back and make it ✨iconic✨ later.

—

📦 BONUS: WHAT NOT TO DO IN YOUR OPENING

don’t start with a dream

don’t info-dump lore in paragraph one

don’t give me three pages of your OC making toast

don’t try to sound like a Victorian cryptid unless it’s on purpose

don’t introduce 7 named characters in one scene

don’t start with a quote unless you are 800% sure it slaps

be weird. be sharp. be specific. aim for interest, not perfection.

—

🏁 TL;DR (but make it ✨useful✨)

something in your MC’s life should change immediately

pick a structural entry point and stick to it

give us a person, not a setting

friction = good

first lines are disposable, just make them interesting

and if you needed a sign to just start the damn book, this is it.

💌 love, -rin t.

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

Gumroad

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re