Writing Tip - How To Make Fight Scenes Interesting

Places in Faerun: Darkhold

I don't suppose you've heard of Darkhold. It's been many years since folk whispered the name of the place in fear. After all, the Zhentarim, the organization that gave Darkhold its evil reputation, are by all accounts no longer the cadre of thieves, assassins, and evil wizards they once were. And strangely enough, according to my source among the Zhentarim, that change in character can be traced right back to Darkhold. As it was told to me, it came about like this…

Zhentil Keep was burning. The Citadel of the Ravens lay in ruins. The leadership of the Zhentarim died, were captured by the Shadovar of returned Netheril, or were in flight. The vaunted Black Network was shredded. Cells of Zhentarim agents were cut loose, and without connections or direction, they dissolved or were crushed by rivals. The Zhentarim was no more.

Or so it seemed. There was one stronghold of the Zhents that had not fallen and whose leader never wavered in his dedication to the organization. Darkhold stands deep in the mountains of the Western Heartlands, and there the remnants of the Zhentarim quietly gathered. There they swore allegiance anew to the leader who promised to reforge the organization into something stronger than before.

The man to whom this new Zhentarim owed fealty was a dark knight known only as the Pereghost. The Pereghost had long led the armed forces of the Zhentarim at Darkhold, and his vision for the revival of the organization was along military lines. After a time of recruitment and training, the Zhentarim emerged from Darkhold not as conquerors or as bullying capitalists but as mercenaries willing to serve others instead of forcing them to serve.

In the years that followed, the transformation served the Zhentarim well. They earned a reputation for sterling service, and their ranks swelled. Those who knew of Darkhold thought of it as the headquarters of this new version of the Zhentarim.

Membership in the Zhentarim is difficult to assess, but my source told me they might have greater numbers now than before their organization's fall. New leadership for this larger group has led to a shift in focus. While still a source of capable mercenaries, the Zhentarim have diversified into mercantile pursuits. Zhent guards now ride alongside caravans of their own. And whereas a military organization served it well in the chaotic period after its fall, my source frequently described the Zhentarim as a "family" and leaders as "my good friend."

My source also spoke in awed tones of the Pereghost, as though that figure were still alive and a leader of Darkhold. The Pereghost is never seen without his full armour and a face-covering helm. If it isn't an elf behind the mask, then I suspect a series of humans might have masqueraded as the Pereghost during the past century.

Darkhold Vale

I was curious about my source's tale, and so when I had cause to be in the region, I made my way toward Darkhold. An enormous mountain peak called the Gray Watcher of the Morning looms behind Darkhold to the east, casting a great shadow over the keep from sunrise until nearly midday. Darkhold sits in a cleft in the side of the Gray Watcher, the highest point of permanent occupation in a relatively fiat and defensible valley called Darkhold Vale.

Darkhold Vale contains a small settlement of the same name, consisting mostly of shepherds who tend their flocks in the high meadows of the Sunset Mountains, and a few farmers who coax fine crops from the soils that cling to the vale's fields. The settlement's main source of prosperity is the black stone quarry at the south-eastern edge of the vale; the heavy carts groaning with slabs of stone for sale and the large, muscled workhorses that pull them are common sights here. The common folk of Darkhold Vale tend to be surly and suspicious of outsiders, though they are careful to avoid offense.

This settlement of about a hundred or so is utterly under the dominion of Darkhold and has seen some benefit from the situation: the vale folk see a great deal more traffic and trade than the little hamlet would ever expect otherwise. Until recently, all the caravans bound for Darkhold could seek sanctuary only in the shadow of the keep itself. Now the people of the vale have recently built both an inn, called the Wyvern's Rest, and a separate tavern, called the Rookery.

Some of the locals send to market bales of the thick, rich wool they shear from their sheep. Others make a living hawking the dandelion wine that Darkhold Vale has always produced, but only recently begun to sell abroad. The vale has a small militia, technically under the command of the Pereghost, but which answers to a local captain named Sulvarn.

To those who've come into conflict with the Zhentarim, living in a place so firmly in their power seems unthinkable, but the reality is that life is sedate here. Certainly, the soldiers in the castle aren't to be trifled with, but they hardly ever engage in the acts of petty cruelty that one expects from warriors serving a local lord. Those who misunderstand the Zhentarim often do so because they imagine them to be cackling villains in the vein of the Zhents of yore. In reality, they are pragmatic, willing to do whatever necessary to achieve their ends. But they have no need to terrorize the folk of Darkhold Vale, for one simple reason: they already control them.

In years past, these folk lived in fear and suspicion, with a hearty helping of racial prejudice; my first visit to Darkhold nearly a century ago was occasion for me to hear some of the vilest epithets attached to my kind that I've ever heard-even worse than those that fall from the foul lips of ore raiders in the North. The attitudes of the vale folk have changed over the years, however, no doubt due in part to the orders of the Pereghost when he reengaged the Zhentarim with the wider world.

Darkhold Castle

When l first beheld the great black walls of Darkhold, I thought all the legends about it must be true. On my second visit, I thought I'd try to confirm my suspicions.

According to legend, Darkhold's story began more then a millennium ago, when it was known as the Keep of the Far Hills. It was built as a summer capitol for the so-called "giant empires." Situated in the Far Hills, the castle was in a position to dominate trade routes north out of the Iriaebor Valley. It could also dominate river trade down the Yellow Snake Gorge.

The role of the so-called Giant Emperors is still a matter of conjecture and discussion today. However, there are some, scattered among the giant tribes of the North, who claim to be heirs to the ancient thrones. Whatever the truth of the empires might be, the castle itself was definitely built for giants. Its size and construction support no other explanation.

Legend has it that Darkhold was lost to the giants due to internal strife-a pair of brothers quarrelling over their inheritance. Through poison, magic, and mercenaries, the brothers thinned the castle's population until only the brothers themselves were left. The two fought and mortally wounded each other, and each dragged himself off to die alone. The brothers' spirits are still said to stalk the castle, each still seeking his brother's destruction.

The keep was then occupied by a succession of owners, including a dragon of some repute, but it was not until a lich claimed it that the castle came to be known as Darkhold. The lich was called Varalla, and supposedly she conjured all manner of evil creatures to serve her, sending them out to dominate the lands beyond and establish an empire of evil. Varalla ruled Darkhold until the infamous leaders of the old Zhentarim- Manshoon and Fzoul- heard tales of her wealth in magic and gold. Lured by the promise of such rich rewards, the pair defeated her and claimed the castle for themselves.

Upon my arrival at the great gates to the fortress, I found that I was expected, as I must have been watched since entering Darkhold Vale-perhaps even before then. After a short wait, I was met by a seneschal, a forthright woman with a strong handshake, who warmly referred to the person who secretly supplied me with the history of the Zhentarim. I found myself taken aback by this because I had thought my source and I had spoken in confidence. As you no doubt have noticed, I've avoided mentioning the name, gender, or physical description of my source, for I swore an oath of secrecy. Besides my initial shock, my exchange with the seneschal was pleasant, and I was given a tour of some of the mighty castle.

When I asked about the legends of Darkhold's creation and occupation, she told much the same story as I have told, adding a few characters from its history that I hadn't heard of before. When asked about castle hauntings, the seneschal only smiled in reply. Although it seemed a genuine smile, I could wring no truth from it.

Of the castle's defences, I can say little. My tour was limited. But I did note that, while some things on the giants' scale have been modified to suit humans (such as stairs and most doors), other things remain titanic. For instance, I have no idea how they managed to open the gates for my entrance without the use of magic.

Denizens of Darkhold

I didn't see the Pereghost during my visit, so I can't confirm anything about the man. But the seneschal and everyone else with whom I conversed spoke of the Pereghost in awed tones. Whatever the truth of this saviour of the Zhentarim, he is apparently too busy to entertain curious visitors. While at Darkhold, I heard the name of another leader of some importance, Manxam, but my queries about this figure were redirected to other topics, and I didn't feel comfortable pressing the seneschal on the matter.

Of the rest of Darkhold I can relate only a little more. The Zhentarim maintain two war units within Darkhold: the Storm Watch, a cadre of veteran Zhentarim soldiers who act as heavy infantry, and the Gray Feathers, archers primarily responsible for the defence of the fortress.

These aren't the only forces Darkhold can bring to bear, however. The years when a contingent of giants lived in Darkhold are long gone, but in their place is an aerie of wyverns, bred and trained to defend Darkhold and to obey the Pereghost. Their trainer is a ranger named Grigarr, whose body is pocked with myriad scars from wyvern stings. The man is a greedy wretch who claims he is now immune to the wyverns' venom, after having been stung so many times. He loves telling stories in the Rookery about how he got his many stings, and thinks himself an entertaining storyteller because people listen and applaud. The truth is that the locals are terrified of him, so they humour him while he is in his cups.

source: Sword Coast Adventurer’s Guide pg. 77-79

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Word Alternatives: Colours

BLACK atramentous, charcoal, coal, crow, darksomeness, denigration, duskiness, ebony, funereal, jet, inkiness, melanism, melanotic, midnight, niello, obsidian, pitch, raven, sable, singe, sloe, smirch, smoke, sombrous, soot, swarthiness, swartness, tar

BLUE aquamarine, azure, berylline, cerulean, cerulescent, cyan, cyanosis, cyanotic, electric blue, ice-blue, indigo, lividity, midnight, navy, Oxford blue, pavonian, pavonine, peacock blue, robin's egg blue, royal blue, sapphire, turquoise, ultramarine

BROWN adust, auburn, beige, biscuit, braise, bay, bronze, brune, brunette, buff, burnt umber, burnt sienna, caramel, castaneous, chestnut, chocolate, cinnamon, cocoa, coffee, drab, dun, embrown, fawn, grege, hazel, henna, infuscation, khaki, mushroom, ochre, paper bag, pumpernickel, raw sienna, raw umber, roan, rubiginous, rufous, russet, rust, scorch, seal, sepia, sorrel, suntan, sunburn, tan, taupe, toast, umber, walnut

GRAY ashiness, canescence, cinereous, cineritious, dullness, ecru, fuscous, glaucescence, greige, grisaille, gunmetal, hoar, iron, lead, mousiness, oyster, pewter, slatiness, smokiness, steel, taupe

GREEN aerugo, aestival, avocado, beryl, chartreuse, chloremia, chlorophyll, chlorosis, chlorotic, emerald, foliaged, glaucescence, grass, greensickness, ivy, jade, loden green, holly, olivaceous, olive, patina, patinate, pea-green, smaragdine, springlike, verdancy, verdantness, verdigris, verdure, vernal, virescence, viridescence, viridity

ORANGE apricot, cantaloupe, carotene, carroty, ochreous, ochroid, pumpkin, saffron, tangerine, terracotta, Titian

PINK carnation, coral, coralline, flesh-pink, incarnadine, peach, primrose, roseate, rosy, salmon

PURPLE amethystine, aubergine, bruise, empurple, fuchsia, lavender, lilac, lividity, magenta, mauve, mulberry, orchid, pansy, plum, puce, purpure, purpureous, raisin, violaceous, violet

RED beet, blowzy, cardinal, carmine, carnation, carnelian, cerise, cherry, copper, crimson, damask, encrimson, erubescence, erythema, erythematous, erythrism, erythroderma, ferruginous, fire, floridity, floridness, flushing, gules, hectic, henna, incarnadine, infrared, laky, lateritious, lobster, lurid, magenta, mantling, maroon, miniate, port, puce, raddle, rose, rosiness, rouge, rubefaction, rubicundity, rubor, rubricity, ruby, ruddiness, rufescence, rufosity, russet, rust, sanguine, scarlet, stammel, vermeil, vermilion, vinaceous

YELLOW aureateness, auric, aurify, banana, begild, bilious, biliousness, cadmium, canary, chartreuse, citreous, citrine, citron, engild, fallowness, flavescent, flaxen, fulvous, gildedness, gilt, goldenness, honey, icteric, icterus, jaundice, lemon, lutescent, luteous, luteolous, mustard, ochroid, old gold, primrose yellow, saffron, sallowness, sandy, straw, sulfur, topaz, xanthism, xanthochroism, xanthoderma

WHITE achromatic, alabaster, albescent, albinic, besnow, blanch, bleach, bone, calcimine, chalk, cream, cretaceous, eggshell, etiolate, ghastly, ivory, lactescent, lily, lime, milk, pearl, sheet, swan, sheep, fleece, flour, foam, marmoreal, niveous, paper, pearl, phantom, silver, snow, driven snow, tallow, teeth, wax, wool

VARIEGATION (diversity of colors) spectrum, rainbow, iris, chameleon, leopard, jaguar, cheetah, ocelot, zebra, barber pole, candy cane, Dalmatian, firedog, peacock, butterfly, mother-of-pearl, nacre, tortoise shell, opal, kaleidoscope, stained glass, serpentine, calico cat, marble, mackerel sky, confetti, crazy quilt, patchwork quilt, shot silk, moire, watered silk, marbled paper, Joseph's coat, harlequin, tapestry; bar code, checkerboard

variegation, multicolor; parti-color; medley or mixture of colors, spectrum, rainbow of colors, riot of color; polychrome, polychromatism; dichromatism, trichromatism; dichroism, trichroism

iridescence, iridization, irisation, opalescence, nacreousness, pearliness, chatoyancy, play of colors or light; light show; moire pattern, tabby; burelé or burelage

spottiness, maculation, freckliness, speckliness, mottledness, mottlement, dappleness, dappledness, stippledness, spottedness, dottedness; fleck, speck, speckle; freckle; spot, dot, polka dot, macula, macule, blotch, splotch, patch, splash; mottle, dapple; brindle; stipple, stippling, pointillism, pointillage

check, checker, checks, checking, checkerboard, chessboard; plaid, tartan; checker-work, variegated pattern, harlequin, colors in patches, crazy-work, patchwork; parquet, parquetry, marquetry, mosaic, tesserae, tessellation; crazy-paving; hound's tooth; inlay, damascene

stripe, striping, candy-stripe, pinstripe; barber pole; streak, streaking; striation, striature, stria; striola, striga; crack, craze, crackle, reticulation; bar, band, belt, list

mottled, motley; pied, piebald, skewbald, pinto; dappled, dapple; calico; marbled; clouded; salt-and-pepper

Source: The Concise Roget's International Thesaurus, Revised & Updated (6th Edition) More: Writing Notes & References ⚜ Writing Resources PDFs

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

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mental heal ˊ^ˋ

How I learned to write smarter, not harder

(aka, how to write when you're hella ADHD lol)

A reader commented on my current long fic asking how I write so well. I replied with an essay of my honestly pretty non-standard writing advice (that they probably didn't actually want lol) Now I'm gonna share it with you guys and hopefully there's a few of you out there who will benefit from my past mistakes and find some useful advice in here. XD Since I started doing this stuff, which are all pretty easy changes to absorb into your process if you want to try them, I now almost never get writer's block.

The text of the original reply is indented, and I've added some additional commentary to expand upon and clarify some of the concepts.

As for writing well, I usually attribute it to the fact that I spent roughly four years in my late teens/early 20s writing text roleplay with a friend for hours every single day. Aside from the constant practice that provided, having a live audience immediately reacting to everything I wrote made me think a lot about how to make as many sentences as possible have maximum impact so that I could get that kind of fun reaction. (Which is another reason why comments like yours are so valuable to fanfic writers! <3) The other factors that have improved my writing are thus: 1. Writing nonlinearly. I used to write a whole story in order, from the first sentence onward. If there was a part I was excited to write, I slogged through everything to get there, thinking that it would be my reward once I finished everything that led up to that. It never worked. XD It was miserable. By the time I got to the part I wanted to write, I had beaten the scene to death in my head imagining all the ways I could write it, and it a) no longer interested me and b) could not live up to my expectations because I couldn't remember all my ideas I'd had for writing it. The scene came out mediocre and so did everything leading up to it. Since then, I learned through working on VN writing (I co-own a game studio and we have some visual novels that I write for) that I don't have to write linearly. If I'm inspired to write a scene, I just write it immediately. It usually comes out pretty good even in a first draft! But then I also have it for if I get more ideas for that scene later, and I can just edit them in. The scenes come out MUCH stronger because of this. And you know what else I discovered? Those scenes I slogged through before weren't scenes I had no inspiration for, I just didn't have any inspiration for them in that moment! I can't tell you how many times there was a scene I had no interest in writing, and then a week later I'd get struck by the perfect inspiration for it! Those are scenes I would have done a very mediocre job on, and now they can be some of the most powerful scenes because I gave them time to marinate. Inspiration isn't always linear, so writing doesn't have to be either!

Some people are the type that joyfully write linearly. I have a friend like this--she picks up the characters and just continues playing out the next scene. Her story progresses through the entire day-by-day lives of the characters; it never timeskips more than a few hours. She started writing and posting just eight months ago, she's about an eighth of the way through her planned fic timeline, and the content she has so far posted to AO3 for it is already 450,000 words long. But most of us are normal humans. We're not, for the most part, wired to create linearly. We consume linearly, we experience linearly, so we assume we must also create linearly. But actually, a lot of us really suffer from trying to force ourselves to create this way, and we might not even realize it. If you're the kind of person who thinks you need to carrot-on-a-stick yourself into writing by saving the fun part for when you finally write everything that happens before it: Stop. You're probably not a linear writer. You're making yourself suffer for no reason and your writing is probably suffering for it. At least give nonlinear writing a try before you assume you can't write if you're not baiting or forcing yourself into it!! Remember: Writing is fun. You do this because it's fun, because it's your hobby. If you're miserable 80% of the time you're doing it, you're probably doing it wrong!

2. Rereading my own work. I used to hate reading my own work. I wouldn't even edit it usually. I would write it and slap it online and try not to look at it again. XD Writing nonlinearly forced me to start rereading because I needed to make sure scenes connected together naturally and it also made it easier to get into the headspace of the story to keep writing and fill in the blanks and get new inspiration. Doing this built the editing process into my writing process--I would read a scene to get back in the headspace, dislike what I had written, and just clean it up on the fly. I still never ever sit down to 'edit' my work. I just reread it to prep for writing and it ends up editing itself. Many many scenes in this fic I have read probably a dozen times or more! (And now, I can actually reread my own work for enjoyment!) Another thing I found from doing this that it became easy to see patterns and themes in my work and strengthen them. Foreshadowing became easy. Setting up for jokes or plot points became easy. I didn't have to plan out my story in advance or write an outline, because the scenes themselves because a sort of living outline on their own. (Yes, despite all the foreshadowing and recurring thematic elements and secret hidden meanings sprinkled throughout this story, it actually never had an outline or a plan for any of that. It's all a natural byproduct of writing nonlinearly and rereading.)

Unpopular writing opinion time: You don't need to make a detailed outline.

Some people thrive on having an outline and planning out every detail before they sit down to write. But I know for a lot of us, we don't know how to write an outline or how to use it once we've written it. The idea of making one is daunting, and the advice that it's the only way to write or beat writer's block is demoralizing. So let me explain how I approach "outlining" which isn't really outlining at all.

I write in a Notion table, where every scene is a separate table entry and the scene is written in the page inside that entry. I do this because it makes writing nonlinearly VASTLY more intuitive and straightforward than writing in a single document. (If you're familiar with Notion, this probably makes perfect sense to you. If you're not, imagine something a little like a more contained Google Sheets, but every row has a title cell that opens into a unique Google Doc when you click on it. And it's not as slow and clunky as the Google suite lol) (Edit from the future: I answered an ask with more explanation on how I use Notion for non-linear writing here.) When I sit down to begin a new fic idea, I make a quick entry in the table for every scene I already know I'll want or need, with the entries titled with a couple words or a sentence that describes what will be in that scene so I'll remember it later. Basically, it's the most absolute bare-bones skeleton of what I vaguely know will probably happen in the story.

Then I start writing, wherever I want in the list. As I write, ideas for new scenes and new connections and themes will emerge over time, and I'll just slot them in between the original entries wherever they naturally fit, rearranging as necessary, so that I won't forget about them later when I'm ready to write them. As an example, my current long fic started with a list of roughly 35 scenes that I knew I wanted or needed, for a fic that will probably be around 100k words (which I didn't know at the time haha). As of this writing, it has expanded to 129 scenes. And since I write them directly in the page entries for the table, the fic is actually its own outline, without any additional effort on my part. As I said in the comment reply--a living outline!

This also made it easier to let go of the notion that I had to write something exactly right the first time. (People always say you should do this, but how many of us do? It's harder than it sounds! I didn't want to commit to editing later! I didn't want to reread my work! XD) I know I'm going to edit it naturally anyway, so I can feel okay giving myself permission to just write it approximately right and I can fix it later. And what I found from that was that sometimes what I believed was kind of meh when I wrote it was actually totally fine when I read it later! Sometimes the internal critic is actually wrong. 3. Marinating in the headspace of the story. For the first two months I worked on [fic], I did not consume any media other than [fandom the fic is in]. I didn't watch, read, or play anything else. Not even mobile games. (And there wasn't really much fan content for [fandom] to consume either. Still isn't, really. XD) This basically forced me to treat writing my story as my only source of entertainment, and kept me from getting distracted or inspired to write other ideas and abandon this one.

As an aside, I don't think this is a necessary step for writing, but if you really want to be productive in a short burst, I do highly recommend going on a media consumption hiatus. Not forever, obviously! Consuming media is a valuable tool for new inspiration, and reading other's work (both good and bad, as long as you think critically to identify the differences!) is an invaluable resource for improving your writing.

When I write, I usually lay down, close my eyes, and play the scene I'm interested in writing in my head. I even take a ten-minute nap now and then during this process. (I find being in a state of partial drowsiness, but not outright sleepiness, makes writing easier and better. Sleep helps the brain process and make connections!) Then I roll over to the laptop next to me and type up whatever I felt like worked for the scene. This may mean I write half a sentence at a time between intervals of closed-eye-time XD

People always say if you're stuck, you need to outline.

What they actually mean by that (whether they realize it or not) is that if you're stuck, you need to brainstorm. You need to marinate. You don't need to plan what you're doing, you just need to give yourself time to think about it!

What's another framing for brainstorming for your fic? Fantasizing about it! Planning is work, but fantasizing isn't.

You're already fantasizing about it, right? That's why you're writing it. Just direct that effort toward the scenes you're trying to write next! Close your eyes, lay back, and fantasize what the characters do and how they react.

And then quickly note down your inspirations so you don't forget, haha.

And if a scene is so boring to you that even fantasizing about it sucks--it's probably a bad scene.

If it's boring to write, it's going to be boring to read. Ask yourself why you wanted that scene. Is it even necessary? Can you cut it? Can you replace it with a different scene that serves the same purpose but approaches the problem from a different angle? If you can't remove the troublesome scene, what can you change about it that would make it interesting or exciting for you to write?

And I can't write sitting up to save my damn life. It's like my brain just stops working if I have to sit in a chair and stare at a computer screen. I need to be able to lie down, even if I don't use it! Talking walks and swinging in a hammock are also fantastic places to get scene ideas worked out, because the rhythmic motion also helps our brain process. It's just a little harder to work on a laptop in those scenarios. XD

In conclusion: Writing nonlinearly is an amazing tool for kicking writer's block to the curb. There's almost always some scene you'll want to write. If there isn't, you need to re-read or marinate.

Or you need to use the bathroom, eat something, or sleep. XD Seriously, if you're that stuck, assess your current physical condition. You might just be unable to focus because you're uncomfortable and you haven't realized it yet.

Anyway! I hope that was helpful, or at least interesting! XD Sorry again for the text wall. (I think this is the longest comment reply I've ever written!)

And same to you guys on tumblr--I hope this was helpful or at least interesting. XD Reblogs appreciated if so! (Maybe it'll help someone else!)

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

Ideas to Get Rid of Writer's Block Inspo

Have a character uncover a family secret that changes everything. Write about how this revelation affects their relationships and choices.

Force two characters who dislike each other to team up for a common goal. Explore how their dynamic changes over time.

Introduce a flashback that explains a character’s motivation. This can provide depth and context to their current actions.

Reveal that a character has been on a secret mission all along. How do the others react when they find out?

Introduce a mystery illness that affects one of your main characters. Explore the emotional and physical toll it takes.

Allow a character to travel back in time to a pivotal moment in their life. Do they change anything? What are the repercussions?

Develop a story around two characters who fall in love but are from feuding families or groups. How do they navigate their relationship?

Have an unlikely character step up as the hero in a crisis. What drives them to take this role?

Create a plot around a valuable object that goes missing. Who took it, and why is it important?

Introduce a character haunted by their past mistakes. How do they seek redemption or closure?

Write a chapter from a different character’s point of view. How does this shift change the story?

Have a character from the past show up unexpectedly. What do they want, and how does their presence impact the story?

Incorporate a vivid dream or nightmare that provides insight into a character’s fears or desires.

Move the story to a completely new location. How do the characters adapt to their new environment?

actual writing advice

1. Use the passive voice.

What? What are you talking about, “don’t use the passive voice”? Are you feeling okay? Who told you that? Come on, let’s you and me go to their house and beat them with golf clubs. It’s just grammar. English is full of grammar: you should go ahead and use all of it whenever you want, on account of English is the language you’re writing in.

2. Use adverbs.

Now hang on. What are you even saying to me? Don’t use adverbs? My guy, that is an entire part of speech. That’s, like—that’s gotta be at least 20% of the dictionary. I don’t know who told you not to use adverbs, but you should definitely throw them into the Columbia river.

3. There’s no such thing as “filler”.

Buddy, “filler” is what we called the episodes of Dragon Ball Z where Goku wasn’t blasting Frieza because the anime was in production before Akira Toriyama had written the part where Goku blasts Frieza. Outside of this extremely specific context, “filler” does not exist. Just because a scene wouldn’t make it into the Wikipedia synopsis of your story’s plot doesn’t mean it isn’t important to your story. This is why “plot” and “story” are different words!

4. okay, now that I’ve snared you in my trap—and I know you don’t want to hear this—but orthography actually does kind of matter

First of all, a lot of what you think of as “grammar” is actually orthography. Should I put a comma here? How do I spell this word in this context? These are questions of orthography (which is a fancy Greek word meaning “correct-writing”). In fact, most of the “grammar questions” you’ll see posted online pertain to orthography; this number probably doubles in spaces for writers specifically.

If you’re a native speaker of English, your grammar is probably flawless and unremarkable for the purposes of writing prose. Instead, orthography refers to the set rules governing spelling, punctuation, and whitespace. There are a few things you should know about orthography:

English has no single orthography. You already know spelling and punctuation differ from country to country, but did you know it can even differ from publisher to publisher? Some newspapers will set parenthetical statements apart with em dashes—like this, with no spaces—while others will use slightly shorter dashes – like this, with spaces – to name just one example.

Orthography is boring, and nobody cares about it or knows what it is. For most readers, orthography is “invisible”. Readers pay attention to the words on a page, not the paper itself; in much the same way, readers pay attention to the meaning of a text and not the orthography, which exists only to convey that meaning.

That doesn’t mean it’s not important. Actually, that means it’s of the utmost importance. Because orthography can only be invisible if it meets the reader’s expectations.

You need to learn how to format dialogue into paragraphs. You need to learn when to end a quote with a comma versus a period. You need to learn how to use apostrophes, colons and semicolons. You need to learn these things not so you can win meaningless brownie points from your English teacher for having “Good Grammar”, but so that your prose looks like other prose the reader has consumed.

If you printed a novel on purple paper, you’d have the reader wondering: why purple? Then they’d be focusing on the paper and not the words on it. And you probably don’t want that! So it goes with orthography: whenever you deviate from standard practices, you force the reader to work out in their head whether that deviation was intentional or a mistake. Too much of that can destroy the flow of reading and prevent the reader from getting immersed.

You may chafe at this idea. You may think these “rules” are confusing and arbitrary. You’re correct to think that. They’re made the fuck up! What matters is that they were made the fuck up collaboratively, by thousands of writers over hundreds of years. Whether you like it or not, you are part of that collaboration: you’re not the first person to write prose, and you can’t expect yours to be the first prose your readers have ever read.

That doesn’t mean “never break the rules”, mind you. Once you’ve gotten comfortable with English orthography, then you are free to break it as you please. Knowing what’s expected gives you the power to do unexpected things on purpose. And that’s the really cool shit.

5. You’re allowed to say the boobs were big if the story is about how big the boobs were

Nobody is saying this. Only I am brave enough to say it.

Well, bye!

---

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.

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