I’m Noticing An Increase In New Fic Writers On AO3 Who…uh…mayy Not Know How To Format Their Fics

3 More Character Types the World Needs More Of

Or at least, I do.

1. The denied redeemed villain

I need this. So badly right now. So, so, so many “redemption arcs” are half-assed and carry undertones of guilt by the heroes, gaslighting them into thinking the villain “wasn’t all that bad” right before they make some big heroic sacrifice, as if that’s ever enough to make up for the damage that was done.

But you know what I never see? A villain who’s done some awful shit, wakes up to reality, tries to apologize and… is denied. No, it’s not enough to be sorry. No, you’re not absolved of your crimes just because you cry really hard on your knees. Yes, you have to work for it. Yes, even if you work for it for the rest of your whole life, those you hurt are not obligated to forgive you.

Example that sadly did not happen in canon: Enji Todoroki

2. The liar revealed who loses

This fucker lies and cheats his way into his lover’s arms (and liars revealed are always men, because their love interests are always women put in the place of “but he tried really hard and you need to forgive him uwu” unless it’s gay). Similar to above, no, you do not get rewarded just for feeling sorry.

This character builds an entire relationship (and it’s specifically romance that I take such an issue with) on a lie. They are not who they say they are, specifically, they lie about their identity because they know their lover would not let this happen if they knew the truth.

It’s one thing to lie about something inconsequential, or to lie about something unrelated, but to lie deliberately to present yourself as the perfect suitor—and these are never little white lies, these are usually entirely false identities, or secrets so damning that risking the truth could mean arrest or even death—just. Why?

Yeah, okay, you never thought you’d get this far. Cool. You don’t have to tell her the truth, but you have to leave before you trick her into sleeping with you.

It’s just. So squicky. And the lesson always is that he deserves love, that he makes up for it with everything else, that he’s just got a winning personality. She always forgives him, even if they fight about it, it’s so, so predictable.

Examples that did not lose: Aladdin, Evan Hansen

3. The paragon who loses faith

I don’t know that we need a whole bunch of these characters, but so many paragons are painted as heroes with unshakable loyalty to their causes and I’d love to see a devolution of character where they just can’t keep smiling and pretending it’s alright. That there is a limit to how much shit they can take.

They don’t have to go full villain, but maybe they just stop caring, maybe they get cynical, maybe they just don’t show up for work the next day, maybe they’re not there when they’re needed the most.

There’s a few stories I can think of where the masses realize they’ve screwed up and show the hero that their faith has been rewarded (Nolan Bats being one of them) but I mean really a hero who just cannot take it anymore, throws in the towel, and walks away knowing it’s the hardest thing they’ve ever had to do.

Example: (kind of) Captain America

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Sorry this list is kind of a bummer. It’s a bummer kind of week.

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Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

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Internal conflict writing ideas

Not everything has to be fight scenes

—Losing something of emotional value and remembering its history and why it’s important to the character

—Reliving a traumatic event

—Running into an old friend who’s either completely changed since they’ve last seen each other or far too similar, leaving the character to wonder about how they’ve matured and grown compared to this other person

—Internally deciding if they should voice a fear or concern to the group, even if they might look silly or ridiculous doing so

—Friends vs family in terms of choosing who to follow and listen too

—Feeling unqualified to work on a project or be apart of the adventure

—Romantic feelings for someone they shouldn’t and dealing with how they should proceed internally. (THIS MEANS RIVALS OR FORBIDDEN ROMANCE. NOT ANYTHING ILLEGAL!!!)

—Thinking about mortality and death after being reminded of an late friend/family passing

—Being less talented at something years later when they used to be the best in that field

—Finding an old photo that carries much more emotional significance now than it did X years ago.

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Transition Words

Determine the type of signal you need.

Select from that signal group the word which is most appropriate to the meaning of your sentences.

Note: The same transition word or phrase can sometimes serve different purposes.

To signal an addition:

in addition, furthermore, moreover, also, equally important, likewise, another, again

To signal an example:

for example, for instance, thus, in other words, as an illustration, in particular

To signal a suggestion:

for this purpose, to this end, with this objective in mind

To signal emphasis:

indeed, truly, again, to repeat, in fact

To signal granting a point:

while it may be true, in spite of this

To signal a summary/conclusion:

in summary, in conclusion, therefore, finally, consequently, accordingly, in short, in brief, as a result, on the whole, thus

To signal the development of a sequence:

Value sequence: first, second, secondly, third, thirdly, next, last, finally

Time sequence: then, afterward, next, subsequently, previously, first, second, at last, meanwhile, in the meantime, immediately, soon, at length, yesterday

Space sequence: above, across, under, beyond, below, nearby, nearer, opposite to, adjacent to, to the left/right, in the foreground, in the background

To signal a relationship:

Similarity: similarly, likewise, in like manner

Contrast: in contrast to, however, but, still, nevertheless, yet, conversely, notwithstanding, on the other hand, on the contrary, at the same time, while this may be true

Cause and Effect: consequently, thus, therefore, accordingly, hence, as a result

To signal an argument:

accordingly, as a result, at the same time, besides, equally important, in fact, otherwise, therefore

To signal a comparison:

also, at the same time, in like manner, in the same way, likewise, similarly, so too

To signal a contrast:

but, however, in contrast with, instead, nevertheless, on the contrary, on the other hand, otherwise, yet

More: Word Lists ⚜ Writing Resources PDFs

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How to avoid White Room Syndrome

by Writerthreads on Instagram

A common problem writers face is "white room syndrome"—when scenes feel like they’re happening in an empty white room. To avoid this, it's important to describe settings in a way that makes them feel real and alive, without overloading readers with too much detail. Here are a few tips below to help!

Focus on a few key details

You don’t need to describe everything in the scene—just pick a couple of specific, memorable details to bring the setting to life. Maybe it’s the creaky floorboards in an old house, the musty smell of a forgotten attic, or the soft hum of a refrigerator in a small kitchen. These little details help anchor the scene and give readers something to picture, without dragging the action with heaps of descriptions.

Engage the senses

Instead of just focusing on what characters can see, try to incorporate all five senses—what do they hear, smell, feel, or even taste? Describe the smell of fresh bread from a nearby bakery, or the damp chill of a foggy morning. This adds a lot of depth and make the location feel more real and imaginable.

Mix descriptions with actions

Have characters interact with the environment. How do your characters move through the space? Are they brushing their hands over a dusty bookshelf, shuffling through fallen leaves, or squeezing through a crowded subway car? Instead of dumping a paragraph of description, mix it in with the action or dialogue.

Use the setting to reflect a mood or theme

Sometimes, the setting can do more than just provide a backdrop—it can reinforce the mood of a scene or even reflect a theme in the story. A stormy night might enhance tension, while a warm, sunny day might highlight a moment of peace. The environment can add an extra layer to what’s happening symbolically.

Here's an example of writing a description that hopefully feels alive and realistic, without dragging the action:

The bookstore was tucked between two brick buildings, its faded sign creaking with every gust of wind. Inside, the air was thick with the scent of worn paper and dust, mingling with the faint aroma of freshly brewed coffee from a corner café down the street. The wooden floorboards groaned as Ella wandered between the shelves, her fingertips brushing the spines of forgotten novels. Somewhere in the back, the soft sound of jazz crackled from an ancient radio.

Hope these tips help in your writing!

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How to make your writing sound less stiff

Just a few suggestions. You shouldn’t have to compromise your writing style and voice with any of these, and some situations and scenes might demand some stiff or jerky writing to better convey emotion and immersion. I am not the first to come up with these, just circulating them again.

1. Vary sentence structure.

This is an example paragraph. You might see this generated from AI. I can’t help but read this in a robotic voice. It’s very flat and undynamic. No matter what the words are, it will be boring. It’s boring because you don’t think in stiff sentences. Comedians don’t tell jokes in stiff sentences. We don’t tell campfire stories in stiff sentences. These often lack flow between points, too.

So funnily enough, I had to sit through 87k words of a “romance” written just like this. It was stiff, janky, and very unpoetic. Which is fine, the author didn’t tell me it was erotica. It just felt like an old lady narrator, like Old Rose from Titanic telling the audience decades after the fact instead of living it right in the moment. It was in first person pov, too, which just made it worse. To be able to write something so explicit and yet so un-titillating was a talent. Like, beginner fanfic smut writers at least do it with enthusiasm.

2. Vary dialogue tag placement

You got three options, pre-, mid-, and post-tags.

Leader said, “this is a pre-dialogue tag.”

“This,” Lancer said, “is a mid-dialogue tag.”

“This is a post-dialogue tag,” Heart said.

Pre and Post have about the same effect but mid-tags do a lot of heavy lifting.

They help break up long paragraphs of dialogue that are jank to look at

They give you pauses for ~dramatic effect~

They prompt you to provide some other action, introspection, or scene descriptor with the tag. *don't forget that if you're continuing the sentence as if the tag wasn't there, not to capitalize the first word after the tag. Capitalize if the tag breaks up two complete sentences, not if it interrupts a single sentence.

It also looks better along the lefthand margin when you don’t start every paragraph with either the same character name, the same pronouns, or the same “ as it reads more natural and organic.

3. When the scene demands, get dynamic

General rule of thumb is that action scenes demand quick exchanges, short paragraphs, and very lean descriptors. Action scenes are where you put your juicy verbs to use and cut as many adverbs as you can. But regardless of if you’re in first person, second person, or third person limited, you can let the mood of the narrator bleed out into their narration.

Like, in horror, you can use a lot of onomatopoeia.

Drip Drip Drip

Or let the narration become jerky and unfocused and less strict in punctuation and maybe even a couple run-on sentences as your character struggles to think or catch their breath and is getting very overwhelmed.

You can toss out some grammar rules, too and get more poetic.

Warm breath tickles the back of her neck. It rattles, a quiet, soggy, rasp. She shivers. If she doesn’t look, it’s not there. If she doesn’t look, it’s not there. Sweat beads at her temple. Her heart thunders in her chest. Ba-bump-ba-bump-ba-bump-ba- It moves on, leaving a void of cold behind. She uncurls her fists, fingers achy and palms stinging from her nails. It’s gone.

4. Remember to balance dialogue, monologue, introspection, action, and descriptors.

The amount of times I have been faced with giant blocks of dialogue with zero tags, zero emotions, just speech on a page like they’re notecards to be read on a stage is higher than I expected. Don’t forget that though you may know exactly how your dialogue sounds in your head, your readers don’t. They need dialogue tags to pick up on things like tone, specifically for sarcasm and sincerity, whether a character is joking or hurt or happy.

If you’ve written a block of text (usually exposition or backstory stuff) that’s longer than 50 words, figure out a way to trim it. No matter what, break it up into multiple sections and fill in those breaks with important narrative that reflects the narrator’s feelings on what they’re saying and whoever they’re speaking to’s reaction to the words being said. Otherwise it’s meaningless.

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Hope this helps anyone struggling! Now get writing.

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You don’t need to say “She was sad.” Show me the untouched coffee gone cold. The half-written text that never gets sent. The way she laughs at a joke and then immediately looks away. People don’t announce their emotions, they live them, they try to hide them, they pretend they’re fine when they’re not. Make your readers feel it between the words.

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Developing Backstory: Bringing Characters to Life

1. Where It All Started: The Character’s Origin

Place of Birth: Where did your character first see the world? Think about the impact of this place—was it a busy city where they had to fight for attention or a quiet village where everyone knew everyone’s business? This location doesn’t just say where they’re from; it shapes how they see the world.

Family and Upbringing: What was their family like? Were their parents loving or distant? Maybe they were raised by someone other than their parents—a mentor, an older sibling, or even alone. Family (or the lack of it) is usually one of the most significant factors in shaping who someone becomes.

Society’s Expectations: What was expected of them when they were young? Possibly, they were born into wealth, with all the pressure to continue the family legacy, or maybe they were raised to be invisible in a world where survival mattered. How does this influence who they are now? Do they accept or reject those expectations?

2. Childhood Events That Left a Mark

First Taste of Conflict: Think about the first time the character realized the world wasn’t a perfect place. Maybe they witnessed violence or faced betrayal. What was that moment, and how did it stick with them? This moment usually lays the foundation for the character’s emotional landscape—fear, hope, ambition, or distrust all come from these early life lessons.

Childhood Dreams: When they were young, what did they want to be? Every child has dreams—did they want to be a knight, a scholar, or even just someone who could travel the world? Did they have to give up these dreams? How does that lost dream shape them now?

Formative Relationships: Who was their first best friend, mentor, or enemy? Childhood friendships and relationships often create deep bonds or wounds that last into adulthood. Did they have a mentor who taught them everything, only to betray them? Did they lose a childhood friend that still haunts them?

3. The Teen Years: Where They Start to Become Who They Are

Trials and Tribulations: What’s the biggest challenge they faced as they grew up? Was it losing a loved one, failing at something important, or maybe being forced into a role they didn’t want? These teenage years are where the emotional armor starts forming—how did the difficulties they faced shape them into the person they are now?

Education or Training: How did they learn what they know? Were they formally trained by an institution, learning everything by the book, or did they learn through experience, like a street-smart survivalist? What impact does their education or lack of it have on how they interact with others?

Teenage Bonds: Did they have a first love or a first major falling out with someone close to them? These experiences often create emotional scars or connections that they carry with them into adulthood. How does that past friendship or romance influence their behavior now?

4. Key Life Events: The Big Moments That Define Them

Trauma or Loss: Was there a moment that changed everything? Think about a significant loss—maybe a loved one, their home, or a sense of identity. How does this event affect their worldview? Do they build walls around themselves or dive into relationships with reckless abandon because they fear losing more?

Victory or Failure: Did they experience a moment of triumph or devastating defeat? Success and failure leave their marks. Were they celebrated as a hero once, leading them to overconfidence, or did they fail when everyone was counting on them, leading to crippling self-doubt?

Betrayal: Was there a betrayal that shaped their adult relationships? Whether it is a friend, family member, or lover, betrayal often changes how we trust others. Do they close themselves off, constantly expecting betrayal, or try to rebuild trust, afraid of being left alone again.

5. Where They Stand Now: The Present Moment

What Drives Them Today: What’s the one thing pushing them forward now? Is it revenge, the need to restore their family’s honor, or maybe even just survival? Whatever it is, this motivation should tie directly back to their experiences.

Emotional Baggage: What unresolved emotional wounds are they carrying? Everyone has scars from their past—some are visible, others not so much. How do these emotional wounds affect how they treat others, how they react to conflict, and how they move through the world.

Current Relationships: Who’s still in their life from their past, and how do they feel about it? Did they reconnect with someone they thought they’d lost, or are they haunted by unresolved issues with people from their past? Do they have any ongoing tensions or regrets tied to these people?

6. Tying Themes to Their Backstory

Cultural or Mythological Influence: How does their personal story tie into the larger world’s mythology or culture? Do they carry a family legacy, a curse, or a prophecy that hangs over them? How does this influence their interactions with others and their perception of themselves?

Recurring Symbols: Are there objects, dreams, or people that keep showing up in their life, symbolizing their journey? Perhaps a recurring nightmare haunts them, or they carry an object from their past that’s both a source of comfort and pain

7. Character Arc: The Journey from Past to Present

How Does Their Past Shape Their Growth?: Every character has emotional baggage that needs resolving. How does their backstory drive their arc? Do they need to forgive themselves, let go of the past, or accept who they’ve become to move forward?

Unanswered Questions from the Past: Are there any mysteries in their backstory they need to solve? Maybe they’re unaware of their true parentage, or maybe there’s a forgotten event from their childhood that will resurface and change everything.

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10 Actionable Tips to Help You Get to Know Your Characters Better

Here are 10 actionable storytelling tips for writers to get to know their characters better:

1. Create Detailed Character Profiles:

Write out a comprehensive profile for each character, including their background, personality traits, physical appearance, and quirks. This helps to flesh out their individuality and makes them more real to you.

2. Conduct Character Interviews:

Write out a list of interview questions and answer them from the perspective of your character. This can include questions about their past, desires, fears, and daily life.

3. Write Backstory Scenes:

Develop scenes from your character’s past that might not appear in the main story but inform their motivations and behavior. This can include significant childhood events, first loves, or pivotal moments.

4. Develop Character Arcs:

Plan out your character’s development throughout the story. Consider how they change from beginning to end and what events catalyze their growth or decline.

5. Explore Relationships:

Write scenes or dialogues focusing on your character’s interactions with others. This can reveal how they relate to different personalities and social dynamics.

6. Utilize Character Diaries:

Have your character keep a diary or journal. Writing entries from their perspective can provide deep insights into their inner thoughts and feelings.

7. Engage in Role-Playing:

Spend time role-playing as your character. Respond to hypothetical situations or daily routines as they would, helping you understand their decision-making process and emotional responses.

8. Write Monologues:

Create monologues where your character speaks directly about their dreams, struggles, and philosophies. This can help clarify their voice and mindset.

9. Build a Character Playlist:

Compile a playlist of songs that resonate with your character’s personality, story arc, or current emotions. Music can evoke a deeper understanding of their internal world.

10. Use Character Maps:

Create visual maps that chart your character’s relationships, key life events, and emotional highs and lows. This can help you see patterns and connections in their story.

These tips can help you delve deeper into your characters' psyche, making them more vivid and relatable in your writing.

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The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

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