I Mean, I Want To Protect The Precious Smol Bean Because She Is So Kind And Gentle...but At The Same

@livyamel

You can write that fainting competition now where your opponent is Dante!

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! 

Rose jellyfish. Only visible to the broken hearted. Dispenses little bits of stardust till their hearts are mended, at which point the jellyfish disappears again. 🪼🌹✨

Very well thought out headcanons.

do u have any headcanons about hk characters and spellwork (who can use what, what's possible and what isn't, whatever) :V?

take all this with a pinch of salt as i am typing from my phone in the back of a van and i am very sleepy

anyone could learn to spellcast with Soul! in the same way anyone could become an astrophysicist. most people do not.

the Soul Sanctum, and the Pale King's use of Soul spellwork, was considered highly innovative. mostly spellcasting is something only a few people can do/bother learning, but in Hallownest the King encourages it and the Soul Sanctum is dedicated to honing the craft, which makes Hallownest weirdly ahead of the game compared to a lot of places. soul scholars were kind of like the educated elite. but also wizards. people talked

you could simplify and say you have two main schools of thought: the scientific approach (Soul Sanctum, Pale King) and the spiritual approach (Snail Shamans, Moth Tribe). the two ways of thinking are not mutually exclusive and often overlap though. both can be used to great effect

there are bugs out there who have done crazy high level things like the Soul Sanctum in less scientifically-themed contexts, definitely. this tier of fanatical spell meddling is rareish though

Soul is the word many bugs use for the life force inside all living things. and yeah, basically! it's not exactly your sense of self though that's different

Soul and Void are effectively infinite. harnessing Soul to cast spells involves channelling it through certain means and generally you only have certain limited reserves to draw from at a time (see Soul Vessels for example)

Soul Master and the rest of the scholars were fixated on surpassing that limit. kind of a "what if humans used 100% of their brain" situation

if you actually found a way to use all of one bug's Soul at once it would be like splitting the atom - incredible amounts of energy released at once, even from an average bug who isn't a spell user in the first place. Mistakes and Follies collapsed into themselves long before they got anywhere near that level. it's basically just not sustainable or doable. (soul master voice: but is it)

spellwork is also kind of like using a certain muscle a lot. if you cast a lot of spells it'll get easier for you. if you're inherently a gifted type who has a lot of potential for spellwork, but never use it or pursue it, you'll still be pretty bad at it and get tired quickly compared to someone with no inherent ability who practices every day

Void is basically like its own version of Soul. the two are different but if you scanned a Void being and found no traces of Soul that doesn't mean they're soulless, it means they have their own version. you're looking at it. it's Void

the average bug does not contain any traces of Void by nature and thus spellwork with Void is rare and very poorly understood. those ancient bugs who worshipped the Void however would have had some in their system. how? don't ask questions you don't want answers to

once upon a time, all Void is/was, in all traces across the world, part of one unit. once in the dawn of time etc etc. the world has changed since but it's fundamentally all the same to itself.

spellwork with Void is essentially using Soul to bind and command some Void to do what you want it to do. this is why shade spell upgrades cost Soul, it's the Soul making it do that thing.

mess around with Void too much if you're a bug and it will do very strange things to the body. it stains shell, it leaks from the joints and the eyes, it puts strange thoughts in your head. Soul is easier, safer, and better understood, and also isn't partly echoing with its own collective sentience.

not that this kind of thing deters a Snail Shaman. pretty sure if a Snail Shaman was given half the chance they'd learn to spellcast with anything. magnets. active plutonium. whatever. mind your business

if you know how to see Soul inside a body, and concentrate, living things generally appear as opaque glowing white cutouts. the Soul inside a living creature is saturated to the point of looking like a white shape in space. you can't see this usually because their body is in the way and it's sort of, tied into their cells or whatever

you can use spellwork to do pretty much anything, if you're clever. the sky is the limit. flashy stuff like attack spells, subtle stuff like enhancing your senses or letting yourself see things not usually visible to the eye, defying gravity, Whatever. almost anything you can think of. the main barrier is that it's difficult and taxing. the average bug doesn't bother

oh god i haven't even done Dream. okay a short rundown: Dream is different again. it's about the self, about thoughts, about the conscious and subconscious, about the mind. you don't so much spellcast with Dream as just kind of... manipulate and explore what's around you. connect with others. influence, sometimes. mostly understand. it's not technically spellcasting though and this post is getting long so i'll leave it there for now sdffgjk

My little siblings decided these these Booflys are cows because they have booo in the name just like cows go mooo. Furthermore, they are so big and peaceful that they don't realize you're there so they run over or into you. Exactly like cows.

Therefore, I am commanded by my little siblings to beat the game so we can save the Booflys cows because the Evil Radiance won't let them eat. How dare she.

How to draw ears, by me.

tip me a ko-fi!

Steelix — S&V Paradox Rift #208

Illustrated by: nisimono

Remember when I said this?

Finally finished and I'm worried about how you all will take it. Oh well. At least I got it somewhat edited.

AND Lurien's essay is now 45 pages AND I discovered a secret room that I thought was made up by the fans. Goodness gracious Lurien, WHY!!!!

Anyway...expect the next part to "What's up with the Dreamers' Houses?" really soon!

So...

Lurien had to go hide more stuff inside his Spire. His essay is now 35 pages and counting. It might take a bit before the next part is up.

While I'm writing the next part, you all can go look inside his Spire and see if you can discover the really weird thing for yourself.