That-little-lychee - Amelieee

GIMME ONE I BEG OF YOU 🙏

i can assign a vibe to anything its so weird

How to Write a Character with THAT *Sad Aura*

Have you ever stumbled upon a character, who, despite radiating wholesome, positive energy, also has a subtle undertone of sadness? It's kind of intriguing, isn't it? If you've ever wanted to write a perhaps more complex character or explore writing emotions, why not check this out?

What am I talking about?

Let's do a quick introduction as to what I mean. I've said this a couple times already, but to the reader, this character feels despondent even though they act nothing like it. This doesn't mean they have to act happy all the time (like my first example); they might act cold, or apathetic, but the point is they don't act visibly sad.

This faint melancholic mood provides a charming, or even nostalgic feel to the audience through ONE character! Isn't that kind of fun?

Eye Expressions

This character will not show sadness on their face--that contradicts the idea of "sad aura". But you know what they say, right? Eyes are the windows to the soul; they do not lie!

When trying to highlight some of this unhappiness, write about their eyes. Talk about how their eyes look oddly dim sometimes when they smile, or how they don't meet their friend's eyes when they laugh. These cues are simple but powerful.

Adverbs

You always have to be mindful of adverbs, but here especially, adverbs (and adjectives) unconsciously influence how your audience views the character.

For example, avoid saying too much of "smiled brightly" or "talked excitedly". If these are the adverbs you purposefully want to use to portray your character, then by all means! However, these adverbs add a happier connotation, which you must be aware of. If you want something more neutral (which I recommend for the most part), consider using lighter adverbs/adjectives, such as "smiled softly", or "offered lightly".

Reasons

A reason is normally needed for almost everything. Here, you want genuine reasons to back up why your character doesn't ask for help, thus forcing them to work through their unhappiness alone.

This could be because they think other people can't solve the problem, they don't want to bother others, they don't think their issue is a big deal, or they simply believe there's no solution.

Physical Hints

And if all this isn't enough, then drop some physical hints! Perhaps your character gets distracted often, tends to hesitate before speaking, deflects concerned comments with jokes, or has a hard time acknowledging reassurances, even when it's unrelated to their personal troubles. These habits suggest the idea your character has more than meets the eye.

Mood Changes

When people are upset, their mood tends to fluctuate. For most of us, we're typically upset for a short period, so we cycle through emotions such as anger, sadness, and even joy during these moments.

However, if your character is consistently sad, not just for a day or two, their mood might shift on different days. Maybe they're really tired one day, hardly speaking. Maybe the next, they are more frustrated, snapping at people or ignoring them. Maybe the day after that, they are overly energetic, bouncing everywhere and talking all the time, providing a bit of whiplash.

Purpose

Similar to having a reason for their reluctance of reaching out, you also want to ensure that they have a purpose for fighting. Why haven't they given up yet? This is especially crucial when considering the real world, where feeling upset leads to a lack of motivation.

So, what keeps them going, then? Do they want to fix their regrets? Do they want to change?

Backstory and Actions

To be honest, I wouldn't consider a backstory an absolute necessity, but I highly suggest creating one. Why? Because you can accurately identify the reason for your character's guilt, regret, and sorrows from the past with an actual backstory.

The events of your character's past always influence their future actions.

For example, if they were a part of a severe car accident in the past, perhaps they only feel comfortable when they are the driver in the future because that means they can control the car.

Conclusion

This character is not especially different from any other character, besides the fact that they are neither obvious nor overly secretive of their genuine feelings.

With that being said, focus on embodying their eye expressions, be careful about which adverbs and adjectives you choose to use--I recommend choosing ones with more neutral connotations for a sense of melancholy, explain why your character keeps their sadness to themselves and why they keep fighting despite it, show mood fluctuations, drop physical hints, such as actions and/or specific personality traits, and make sure to connect their past to their present!

Happy writing~

3hks ^^

Lust, Love, and the Sweet, Sweet Burn: Writing Romance That Makes Readers Feel

Let’s talk romance—specifically the kind that makes readers scream into pillows, clutch their chests, and whisper “just kiss already” at the page. Whether you're a seasoned romance author or just dipping your toes into the love pool, there's one golden truth to remember: good romance is about *tension*. And tension lives in the delicious space between lust and love.

First Comes Lust…

Lust is that electric charge between characters. It’s the stolen glances, the way one of them notices the other's hands or voice or the way they lean in a little too close when they talk. Lust is immediate. It’s instinctual. And let’s be honest, it’s fun as hell to write.

But if you stop there—if all your characters do is pine and make out and pine some more—you risk making it all surface-level. Lust is the spark, but it’s not the whole fire.

Then Comes Love (Eventually)

Love, real love, is slower. It’s about trust, vulnerability, and seeing the other person fully—flaws, baggage, weird hobbies and all—and still leaning in. It happens in the quiet moments: making tea for someone who's had a bad day, remembering how they take their coffee, watching them geek out about something they care about. That’s where readers fall with your characters.

The magic is in the shift—when your characters go from “I want to kiss you until my brain falls out” to “I’d burn the world down if it meant keeping you safe.” It doesn’t happen all at once. And that’s where the slow burn comes in.

Ah, the Slow Burn: Delicious Torture

Slow burn romance is a masterclass in delayed gratification. It's all about restraint. You’re letting readers live in the tension—the almost-touches, the lingering stares, the confessions that never quite happen. And every time the characters get this close to admitting their feelings or acting on them and then don’t? Readers get more hooked.

But here’s the key: something has to be progressing. Slow burn doesn’t mean nothing happens. It means everything matters. 

Every moment builds the foundation. Every emotional beat gets us one step closer to that glorious payoff.

Think of it like cooking over a low flame. You’re letting the flavors deepen. So when the first kiss finally lands? It’s earned. It’s fireworks. It matters.

Tips for Writing a Killer Slow Burn

- Give them obstacles. Emotional baggage, clashing goals, external threats—give your characters legit reasons not to jump into bed right away.

- Let them see each other. Intimacy isn’t just physical. Let your characters learn each other’s fears, dreams, scars.

- Build micro-tension. Hands grazing. One of them patching the other up after a fight. A joke that turns into a confession. Let every small moment do work.

- Make the payoff worth it. When they finally get together—make it satisfying. Let it feel like the culmination of everything they’ve been through.

Don’t Just Make Them Hot—Make Them Real

It’s easy to write about two people who are attracted to each other. What’s harder—and infinitely more rewarding—is writing two people who choose each other. Who grow, change, fight, make up, and fall deeper the whole time.

So go ahead. Light the match. Let them burn slowly. And when your readers are begging for that kiss? That’s how you know you’ve done it right.

MY HEART BRO-

The remix if you haven't seen it!! Idk how they managed to make it MORE heartbreaking.

How to Write a Character Who Feels Like Throwing Up

When fear, dread, or guilt gets sickening—literally—your character is consumed with a gut-clenching feeling that something is very, very wrong. Here's how to write that emotion using more than the classic "bile rose to the back of their throat".

Start with the Stomach

This isn’t just about discomfort. It’s about a complete rebellion happening inside their body.

Their stomach twists like a knot that keeps pulling tighter

A cold sweat beads on their neck, their palms, their spine

Their insides feel sludgy, like everything they’ve eaten is suddenly unwelcome

They double over, not from pain, but because sitting still feels impossible

Add Sensory Overload

Vomiting isn’t just a stomach reaction—it’s the whole body.

Their mouth goes dry, and then too wet

Their jaw tightens, trying to contain it

A sudden heat blooms in their chest and face, overwhelming

The back of their throat burns—not bile, but the threat of it

Breathing becomes a conscious effort: in, out, shallow, sharp

Emotional Triggers

Nausea doesn’t always need a physical cause. Tie it to emotion for more impact:

Fear: The kind that’s silent and wide-eyed. They’re frozen, too sick to speak.

Guilt: Their hands are cold, but their face is flushed. Every memory plays like a film reel behind their eyes.

Shock: Something just snapped inside. Their body registered it before their brain did.

Ground It in Action

Don’t just describe the nausea—show them reacting to it.

They press a fist to their mouth, pretending it’s a cough

Their knees weaken, and they lean on a wall, pretending it’s just fatigue

They excuse themselves quietly, then collapse in a bathroom stall

They swallow, again and again, like that’ll keep everything down

Let the Consequences Linger

Even if they don’t actually throw up, the aftermath sticks.

A sour taste that won’t leave their mouth.

A pulsing headache

A body that feels hollowed out, shaky, untrustworthy

The shame of nearly losing control in front of someone else

Let Them Be Human

A character feeling like vomiting is vulnerable. It's real. It’s raw. It means they’re overwhelmed in a way they can’t hide. And that makes them relatable. You don’t need melodrama—you need truth. Capture that moment where the world spins, and they don’t know if it’s panic or flu or fear, but all they want is to get out of their own body for a second.

Don't just write the bile. Write the breakdown.

I just like putting Alastor in uncomfortable situations for him lolol

LISTEN UP AGAIN KIDS STOP REBLOGGING THIS FUCKING GARBAGE POST. IT IS 100% FUCKING BULLSHIT AND CAN AND MOST DEFINITELY WILL LITERALLY KILL. DO YOU NOT SEE WARNING LABELS THAT SAY “DO NOT INDUCE VOMITING”? THEY AREN’T FUCKING AROUND. YOU CAN FUCKING BURN THEIR ESOPHAGUS BY CAUSING VOMITING, CAUSE CHOKING, DROWNING, OR MAKE IT WORSE! AGAIN DO NOT FORCE ANYTHING DOWN ANYONE’S THROAT. THEY. CAN. DROWN. IF SOMEONE IS LOSING CONCIOUSNESS ALL THE CHIT CHAT IN THE WORLD WILL NOT PREVENT IT AT THAT POINT THEY ARE IN SERIOUS DANGER. “Buuut i don’t wanna take them to the hospital!!!” WELL SUNSHINE GLAD YOU’D RATHER HAVE A DEAD FRIEND THAN A LIVING ONE BUT YOU’RE IN LUCK CALL FUCKING POISON CONTROL. THEY ARE NOT THE COPS. THEY WILL HELP YOU. AND IF THEY SAY GO TO THE FUCKING HOSPITAL YOU GO TO THE FUCKING HOSPITAL. NO EXCUSES. 0. NONE. I have seen this shit cross my dash SO MANY TIMES so PLEASE fucking reblog this and prevent some well meaning idiot from accidentally killing someone they love!

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if jude went to the mortal world and came back with a gun the series would be a standalone

I love this so much-

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