YES IT HELPS A LOT THANK YOU
Hi there
so in the book i'm writing the main character, Talli, gets stabbed and hits her head on a rock or smthing which damages her memory a bit
the book opens with her waking up in the hostpital, so I was how she might be treated for a stab wound or how long they would keep her in the hospital, etc etc
would you know anything about that kind of thing? I don't need it to be INSANELY specific, it's fiction, but I would like something that's pretty close to real life
tyyyy!!!
Hello hello, I hope this helps and good luck on your book!!
Alrighty! So, the treatment for the knife wound would entirely depend on where she was stabbed and how deep the stab wound was. If you wanna keep it safe and simple, I'd go with the arms, legs, or shoulders. You could also go for the abdomen, but it would have to be an incredibly shallow stab. Don't go for the chest area or back, that makes thing super complicated. If you wanna make it in any of those other areas, feel free to ask about them! In an emergency situation, we'd try to control the bleeding by applying direct pressure, packing the wound (if it's on an extremity), or applying a tourniquet (also of it's in an extremity). With extremities, there is always the possibility, if enough force and a big enough knife is used, that bones can fracture. I'm not too sure what they'd do in a hospital setting, but based on what I've learned, unless there are some weird underlying stuff going on, they'd stitch the wound and monitor for internal bleeding. Something both EMS and the hospital will be super worried about, especially if the bleeding at the stab wound has been controlled, is the head trauma. With head trauma there is always the possibility that there is some sort of brain bleed, which is life threatening and needs surgery to fix. They'd keep her in the hospital for a long time until they've ruled the head trauma okay enough to leave, though I'm not sure how long that would be. Also, just for funsies, the part of the brain that is in charge of memories is called your hippocampus, which is located in the temporal lobes of the brain, so she'd probably have hit the side of her head! :)
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It’s not even funny how relatable this is.
You’re staring at the page. The cursor blinks like it’s taunting you. You want to write—hell, you even know what you want to write about—but it’s like your brain’s frozen. That, my friend, is the all-too-familiar little bitch known as writer’s block.
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Here’s what’s helped me, and maybe it'll help you too.
Seriously. Open a doc and let yourself write the worst possible version of what you’re trying to say. No pressure. No editing. You can always clean it up later. A messy first draft is better than no draft.
Sometimes your brain just needs a different view. Go outside. Sit at a café. Write on your phone instead of your laptop. A small change can trick your brain into feeling inspired again.
Forget structure. Forget plot. Just go full chaos mode. Rant about your characters, the scene, or how much writing sucks today. That little brain dump might lead you to a breakthrough.
A poem. A Tumblr post. A flash fiction piece. Sometimes reading a spark of good writing reminds your brain how fun words can be.
Writer’s block is normal. It doesn’t mean you’re broken. It just means your brain’s buffering. Rest, hydrate, and be gentle with yourself. Then try again.
---
Writing is weird. Some days it flows like magic, and other days it’s like dragging your soul through the trenches. But if you’re stuck, don't give up on it— the words will come back.
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".
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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.
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Shock: Something just snapped inside. Their body registered it before their brain did.
Don’t just describe the nausea—show them reacting to it.
They press a fist to their mouth, pretending it’s a cough
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A pulsing headache
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The shame of nearly losing control in front of someone else
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.
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.
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.
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.
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.
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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.
let’s see how many transphobics we can weed out
I love this so much-
PRECIOUS :P
bisexual teen writer, loves reading & music, extroverted theatre kid <3
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