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✏️ Sit down, put the words on the page.

✏️ Sit down, put the words on the page.

✏️ They don't have to be good words.

✏️ They don't have to be many words.

✏️ They don't have to be inspired words.

✏️ They don't have to be motivated words.

✏️ Sit down, put the words on the page.

✏️ Writing that exists is better than writing that doesn't exist.

Types of Opening Scenes for Your Novel

Here are a handful of ways to open the very first scene in your book! There are plenty more to explore, but these are a set of very tried and true methods.

Autobiographic - your protagonist starts the book reflecting or talking about a past event. They’re looking back in time and sharing an important piece of information with the reader.

In trouble/conflict - a problem has arisen for the protagonist and a sense of urgency is established. This can be an intense conflict like a chase scene or a puzzling problem.

Mysterious opening - the reader is introduced to something peculiar (a fantasy location, unique magic, a cloaked figure, etc.) that raises questions in their mind. Their curiosity will keep them reading.

Scene-setting - the most common opening where you focus on introducing the setting and the characters in it before anything else.

The questioner - the protagonist is questioning something: “Who invited the guy in the trench coat covered in red?”

Beginning with a thought - the novel is started with a philosophical quote or meaningful thought from the protagonist. “What is living worth if she’s not doing it with me?”

Intriguing dialogue - the book starts with interesting dialogue that captures the attention of the reader.

Mood establisher - the novel opens with a deliberate mood that signifies to the reader what they should expect from the story. Ex. a spooky story may open with eerie words and a dark atmosphere.

Instagram: coffeebeanwriting

Writers, please, please, please, I am begging you

I know we don't vibe with Mary Sues, and I know we like watching characters fail...

But if your character is the world's best assassin, they shouldn't be botching nearly every single step of every single job just because the plot demands it. If your character is one of the greatest fighters to ever live, they can't badly lose every single fight the plot throws at them and then barely win the final confrontation. If your character is a competent military strategist, they need at least a few small successes during the course of the plot. If your character is an experienced leader, they can't be constantly making the kind of missteps that realistically would cause their subordinates to lose confidence in them.

If your character is good at something. Show them being good at it.

Random writing tips that my history professor just told during class that are actually helpful

Download all your sources or print them so you can turn off your wifi

Give your phone to someone

Just. WRITE. Writing is analysing, you’ll get more ideas as you write. It doesn’t need to be perfect, for now you can just blurt out words and ideas randomly. You can fix it later.

Create a skeleton/structure before writing.

Stop before you get exhausted. It’s best to stop writing when you still have some energy and inspiration left, this will also motivate you to get started again next time.

Make a to do list

Work in bite sizes. Even if it’s not much, as long as you put some ideas on paper or do some editing.

Simple language =/= boring language, simple language = clear language.

Own your words. If they are not your words, state this clearly in the text, not just in the footnotes.

STOP BEFORE YOU GET EXHAUSTED. Listing it again because it’s easily one of the best tips a teacher has ever given me.

helpful sites for writers

i have a little collection of websites i tend to use for coming up with ideas, naming people or places, keeping clear visuals or logistics, writing basics about places i've never been to, and so on. i tend to do a lot of research, but sometimes you just need quick references, right? so i thought i'd share some of them!

Behind the Name; good for name meanings but also just random name ideas, regardless of meanings.

Fantasy Name Generator; this link goes to the town name generator, which i use most, but there are lots of silly/fun/good inspo generators on there!

Age Calculator; for remembering how old characters are in Y month in Z year. i use this constantly.

Height Comparison; i love this for the height visuals; does character A come up to character B's shoulder? are they a head taller? what does that look like, height-wise? the chart feature is great!

Child Development Guide; what can a (neurotypical, average) 5-year-old do at that age? this is a super handy quickguide for that, with the obviously huge caveat that children develop at different paces and this is not comprehensive or accurate for every child ever. i like it as a starting point, though!

Weather Spark; good for average temperatures and weather checking!

Green's Dictionary of Slang; good for looking up "would x say this?" or "what does this phrase mean in this context?" i love the timeline because it shows when the phrase was historically in use. this is english only, though; i dig a little harder for resources like this in other languages.

the elusive 7 act Structure

How to write angst ?

@urfriendlywriter | req by @everynowandthenihaveacrisis @aidyaiden :)

know your character. from their deepest fears to what they cherish the most. know your deepest fear, ask yourself how you will react and feel at that moment. "oh shit, if this happened to me I'll lose my mind" what's that type of scenario for you? write it. :)

decide on the type of angst you are going for!

major, minor, physical, emotional, paranormal, spiritual, verbal, abusive, quarrel, misunderstanding, etc.

and then, decide on--what reaction you can take out of your character by doing what to them.

are they gonna be, held at a gunpoint to give something up? or have their soul wrecked by whom they thought were close to them? or is it going be horror, or etctec, decide on it.

moving on to actually writing it-

Tip 1 - Use sensory details.

her eyes brimmed with tears

his chest heaved

pain clawed at his heart, as his face twisted with hurt

his scream pierced my heart

her lips quivered

she dug her nails into her palms (to distract herself, to stop it from shaking, etc)

show what is happening to ur MC, instead of telling it.

Tip 2 - how to actually write it.

If they're panicking, make them notice too many things at once, show every detail that they're seeing, feeling, from touch, to that burning sensation on their eyes, the blood on the ground, that dryness of their throat, the buzzing in their head and their parted lips unable to trust their own sight, and--and, boom! have them register that they're really really in trouble. and that they've to act fast.

use short, very minimal type of writing for this. make it long, but not long enough that it feels like it's being dragged.

the readers should hold themselves back from skimming the page out of curiousity, they should be in their toes to find out what happens next.

what does your MC do in times of panic? do they chant calm down to themselves, do they get angry, or start crying.. or?? what makes your character genuinely feel an emotion so hard that they'll burst?

there's always something, someone that'll always give them love and easily can be that something or someone to take it away. yk.

Tip 3 - crying.

what is close to your character that u can deprive them of? will it make them cry? beg for it?

what will make ur character cry so hard, that their scream fills everyone's ear, stays in their minds like ghosts and always haunts them?

make a character who never cries, burst out with tears.

while writing crying, focus on the 5 senses, one after the other.

focus it on their breath, make them run out of breath, gasp for air, feel like they're being choked, cry so scrutinizingly. it shud punch the reader's gut.

have them replay what had just happened over and over again in their head

best books and writing styles (for angst) to analyse and learn from (in my opinion);

3rd book in the AGGTM series (yk it hit hard like a truck. it got me depressed in bed the entire time lmao)

Five Survive by Holly Jackson. The moments of red outside of the truck, and moments leading to it.

there's this book called " Warm by @untalentedwriter127 " in wattpad. the author served angst for breakfast, lunch anddd dinner.

and if there's more angsty ones, drop em in the comments! :)

Hope this helps, tag me when yall write a masterpiece! ;)

Writing Tips

Punctuating Dialogue

✧

➸ “This is a sentence.”

➸ “This is a sentence with a dialogue tag at the end,” she said.

➸ “This,” he said, “is a sentence split by a dialogue tag.”

➸ “This is a sentence,” she said. “This is a new sentence. New sentences are capitalized.”

➸ “This is a sentence followed by an action.” He stood. “They are separate sentences because he did not speak by standing.”

➸ She said, “Use a comma to introduce dialogue. The quote is capitalized when the dialogue tag is at the beginning.”

➸ “Use a comma when a dialogue tag follows a quote,” he said.

“Unless there is a question mark?” she asked.

“Or an exclamation point!” he answered. “The dialogue tag still remains uncapitalized because it’s not truly the end of the sentence.”

➸ “Periods and commas should be inside closing quotations.”

➸ “Hey!” she shouted, “Sometimes exclamation points are inside quotations.”

However, if it’s not dialogue exclamation points can also be “outside”!

➸ “Does this apply to question marks too?” he asked.

If it’s not dialogue, can question marks be “outside”? (Yes, they can.)

➸ “This applies to dashes too. Inside quotations dashes typically express—“

“Interruption” — but there are situations dashes may be outside.

➸ “You’ll notice that exclamation marks, question marks, and dashes do not have a comma after them. Ellipses don’t have a comma after them either…” she said.

➸ “My teacher said, ‘Use single quotation marks when quoting within dialogue.’”

➸ “Use paragraph breaks to indicate a new speaker,” he said.

“The readers will know it’s someone else speaking.”

➸ “If it’s the same speaker but different paragraph, keep the closing quotation off.

“This shows it’s the same character continuing to speak.”

The symbolism of flowers

Flowers have a long history of symbolism that you can incorporate into your writing to give subtext.

Symbolism varies between cultures and customs, and these particular examples come from Victorian Era Britain. You'll find examples of this symbolism in many well-known novels of the era!

Amaryllis: Pride

Black-eyed Susan: Justice

Bluebell: Humility

Calla Lily: Beauty

Pink Camellia: Longing

Carnations: Female love

Yellow Carnation: Rejection

Clematis: Mental beauty

Columbine: Foolishness

Cyclamen: Resignation

Daffodil: Unrivalled love

Daisy: Innocence, loyalty

Forget-me-not: True love

Gardenia: Secret love

Geranium: Folly, stupidity

Gladiolus: Integrity, strength

Hibiscus: Delicate beauty

Honeysuckle: Bonds of love

Blue Hyacinth: Constancy

Hydrangea: Frigid, heartless

Iris: Faith, trust, wisdom

White Jasmine: Amiability

Lavender: Distrust

Lilac: Joy of youth

White Lily: Purity

Orange Lily: Hatred

Tiger Lily: Wealth, pride

Lily-of-the-valley: Sweetness, humility

Lotus: Enlightenment, rebirth

Magnolia: Nobility

Marigold: Grief, jealousy

Morning Glory: Affection

Nasturtium: Patriotism, conquest

Pansy: Thoughtfulness

Peony: Bashfulness, shame

Poppy: Consolation

Red Rose: Love

Yellow Rose: Jealously, infidelity

Snapdragon: Deception, grace

Sunflower: Adoration

Sweet Willian: Gallantry

Red Tulip: Passion

Violet: Watchfulness, modesty

Yarrow: Everlasting love

Zinnia: Absent, affection

Writing tips for long fics that helped me that no one asked for.

1.) Don't actually delete content from your WIP unless it is minor editing - instead cut it and put it in a secondary document. If you're omitting paragraphs of content, dialog, a whole scene you might find a better place for it later and having it readily available can really save time. Sometimes your idea was fantastic, but it just wasn't in the right spot.

2.) Stuck with wording the action? Just write the dialog then revisit it later.

3.) Stuck on the whole scene? Skip it and write the next one.

4.) Write on literally any other color than a white background. It just works. (I use black)

5.) If you have a beta, while they are beta-ing have them read your fic out loud. Yes, I know a lot of betas/writers do not have the luxury of face-timing or have the opportunity to do this due to time constraints etc but reading your fic out loud can catch some very awkward phrasing that otherwise might be missed. If you don't have a beta, you read it out loud to yourself. Throw some passion into your dialog, you might find a better way to word it if it sounds stuffy or weird.

6.) The moment you have an idea, write it down. If you don't have paper or a pen, EMAIL it to yourself or put it in a draft etc etc. I have sent myself dozens of ideas while laying down before sleep that I 10/10 forgot the next morning but had emailed them to myself and got to implement them.

7.) Remember - hits/likes/kudos/comments are not reflective of the quality of your fic or your ability to write. Most people just don't comment - even if they say they do, they don't, even if they preach all day about commenting, they don't, even if they are a very popular blog that passionately reminds people to comment - they don't comment (I know this personally). Even if your fic brought tears to their eyes and it haunted them for weeks and they printed it out and sent it to their friends they just don't comment. You just have to accept it. That being said - comment on the fic you're reading now, just do it, if you're 'shy' and that's why you don't comment the more you comment the better you'll get at it. Just do it.

8.) Remove unrealistic daily word count goals from your routine. I've seen people stress 1500 - 2000 words a day and if they don't reach that they feel like a failure and they get discouraged. This is ridiculous. Write when you can, but remove absurd goals. My average is 500 words a day in combination with a 40 hour a week job and I have written over 200k words from 2022-2023.

9.) There are dozens of ways to do an outline from precise analytical deconstruction that goes scene by scene to the minimalist bullet point list - it doesn't matter which one you use just have some sort of direction. A partial outline is better than no outline.

10.) Write for yourself, not for others. Write the fic you know no one is going to read. Write the fic that sounds ridiculous. You will be so happy you put it out in the world and there will be people who will be glad it exists.

What Is Showing vs. Telling Anyway?

When I decided to get serious about writing, I wrote short stories that meant something to me. Then I let people read them, but not just anyone. I picked people who knew a thing or two about craft. English teachers, the adults in my life who recommended books to me, and a lady who became a beloved writing tutor.

Those people challenged things like my sentence structure and word choices, but my writing tutor told me to show my stories, not to tell them.

I bristled. I was already showing them! That’s creative writing! If I wanted to tell my stories, I’d just say them out loud.

She clarified—in words that flew right over my head. My brain fuzzed out and I couldn’t grasp what she was saying, but I was embarrassed, so I nodded like I understood. It took me a while longer to get the hang of things by writing more (some terrible, some good) stories where I played around with my descriptions, narration, word choices, and themes.

Finally, years later, I understood.

Showing is describing the sensory details of your story. It’s diving into the emotional depth of your characters. It’s making the reader feel like they’re watching a movie while they’re reading your work.

Telling is more like narration. There’s no flowery language or sensory descriptions. It’s straightforward, clean, and nearly professional in nature.

Why Is “Telling” Normally a Bad Thing?

Clean-cut narration isn’t always terrible. Sometimes it works well for stories told by a narrator with dry humor or books about an intensely serious subject.

Most of the time though, “telling” keeps readers at arms-length. Picture yourself reading a history book. Each page gives you the facts. It might also describe a historical figure or the gory details of a war, but making those people or moments come to life in your mind isn’t the point of the text. It’s to convey information.

That’s what makes stories that rely on “telling” so different from stories that “show” everything.

Examples of Telling

If you’re like me, you’re probably thinking that it would be easier to picture the difference between these two concepts if there were examples. Lucky for you, I’ve already thought of that.

Example 1: I’m happy to see my best friend at school.

The narrator conveys their emotion, but not what that emotion makes them feel. There’s nothing to paint a picture of the school or even the friend.

Example 2: Henry didn’t like his dinner.

Cool, the character didn’t enjoy their food. Why? What was the taste or texture like? What did he experience that made him recognize the feeling of not enjoying the meal?

Example 3: Sofia made her bed in a hurry.

Why she was in a hurry might come in the next sentence or paragraph, but what did she feel while making that bed? What was her thought process? What’s her room like?

Examples of Showing

Let’s turn those same examples into sentences that “show.”

Example 1: I walk through the clustered school hallways with the rest of the student body, smelling their pre-exam nervous sweat and too much men’s body spray. This school would be miserable, except for my best friend. When I spot her by my dented locker, the smile on her face makes the cold bus ride to school worth it.

This is obviously more than a sentence, but notice how you get a better experience from it. The school hallways are crowded and smell bad. The protagonist doesn’t enjoy where they attend class. However, their best friend is a source of happiness. She waits by a dented metal locker, possibly with some good news, encouragement or an exciting update to something happening in the protagonist’s life. It makes you want to know what she’s going to say, especially because you can relate to what the main character is feeling.

Example 2: Henry’s nose scrunched up at the taste of his dinner. The chicken was in a desperate need for salt. This never would have happened if he had been allowed to make it.

We’ve all had a similar reaction to eating bad food. Your nose scrunches up, your mouth tightens, your tongue freezes. This example shows that in a way that you can feel yourself going through the same physical motions. It also explains why the food is bad using one of the five senses—it’s not salted enough.

Example 3: Sofia pulled her purple comforter tight against her headboard and threw her pillow at it as she ran out the door, late for the bus again.

More scenery details—the bed has a headboard and the comforter is purple. The protagonist is in a rush so her pillow is likely lopsided on the bed, which means the rest of her room is probably a bit messy too. The visual details make this a vivid scene and introduce the reader to a few of Sofia’s relatable character attributes.

How to Spot the Difference

I began to tell the difference by imagining myself reading a single sentence out loud. If I read any of the examples above before the “showing” edits, you’d have questions for me. See if a sentence, paragraph, or page makes you ask yourself:

What emotions does the protagonist feel right now?

How does the main character look through their body language?

What can the protagonist smell, taste, or feel?

What does the environment look like and is it necessary to describe it at this moment?

Does this scene need dialogue?

Do the characters feel flat?

Where’s the story’s hook?

The last question is tricky. The hook will be at the start of a short story or shortly within it, much like how a hook is within or at the end of the first chapter in a novel. If your writing doesn’t compel you to keep reading, it’s likely lacking the emotional depth that showing provides.

When Showing Goes Overboard

It’s always possible to have too much showing. It leads to the discussion English teachers always have about how Victor Hugo wrote for numerous pages about a single room in a chapter.

You could also fall into the trap of inserting flowery language into your work that you wouldn’t normally use, all for the sake of “painting a picture.” Your writing is your voice! It’s unique to you—how you speak, how you think, how you express yourself through stories. Write what comes naturally to you while keeping scenery, emotional depth, and sensory details in mind. If your words seem boring, that’s what editing is for (after you finish and step back from your work for a bit!).

Lose Yourself in Your Stories

“Showing” gets easier when you can lose yourself in whatever story you’re currently writing. If you’re struggling to do that, you might want to write in a quieter environment or put more details into your story or character outlines.

Have fun practicing this art form and you’ll watch your writing skills grow.

website

I know what you’re thinking! I don’t know if I should purchase the Wally Darling plush, but no matter what I do I can’t get him out of my head! How do I tell him to leave this beautiful mind of mine? Well worry no more, neighbor! Check back every week to gander at a playful assortment of photographs showing all the places he can go instead! Imagine all the fun you’ll be having with the new Wally Darling plush toy if you own one for yourself! 

Head on over to https://www.makeship.com/products/wally-darling-plush to order one for yourself for $29.99! Don’t delay, this little Darling is a limited-time offer, so order now!

Want 10% off your plush? Enter "Home" at Makeship during checkout! (Limited to one per person!)

Im a little late to the party, but Ive been swamped at work recently. Im officially joinin in on the Buildtober fun though! Im using the Buildtober list made by @matteverwood specifically, and I am so excited! Im gonna have to play catchup a little but it looks so fun!

Soulmates, but with the British meaning of “mate.” Two homies bound by a platonic string of fate.

Get the pacing right

When pacing a scene, it's important to know what kind of scene it is.

Less description quickens the pace. More description slows it down.

Keep your action scenes short and punchy, and your emotional scenes deep and descriptive.

What if you looked in the grass and saw a cat snail looking back at you?

Hey sleepy! I've seen you draw Ghost's tattoos several times now, and I'm sorry if you've already been asked this, but do you have reference pictures you base them off of/use? I struggle to find any good/clear shots for myself x.x

Hello Anon! (ʘ ͜ʖ ʘ)

So, one day @shadeops21 gave me an asset of Ghost's tattoo from the actual model in the game and it looks like this!

(EDIT : Updated 26/08/2023 for more accurate placement of the asset on the arm)

(IT'S SO FUCKING EDGY HOLY FUCK 😭😭😭)

And because it's not clear enough and not big enough for an actual asset that I can use on my drawings, guess what my detail-oriented ass did! Yep I retraced and redrew it!

Did I just post my 4 hour work of retracing here? Yesh! The image is yours to use for your convenience and is at your disposal. This is my homage to the fandom I guess (´▽`ʃ♡ƪ)

What I could say about how to apply them is probably these ones :

First off: Positioning of the tattoo. According to the game model, the full image is the texture that envelops his whole left arm. The picture below is an explanation of the areas that could help you on where to place the tattoo accurately.

Checkpoint : The elbow pint is above the helmet -> from there you can tell for the rest of the arm.

Remember that this is the whole ass sleeve that circles the whole arm, so be aware of which part of the arm is visible, and try to place the tattoo asset accurately with the checkpoint "The elbow pint is above the helmet".

Now with this drawing, the elbow is not visible, but I can determine which part should I place on the forearm. Remember to distort the tattoo asset a lil bit according to the angle (If you want a more natural and accurate look).

I'd mask/change the color to brown to match the skin a little bit, then distort the asset to match the angle and perspective, then mask/clip it down to the skin layer!

Eras some parts of the tattoo that gets light with textured brush so it blends with the skin texture. then add shadow and lighting, and voila!

Anyone can download the jpg or the png above and use it! Have fun drawing brotha ( •̀ ω •́ )👍

Character flaws

It's been a while since I wrote this post, so I'm a bit lazy to retype it.

If you want to read more posts about writing, please click here and give me a follow!

List of fun things to do/make with your wip that aren't just writing the actual story:

Minecraft skins based on your ocs

Minecraft builds based on your settings

Uquiz (characters, magic systems, etc)

Tumblr polls (characters, magic systems, themes, settings, plots, etc)

Alternate universes (coming up aliases in a superhero setting, etc)

Ask games based on your wip/ocs

Tiny pieces of writing based on prompts

Moodboards

Playlists

Memes

Tiktok memes

Draw/commission art

Non-canon oneshots

Canon oneshots

Maps

Come up with a prompt with a friend, and both write something short and wip-related, before sharing

Putting your favourite characters from other media into your wip's setting

A diary entry for an oc

Make an outfit from your wardrobe that an oc would wear

Answer asks from your oc's perspective

Tag games (new, or ones you've been tagged in)

Join or make discord server to ramble with friends about each other's wips

I've done almost all of these (mostly for my wip: @49-ibr)! And feel free to reblog and add your own!

When to Info Dump

                I was taught as a young writer to never ever ‘info dump’. An info dump is a paragraph (or several) that just runs the readers through info they need to know. While avoiding info dumps is typically a good practice—lots of information at once can be overwhelming, boring, or ‘cheap’—as with most things in writing, never say never. Recently, I finished a book that info dumps often, and with intention, and it worked.

                To info dump well, you actually have to do it often (or relatively often). Just one info dump somewhere in the middle or beginning of the story is going to seem like a mistake. Using it as a literary technique however, and it adds a sort of intrigue, whimsy, or discordant tone to your story.

                In this way, it becomes a quirk of your narrator’s voice. It should match or make sense with the character you are following. A super serious, meticulous character may info dump in the way they would list off the information they know. A more bubbly character may info dump out of excitement to share their interests.

                Which brings us to the type of information you can reasonably info dump without getting in trouble. Of course, the information shared should be stuff that your character would know, but also, information that they would care to share.

                For example, that serious character would info dump only pertinent, personally important information, whereas the bubbly character probably wouldn’t info dump about real estate or politics—unless of course it’s part of their special interests. A detail oriented character may only info dump about things they are noticing in the moment. A history buff would definitely info dump about culture and the past.

                Essentially, use the right amount, for the right character, with the right information, and you can pull off an intentional and well-done info dump. Otherwise, avoid it!

                What are your thoughts on exposition or info-dumping?

HARD-TO-FIND HURT / COMFORT ACTION PROMPTS.

a selection of some of my favorite underrepresented situations and actions for one of my favorite tropes! feel free to add + REVERSE to any of the prompts to change the situation and provide context as necessary. do not add to this list.  

CRADLE : sender picks up the injured / unconscious receiver and holds them close to their chest, carrying them to safety. 

GUARDIAN : facing down a threat, sender pushes receiver back with an arm, moving to stand in front of them and protecting them with their own body.

TENDER : receiver wakes up to sender caressing them gently; a hand carding through their hair, brushing hair off their forehead, a hand on their cheek, a thumb swiping under their eye.

SHELTER : seeing a threat barreling toward them (such as a storm, the shockwave from an explosion, or a building they’re in collapsing), sender holds the injured / incapacitated receiver close, turning their back to the threat to bear the brunt of the impact instead of the receiver.

FLICKER : sender thinks they’re too late to save receiver and begins to mourn them / sinks in defeat and grief, holding them close, only to find through a simple action (a cough, a twitch of a hand, a murmured word) that they haven’t left them after all. 

DELIRIUM : receiver wakes up to sender’s relief, only for receiver to not believe it’s really sender (that they’re imagining sender or that they don’t think sender would come for them) or that they’re finally safe. 

CONCEAL : both muses have been injured or have fallen ill, though sender keeps their injury / illness secret in favor of taking care of receiver. however, as receiver gets better, sender’s injury / illness worsens from lack of care, and they wind up collapsing, their injury / illness fully revealed. 

GUIDE : sender has been injured, but their skills are needed to help with the muses’ current situation (an escape plan, tending a wound, or diffusing a weapon, for example). sender has to walk receiver through the procedure, all the while trying to stay conscious. 

SAVIOR : receiver is at the mercy of a threat, and all seems lost, only for sender to suddenly burst in and come to their rescue, bearing weapons and all the protective spirit they can muster, to the relief / confusion / anger of receiver. 

LAST RESORT : injured / sick and alone after an encounter with a threat or a run-in with a dangerous situation, sender finds themself at receiver’s door, coming to them because they have nowhere else to go.

HARD-TO-FIND HURT / COMFORT SENTENCE STARTERS.

a selection of some of my favorite underrepresented lines and phrases for one of my favorite tropes! feel free to change wording and pronouns and provide context as necessary. do not add to this list.    

TO THE THREAT.

“let them go.” / “let me go.”

“take me.” / “take me instead.”

“don’t hurt them.” / “i’ll do anything you say.”

“what do you want with me?”

“where are you taking them?”

“what did you do to them?”

“where is receiver?”

“give them back.”

“get away from them!”

“get off them!”

TO THE HURT.

“can you hear me?”

“wake up… please, wake up.”

“are you with me?”

“stay awake.” / “you have to stay awake.” / “please, stay awake… please…” / “promise me you’ll stay awake.” 

“don’t close your eyes.” / “open your eyes for me, name.”

“there you are.”

“just a little longer, okay?”

“i know it hurts, i’m sorry, it’ll be over soon.”

“shhh, it’s alright.”

“i need you.” / “i still need you.” / “i need you to be okay.”

“do you remember what happened?”

“name?! name! what happened?!”

“what did they do to you?” 

“if they lay a finger on him/her/them/you…” 

“if they touch a hair on his/her/their/your head…” 

“those bastards.” / “if i ever get my hands on them…” 

“i’m gonna get you out of here.”

“let’s get you out of here.” / “let’s get you out of this.” 

“we gotta get out of here.” / “it’s alright, name. we’re taking you home.”

“can you stand?” / “can you walk?” 

“i won’t let anything happen to you.”

“you’re safe.”

“it’s gonna be okay.” / “you’re gonna be okay, just hold on.” 

“you’re hurt.” / “did they hurt you?”

“i’ve got you.” 

“lean on me.”

“stay with me.”

“i can’t lose you.” / “i’m not losing you.”

“oh, name…” / “oh, kid…”

“receiver? receiver, it’s me. it’s sender.”

“i’m here.” / “i’m here. i promise.”

TO THE RESCUER.

"...where am i...?"

“what happened…?”

“i’m with you.”

“it hurts.” / “make it stop.”

“you came for me…” / “you came back…”

“you found me…”

“where were you…?”

“i’m sorry…”

“i was so scared.”

“i thought you’d never find me…”

“what are you doing here?”

“just go. you can still make it. don’t worry about me.”