Argue

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!

Writing Advice: Noticing Bigotry In Your Writing

Tw for mentions of bigotry and discrimination, obvi

Look Up Common Stereotypes For Your Characters

Seriously, this is the best thing you can do in order to incorperate these stereotypes into a full-formed identity. I'm not saying that you can't write a "sassy black girl" or a "happy disabled person".

It's just that if you have any hope of writing these stereotypes into actual 3-dimensional characters, you need to know what you are working with. Look up "Common {Minority} Stereotypes" or "{Minority} Myths"

It's genuinely not that hard to see whether or not your character is a stereotype! Send an ask to @cripplecharacters if you are having trouble with your disablity representation.

Send a submittion to the thousands of Tumblr accounts whose entire schtick is giving you advice!

Let me tell you:

" The Worst Decision You Can Make Is A Subconscious One"

If you go into writing a minority character the way you do with all your characters aka fantasizing and just going straight for it, there is a chance you might undercut your story with bigotry!

Because everyone has bias. That's not a moral failing on your part but it is something you need to consciously fight against in order to write characters who can stand on their own and not be supported by internalized bigotry.

Which leads me to my second and last question.

2. Why Is Your Character Like This?

Investigate why you made the decisions you have made. To help with that, here is a little questionaire!

When I imagine a cruel person what assumptions do I make about their appearance and psyche?

Based on my previous characters, do I have a tendency to lean into a particular archetype when writing my minority characters?

Is there any narrative reason such as plot, themes, and other important devices that would justify my character's personality?

Why did I decide this character would be this particular minority?

How do I view this character in terms of their minority status? Is it condescending? Is it hateful?

What associations do I naturally have between a minority status and social status, personality, and importance?

Would I have treated and viewed this character the same way if their minority status was completely washed away?

Are my minority characters generally relegated to the side lines and only exist to help non-minority characters in their lives?

Is the level of detail, psychological complexity, story, likeability, relatability, and compellingness of minority characters on the same level as non-minority characters?

Do my stories contain symbolism which portrays cruel bigotry-motivated practices as positive or useful?

Do my stories sympathize with bigotry-infused individuals while not extending that sympathy to those who are oppressed by that bigotry?

Have I ever critically looked at my writing and what it says about my worldview on others?

If you are now considering that you have biased belief systems, that's good! Again, it's much better to be aware and fixing your problems instead of not being aware of them.

I hope my little questionaire made you think about your writing in a new way! ;)

Feel free to add your own important "check yourself" questions!

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

Showing 'Fear' in Writing

Eyes wide with pupils dilated.

Hands trembling uncontrollably.

Heart pounding audibly in the chest.

Backing away slowly, seeking escape.

Holding breath or breathing shallowly.

Breaking out in a cold sweat.

Startling at the slightest sound.

Whispering or speaking in a hushed tone.

Looking over their shoulder repeatedly.

Clutching at clothing or objects for reassurance.

Voice quivering or stammering.

Legs feeling weak or buckling.

Feeling a chill run down the spine.

Hugging oneself protectively.

Trying to make themselves smaller.

Furtive glances around the room.

Feeling light-headed or dizzy.

Stiffening up and freezing in place.

Swallowing hard, throat dry.

Eyes darting around, unable to focus.

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.

Writing References: World-Building

20 Questions ⚜ 100 Words for World-building

Basics: World-building ⚜ Places ⚜ Imagery ⚜ Setting

Exploring your Setting ⚜ Habitats ⚜ Kinds of Fantasy Worlds

Fantasy World-building ⚜ World-building Vocabulary

Worksheets: Magic & Rituals ⚜ Geography; World History; City; Fictional Plant ⚜ A General Template

Editing

Setting & Pacing Issues ⚜ Editing Your Own Novel

Writing Notes

Animal Culture ⚜ Autopsy ⚜ Alchemy ⚜ Ancient Wonders

Art: Elements ⚜ Principles ⚜ Photographs ⚜ Watercolour

Creating: Fictional Items ⚜ Fictional Poisons ⚜ Magic Systems

Cruise Ships ⚜ Dystopian World ⚜ Parts of a Castle

Culture ⚜ Culture Shock ⚜ Ethnocentrism & Cultural Relativism

Food: How to Describe ⚜ Lists ⚜ Cooking Basics ⚜ Herbs & Spices ⚜ Sauces ⚜ Wine-tasting ⚜ Aphrodisiacs ⚜ List of Aphrodisiacs ⚜ Food History ⚜ Cocktails ⚜ Literary Cocktails ⚜ Liqueurs ⚜ Uncommon Fruits & Vegetables

Greek Vases ⚜ Sapphire ⚜ Relics ⚜ Types of Castles

Hate ⚜ Love ⚜ Kinds of Love ⚜ The Physiology of Love

Mystical Objects ⚜ Talisman ⚜ Uncommon Magic Systems

Moon: Part 1 2 ⚜ Seasons: Autumn ⚜ Spring ⚜ Summer

Shapes of Symbols ⚜ Symbolism ⚜ Slang: 1930s

Symbolism: Of Colors Part 1 2 ⚜ Of Food ⚜ Of Storms

Topics List ⚜ Write Room Syndrome

Vocabulary

Agrostology ⚜ Allergy ⚜ Architecture ⚜ Baking ⚜ Biochemistry

Ecology ⚜ Esoteric ⚜ Gemology ⚜ Geology ⚜ Weather ⚜ Art

Editorial ⚜ Fashion ⚜ Latin Forensic ⚜ Law ⚜ Medieval

Psychology ⚜ Phylogenetics ⚜ Science ⚜ Zoology

More References: Plot ⚜ Character Development ⚜ Writing Resources PDFs

Instead of "Looked", consider

glanced

peered

gazed

stared

watched

observed

examined

scrutinized

surveyed

glimpsed

eyed

beheld

inspected

checked

viewed

glanced at

regarded

noticed

gawked

spied

sometimes you need dialogue tags and don't want to use the same four

HOW TO WRITE A CHARACTER WHO IS IN PAIN

first thing you might want to consider: is the pain mental or physical?

if it’s physical, what type of pain is it causing? — sharp pain, white-hot pain, acute pain, dull ache, throbbing pain, chronic pain, neuropathic pain (typically caused by nerve damage), etc

if it’s mental, what is the reason your character is in pain? — grief, heartbreak, betrayal, anger, hopelessness, fear and anxiety, etc

because your character will react differently to different types of pain

PHYSICAL PAIN

sharp and white-hot pain may cause a character to grit their teeth, scream, moan, twist their body. their skin may appear pale, eyes red-rimmed and sunken with layers of sweat covering their forehead. they may have tears in their eyes (and the tears may feel hot), but they don’t necessarily have to always be crying.

acute pain may be similar to sharp and white-hot pain; acute pain is sudden and urgent and often comes without a warning, so your character may experience a hitched breathing where they suddenly stop what they’re doing and clench their hand at the spot where it hurts with widened eyes and open mouth (like they’re gasping for air).

dull ache and throbbing pain can result in your character wanting to lay down and close their eyes. if it’s a headache, they may ask for the lights to be turned off and they may be less responsive, in the sense that they’d rather not engage in any activity or conversation and they’d rather be left alone. they may make a soft whimper from their throat from time to time, depends on their personality (if they don’t mind others seeing their discomfort, they may whimper. but if your character doesn’t like anyone seeing them in a not-so-strong state, chances are they won’t make any sound, they might even pretend like they’re fine by continuing with their normal routine, and they may or may not end up throwing up or fainting).

if your character experience chronic pain, their pain will not go away (unlike any other illnesses or injuries where the pain stops after the person is healed) so they can feel all these types of sharp pain shooting through their body. there can also be soreness and stiffness around some specific spots, and it will affect their life. so your character will be lucky if they have caretakers in their life. but are they stubborn? do they accept help from others or do they like to pretend like they’re fine in front of everybody until their body can’t take it anymore and so they can no longer pretend?

neuropathic pain or nerve pain will have your character feeling these senses of burning, shooting and stabbing sensation, and the pain can come very suddenly and without any warning — think of it as an electric shock that causes through your character’s body all of a sudden. your character may yelp or gasp in shock, how they react may vary depends on the severity of the pain and how long it lasts.

EMOTIONAL PAIN

grief can make your character shut themself off from their friends and the world in general. or they can also lash out at anyone who tries to comfort them. (five states of grief: denial, anger, bargaining, depression and eventual acceptance.)

heartbreak — your character might want to lock themself in a room, anywhere where they are unseen. or they may want to pretend that everything’s fine, that they’re not hurt. until they break down.

betrayal can leave a character with confusion, the feelings of ‘what went wrong?’, so it’s understandable if your character blames themself at first, that maybe it’s their fault because they’ve somehow done something wrong somewhere that caused the other character to betray them. what comes after confusion may be anger. your character can be angry at the person who betrayed them and at themself, after they think they’ve done something wrong that resulted in them being betrayed, they may also be angry at themself next for ‘falling’ for the lies and for ‘being fooled’. so yes, betrayal can leave your character with the hatred that’s directed towards the character who betrayed them and themself. whether or not your character can ‘move on and forgive’ is up to you.

there are several ways a character can react to anger; they can simply lash out, break things, scream and yell, or they can also go complete silent. no shouting, no thrashing the place. they can sit alone in silence and they may cry. anger does make people cry. it mostly won’t be anything like ‘ugly sobbing’ but your character’s eyes can be bloodshot, red-rimmed and there will be tears, only that there won’t be any sobbing in most cases.

hopelessness can be a very valid reason for it, if you want your character to do something reckless or stupid. most people will do anything if they’re desperate enough. so if you want your character to run into a burning building, jump in front of a bullet, or confess their love to their archenemy in front of all their friends, hopelessness is always a valid reason. there’s no ‘out of character’ if they are hopeless and are desperate enough.

fear and anxiety. your character may be trembling, their hands may be shaky. they may lose their appetite. they may be sweaty and/or bouncing their feet. they may have a panic attack if it’s severe enough.

and I think that’s it for now! feel free to add anything I may have forgotten to mention here!

showing comfort

holding hands tightly during a difficult moment

cuddling under a blanket while watching their favorite show

preparing calming tea and sitting together in silence

gently kissing the forehead or top of the head

cooking a favorite meal to cheer up a friend.

listening attentively without judgment

reading aloud to calm them down

grabbing the other’s hand in big crowds

staying physically close, so they know their not alone

giving them a care package with their favourite items

stroking their hair or rubbing their back

reminding them how strong they are

taking a friend on an impromptu adventure

soothing them back to sleep after a nightmare

holding them tightly, protectively

sending supportive text messages throughout the day

telling them a bedtime story