Low level/continuous pain tips for writing
Want to avoid the action movie effect and make your character's injuries have realistic lasting impacts? Have a sick character you're using as hurt/comfort fodder? Everyone has tips for how to write Dramatic Intense Agony, but the smaller human details of lasting or low-level discomfort are rarely written in. Here are a few pain mannerisms I like to use as reference:
General
Continuously gritted teeth (may cause headaches or additional jaw pain over time)
Irritability, increased sensitivity to lights, sounds, etc
Repetitive movements (fidgeting, unable to sit still, slight rocking or other habitual movement to self-soothe)
Soft groaning or whimpering, when pain increases or when others aren't around
Heavier breathing, panting, may be deeper or shallower than normal
Moving less quickly, resistant to unnecessary movement
Itching in the case of healing wounds
Subconsciously hunching around the pain (eg. slumped shoulders or bad posture for gut pain)
Using a hand to steady themself when walking past walls, counters, etc (also applies to illness)
Narration-wise: may not notice the pain was there until it's gone because they got so used to it, or may not realize how bad it was until it gets better
May stop mentioning it outright to other people unless they specifically ask or the pain increases
Limb pain
Subtly leaning on surfaces whenever possible to take weight off foot/leg pain
Rubbing sore spots while thinking or resting
Wincing and switching to using other limb frequently (new/forgettable pain) or developed habit of using non dominant limb for tasks (constant/long term pain)
Propping leg up when sitting to reduce inflammation
Holding arm closer to body/moving it less
Moving differently to avoid bending joints (eg. bending at the waist instead of the knees to pick something up)
Nausea/fever/non-pain discomfort
Many of the same things as above (groaning, leaning, differences in movement)
May avoid sudden movements or turning head for nausea
Urge to press up against cold surfaces for fever
Glazed eyes, fixed stare, may take longer to process words or get their attention
Shivering, shaking, loss of fine motor control
If you have any more details that you personally use to bring characters to life in these situations, I'd love to hear them! I'm always looking for ways to make my guys suffer more write people with more realism :)
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Techniques for writing a bad drug trip:
We're going to be using excerpts from one of my own chapters here from my story Eversion to discuss the kind of writing techniques that will help make a bad drug trip more believable. In context, the character Connor has nonconsensually been given a synthetic made-up highball of drugs that gives him a horrible time, and this does not accurately reflect what bad drug trips look like across all drugs, for example sometimes throwing up on ayahuasca is a feature, and not a bug. What I'll be focusing on instead are the actual narrative techniques that indicate an affected mind and body vs. specific technques for specific drugs.
Beginning Stages:
Firstly, pre-bad-trip, it's useful to depict your character beforehand as being fully - or as close to fully lucid as possible. Have them realising things, actively thinking, describing their surroundings, and doing things in a kind of logical way - show them doing something mundane even, like walking into a room, or a cafe. In this case, Connor walks into a cafe, describes the cafe, makes some mental notes and then has a lucid conversation.
Next, most of the time any drug gives you physical symptoms even before the bad trip part, so describe those. In this case:
Seconds later Connor’s heart began to race
The needle slid free and Connor hardly felt it.
He stumbled over nothing as he passed the group of cyclists, staring at them as his heart beat harder and harder, as sweat broke out over his forehead.
At this point in the story, another character takes over, the person who gives him the highball picks up the conversation because Connor is overwhelmed by the physical sensations and doesn't feel like talking. He stops thinking about his environment accurately and starts to notice things while dropping others. His thoughts are already being affected.
This is when you can start using techniques like time skipping, forgetfulness, memory loss, or alternatively focusing on one thing a lot and a lot of other things a little.
Connor nodded, thinking that he needed to get away, that he needed to go somewhere. He reached for his phone, but it wasn’t there. Where was his phone? His vision slanted, time slipped away from him.
He was beneath a tree, throwing up while Gabriel petted his shoulder and waited beside him.
Here we have a strong time skip - Connor goes from looking for his phone, in the next paragraph he's throwing up by a tree. This progression of events has no logic, except for the bad drug trip. Which means we now know Connor is being really affected by what's happening. These two paragraphs also show forgetfulness - Connor needs to get away / needs to go somewhere, but can't remember where. He looks for his phone, but has forgotten Gabriel took it from him. You don't even need the 'time slipped away from him' description, vision slanting or blurring tends to indicate to readers in situations like this that someone is being quite seriously affected by what's happening to them.
Middle Stages:
Then, he was walking, but couldn’t think past the scattered, rushing noises in his ears, looking like black jags across his vision.
He landed hard on his knees and stared down bewildered at the grass. He looked around, vision turning to brightness, cars zooming by too fast and too large, the sky distorted, the clouds inverting. He raised a hand to his head, but another hand – warm and gentle – rested at his temple, thumb gently stroking. Connor leaned into it, whimpering.
We're doing a lot of time skipping now, alongside mental symptoms.
The writing technique itself is changing. In one sentence we cover a lot of choppy subjects - vision turning bright, cars too fast, sky distorting, clouds inverting. It gives a sense of too much information happening at the same time - Connor's senses are overwhelmed.
This kind of choppy information can be delivered in short complete sentences, but I liked one run-on sentence here because it gives that sense of 'and then this and this and this and this and this' which is sometimes how it feels to have too much information coming in at once.
It's also making use of the senses. We have vision and hearing and touch all in the same paragraph. We also have 'too fast' 'too large' - things are too much. Not only that, but describing things as distorted indicates strongly that Connor's already hallucinating and hasn't realised yet.
At this point in your bad drug trip, you should not be using your regular writing style. If your character isn't thinking like normal, you might want to consider also not writing 'like normal' for that character.
(This is the same for when a character is having a flashback, is overwhelmed, or is experiencing something intense for any reason).
He took great, shuddering breaths and then pressed shaking fingers to his stomach. The knot of pain in his thigh was manifesting there as well.
Now, for the bad drug trip to truly be bad, we also have the physicality of the experience. The body comes along for the ride and it often feels like it's dying during a bad drug trip.
Huge shuddering breaths and shaking hands can indicate an overloaded nervous system, also someone who might be going into shock, or who is hyperventilating, or who is literally experiencing respiratory distress. We don't have to know what it is - one or all of them could be true! A person on a bad drug trip, unless they're a medical professional or experienced with bad drug trips, will not know or be assessing what is happening to them as it happens.
He flinched back when he saw black inching out from beneath his knees on the grass, dimly knew it as a hallucination before that awareness vanished and he pushed himself back and away.
Boop a hallucination. Connor was already hallucinating, but now he realises too. You don't need to include this. I was writing a smart, analytical character, and he does know he's having a bad drug trip, so he's allowed little moments of realisation. Your character might know more, or they might know less.
Intense / Peak Stages:
He could feel the way his body pulsed at discordant rhythms, too fast, too slow, never in sync throughout his body. The tips of his fingers were throbbing. His feet felt like stones. He looked at Gabriel’s perfect beard and thought of tearing his face off. It would be brief, brutal, bloody, but then he could just lie down.
Writing emotional distortion here is that Connor feels like behaving violently, which - to this degree - isn't normal for him. The drug overdose is making him vengeful. We know it's part of the drug overdose because the first part of the paragraph focuses on all his physical symptoms. The drug trip might make your character too terrified to function, it might make them aroused (i.e. fuck or die sex pollen scenarios), it might make them giddy. Have some emotional distortion going on on some level. Even if it's extreme anhedonia or apathy in the face of potentially dying.
The hospital was clearly giving him too many sedatives. He didn’t know how to tell them that he had no tolerance, he couldn’t take the dosages that his father was pushing for.
Now we hit full flashback. Connor now believes he's being overdosed with sedatives in the hospital, and is no longer in the present at all. He's not even 'I remember' - he's just there. Flashbacks won't happen with every bad drug trip but they are common to any bad drug trip that is hallucinatory in nature.
Connor stared up at the ceiling of his apartment, and his hands rested on the floor. His heart was beating far too fast, fluttering in his chest. He felt hazy. Every now and then he had to clench his hands into fists so tight that his knuckles ached. A compulsion. He couldn’t stop himself from doing it. He’d feel himself shake, and then he’d stop, and he’d stare upwards. He was lying on the floor.
Connor stared ahead. The corner of his mouth felt wet. He was drooling. His fingers and toes kept twitching against his will.
What Connor is describing now is seizure activity.
Connor isn't consciously clenching his hands into fists, his body is doing that. He calls it a compulsion, but it's not. Feeling your body shake and then stop and then shake again is - in this instance for Connor - active seizure activity.
Not all seizures cause full unconsciousness of the entire brain, for example. Connor doesn't know what's happening to him, but we can tell from the physical symptoms here - heart fast and fluttering, feeling hazy, physical movements completely beyond his control - that he's now in a danger zone.
If you want the bad drug trip to reach 'a normal person would be in an ambulance by now' - this is a good place to be. Focus on strange sensations of the heart, the pulse, shaking, the sensation of overheating or being too cold. If you want, look up the symptoms of shock, or tachycardia.
Aftermath of bad drug trip:
In the aftermath of a bad drug trip, be aware that it can take some time for a person's thoughts to return to normal. Don't write an instant return to normalcy once a person is physically stabilised. Often they show mood shifts that are quite profound. Even a person coming down from MDMA often experiences depression or flatness after a great night out with zero negative memories.
Normal aftermaths/ongoing side effects from bad drug trips include apathy, depression, suicidal ideation, anhedonia, flatness, lethargy, exhaustion (literally, the body physically went through several marathons), pain, and foggy, disconnected thinking (both because the brain went through something traumatic and the drugs take a while to work through the system). GI (gastrointestional disturbances) are common, from 'not going to the bathroom at all' to 'diarrhea' etc. Sometimes these after-effects last days, sometimes they last weeks, sometimes they even last months.
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So! In summary helpful techniques for bad drug trips can include:
Shorter, choppier sentences to indicate overwhelm
Physical symptoms being 'experienced' - character often doesn't know what's happening except in special circumstances
A progression of physical symptoms.
Focus on all of the senses
Hallucinations and/or flashbacks (one usually happens with the other)
Unusual emotional affect or emotional distortion
Time skips / non-linear time jumps
Inability to think properly
Focusing on some things too much and other things not at all
Realising there is a progression, that must include a heavy aftermath (unless you're trying to be special, or unless it's one of the few drugs that can make you feel unusually euphoric afterwards and then there's still usually a crash after that lmao)
Different drugs create different, known effects, however, people will have different 'bad drug trips' depending on their circumstances.
I'm a little bit afraid this post is going to crash so I'm going to post it now! And for that anon who asked me what kind of writing I used - this is it! :D
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are faeries capable of love?
A wonderful question. But it's much more difficult to answer than you might think. First we must define Love, and that, dear one, is something that has confounded humanity for time out of mind.
To make things a bit easier, let's return to some distinctions I've made in the past.
There are several categories we can place some of these featured human experiences into. These are: Emotions, Sensations, Thoughts, Ideas, Memories, and Imaginings.
Emotions are quick. Fleeting. Born of chemical and physical responses they last a few minutes at most on their own. When you experience anger, that doesn't mean that you are angry. When you experience sadness, that doesn't mean that you are sad. But emotions rarely come on their own. Often times you experience multiple emotions at once, or one after another. Sometimes the same emotion again and again, or other times it is different emotions all tangled up.
Sensations are physical responses of the body. A sensation of hunger, a sensation of nausea, a sensation of wind on the skin, a sensation of pain from a skinned knee. We also have a sensation of sight. A sense, a sensation. Sense organs all over our fantastically complex bodies feed us all kinds of information constantly, whether we are aware of it or not. A sense of balance, or a sense of danger, or a sense that a person is "Wrong" somehow are all sensations fed to us by our various sense organs and interpreted by the mind, even though we don't always understand their origin or purpose in the moment.
Thoughts come next. Thoughts are complex, made up of memories, ideas, and imaginings. Things we have seen and done and sensed in our lives. Things we can conjure into existence that did not happen or do not exist in our physical world. And all the countless combinations and processes we can put to work in our minds to find solutions to whatever we are faced with. These are thoughts. Experiences crystalized in memory, imaginings woven from all we know into new forms, and ideas that we can build wonders from.
Last of all is Feelings. Feelings are some of the most complex things imaginable. Cascades of emotions and sensory sensations to experience along with all kinds of thoughts and ideas. Feelings are the things we know in the long term. They often contain emotions, or cause them, but they do not need them. You can have feelings without having emotions.
Love is one such feeling. Emotions such as Intimacy and Passion are some of the most commonly found in the makeup of Love. Passion to truly like and be interested or even excited about a person, not necessarily in a sexual or desiring way, you can be passionate about anything you truly enjoy or are interested in. Intimacy in this case refers to a closeness, a desire to be open or transparent to someone, to leave oneself vulnerable to them, to have them know you as you know yourself.
Sometimes you will find other emotions such Desire or Care. Desire is a powerful one, it can come in many forms, though one of the more well known ones are desire for power, or desire for the sensations that come with sex. Care is different, care is an emotion that drives us to want to be there for someone, to protect them, to provide whatever we can that they need or want. Care is an emotion of devotion to another's well-being.
But there are other things involved in Love as well that are not emotions at all. There is Understanding, or a willingness to learn how to understand. There is often the spark of novelty and challenge as we find ourselves challenged to be our best selves in thought and deed for those we care for. Some experience the sensations of sex and the emotions that come from it, and a large number even enjoy it.
Above all, however, is the inclusion of Choice. To make the choice to act upon emotions we might have, to experience, or not to experience, sensations we might have a desire for. The choice to look and learn to understand a person who is not us and in many ways is nothing like us, a totally separate person. A choice to look at a person and see them as they are, flaws and virtues in one being, all the strangeness and beauty inherent in the physical bodies that we humans have. Not a perfect being who can do no wrong, nor a wretch who can never be good no matter what they do. A person, complex and utterly fluid in nature as we ourselves.
And we must choose, for that, you see, is Love. Choice. Making the choice to care and to understand, making the choice to act upon emotions and sometimes to encourage those emotions further, prompting more. Love is like a dance, moving in time to music that is ever changing, ever evolving. You must use all that you have to see how your next step in the dance should go. And if you misstep, it is the choice to keep dancing anyway.
But every dance has at least one other. Another who also makes a choice. The choice to care or understand you. To act upon emotions or sensations. The choice to be intimate and vulnerable with you. Love is just as much allowing those you care for to choose as it is making your own choices. This is why they sometimes say to let love go, in the hopes that it will return to you and be yours truly. They speak of the choice that the other must make.
It would be foolish to assume there is only one way that love appears to all who experience it. Love is different for each, containing different emotions in different combinations, wildly different thoughts, sensations of all kinds. It is a feeling of many faces, but choice is always at the heart of love that is true. The choices a parent must allow their children as they grow older, even if those choices may lead to mistakes or sadness sometimes. The choice that ever true lover has offered to another, the freedom to consent or not to as they will, and the choice to respect their choices. The Choice to form bonds, connections, with others for no other reasons than the fact that you are passionate about them or intimate or care for them. Friendships can be a powerful form of love when they are true.
There are other feelings that are very close to love, but do not contain the Choice. That do not understand. That only mimic, or act out of desire for control or for sex. Feelings of intense intoxicating passion that blinds the eyes and muddies the waters of reason. Many of these feelings, though they can masquerade almost perfectly in Love's place, are poison to the soul and mind, and all who endure them whether knowingly or not, are slowly slowly broken by them. Without the gift of choice, the choice of caring for another, and at least a desire to understand if not understanding itself, then it is not love...
But your question was not of the nature of love, it was whether the Folk were capable of love, and I say... yes. They are.
It matters not if their emotions are nothing like ours, or if they are similar but different in strange or intense ways. The most vitally important aspects of what Love is, are not bound by emotion, though they are often reached by means of emotion.
Even still, it is likely that the Faeries do have emotions that are the same or similar as the ones we need. Many have care for those in their charge. Human pets, or a favored slave, or an adopted (usually stolen) human child. And it's undeniable that a good many certainly seem to feel some kind of care for their own children, most of the time.
They also are fully capable of intimacy, as many a mortal lover or a faerie friend can attest. A closeness, an openness. However it is difficult to truly gain this, as their entire people and world seems to be that of a silent game, searching for weaknesses and playing with courts as one does a chessboard. Ruthlessly removing any opponent from your path as you aim for your goals. Deceit without lies, words that are twisted, and hearts that have become cruel or delight in pranks of the mean-spirited kind. It would be a dangerous place to allow for intimacy, and it would take a great deal to convince someone to let you know them.
And thus Understanding too takes time. Fortunately the Folk have time without end to grow close, to understand, and to care. Even sometimes for humans. But many miss that single vital element without which love cannot even be. They make all kinds of choices of their own, but they neglect to allow for the choices of the other. And thus, it is not quite Love, though it is close.
Bewitchment, illusions, deceptions, threat of force, intimidation, even torture... all have been used upon mortals and even other Fae to coerce them into something like love, but is not truly Love. And often enough, the victims do not ever realize the truth of the matter, and are happy enough with their lives ever after. Sometimes both the forced and the one forcing will make excuses, justifications, convincing even themselves that this was best. And yet, it is not Love.
Yes, the Fae are certainly capable of Love. And they do Love truly, but more rarely than Humans. Though rare too is human love, it is more frequent and true than you might believe, more real than many understand, and more elusive than any would hope. All are capable of Love. Human, Faerie. But they don't always choose it.
Love is not blind, yet people are swayed so often by that which masquerades as love, and so they say that love is blind, never truly knowing that what blinded them was not love at all, but poison.
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I don't think you guys get how scientifically some "witchcraft" MUST be taken or else you can face serious side effects (I am specifically talking about things that deal with herbs, minerals, or other chemical components, especially when they are meant to be ingested, applied to the skin, or inhaled).
Like, I'm locally known for my tea witchcraft, which anyone who has looked into it might more accurately call herbology or a mix of folk knowledge and biochemistry. I stay as up to date as I can on the research, and for things that there isn't enough research for at the moment but have been used for a certain ailment for centuries, I meticulously document every use, the exact procedure and recipe, and any reported effects whether they on the surface seem relevant or not.
I'm reminded of this because of the covid that has been passing around the household, and all the remedies I've been making for one symptom or another, conscious of everyone's health issues and medication. My dad says, "thank you for taking care of everyone, Hal." and I say, "no problem! :)" queue me returning downstairs for almost an hour of washing chemistry equipment.
On tumblr on the rare occasions I share any herb-based stuff I learn, it's all pretty mild. I avoid potent shit that you really need to be careful with. But note that when you get really into it, you start to realize that a lot of the more effective stuff is toxic in larger doses. Because it's like medicine. It's chemically based and it has a potent, significant effect on the human body. You can't take too much. Now, I don't mess around with that stuff irl either unless I am 100% certain of what I'm doing and the situation calls for that level. I also forage for most of my herbs/mushrooms/mosses/etc, and sometimes, the stuff I have access to is the stuff you've got to be careful with.
Did you know that foxglove is great for treating congestive heart failure and atrial fibrillation? It's used to make a prescription drug called digoxin for that specific purpose. It's also really fucking toxic, far too much to mess with it at home. More dangerously, the information on the benefits of foxglove is just a google search away! I chose a really obvious example for this, but if you just fill an infuser with any given plant that's supposed to help with [issue] and steep it, no carefully determined dilutions, temperatures (for either the denaturing of certain proteins or preventing the release of certain chemicals) and very specific steep times (mostly to prevent the release of too high of dosage toxic chemicals) you might find yourself in the emergency room or in the ground. Best case just sick for a few days. Or you might happen to be right and feel so much better!
But the point is, you've got to take this stuff seriously if your resident witch/herbologist/homeopathic healer is, and if they're not, avoid participation or do a shit ton of research on your own to make sure it's safe first. If you're doing it on your own, research, record results carefully, ask questions of those who know more, and be prepared to stop any herbal treatment you start. Don't be arrogant.
(I kid you not, my brother is banned from the tea shelves since one time (for context he has tachycardia) he made himself a strong infusion of yerba mate as a study aid, which he knew to do because I make it for myself as a study aid (not now that I'm on adderall) and for those of you who don't know, it's a stimulant thanks to frankly insane amounts of caffeine *when made traditionally* (more than coffee, which my brother is not allowed to have thanks to his tachycardia). Needless to say this ended in an ER trip. (He was ultimately okay, don't worry).)
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