My descriptions feel bland, actions fill cliche(he froze, he stiled, his heart thudded in his chest, his pulse was frantic, his throat went dry, etc etc) and phrases are repeated. I feel like it just reads more like an essay. Sometimes, I do not even know how to describe or what action or description to write. So when a scene is trying to convey some form of emotion, it just falls flat.

I try to improve by reading more books, but the thing is, I can't keep things in my mind for long, so learning from reading other books is very slow for me. Please share some advice other than that. Here's an excerpt to help you understand-

Aurora was right in front of him.

Her gaze was bright, burning into his soul. It was not anger–her eyes merely glowed with a heavy intensity as she studied his face.

A cold feeling of unease gripped his heart like a vice.

She had appeared before him in the time it had taken for him to look at Valeria and back (which could not be longer than two seconds). Without even a sound.

“I– I–” He stammered, his nerves refusing to calm.

"I did not say where I was from," he said carefully.

"You did not," Aurora agreed. Her voice was perfectly smooth and undisturbed by his reaction, except for that strange echo again. “And you do not have to.”

Her words did nothing to quiet the frantic rhythm of his pulse.

She let the silence sit exactly as long as it needed to, and offered nothing further. Caden did not ask again. Something told him whatever answer she gave would only give him more questions, and he already wanted this conversation to be over.

Sorry on confusing title I’ll get right into it

I’m writing a story of a lighthouse keeper who fights sea monster but ends up teaming with one as a unlikely duo, a siren, now our mc the light house keeper (don’t have name yet) is some who from a long line of sailors and light house keepers who say they done amazing insane thing, all of mc life he been told the stories of his family and the glory that they were, facing monster and protecting the beach town and mc has embraced that full heartedly

A passionate yet overbearing character who wishes to protect the town and it people blind to the danger out there (which they don’t know kept a secret) so he a outcast a kind unlikeable character but someone who truly means well and wishes to do his family honour proud, someone who kinda annoying but has pure passion Dailed to 11, fearless, ready to stand and face whatever to is thrown at him to protect the town alongside his new compion a friendly siren who wishes to be a singer, the two have a kind love hate thing, she truly a good siren who wishes to sing but mc doesn’t trust her but she hasn’t done anything to invoke his wrath it a friendly kind rivalry yet friendship as a funny dynamic

Anyway point is there a point much much later into the story where mc finds out the truth of his family, that everything was a lie

His family weren’t warriors of the sea, grand protectors he been told about but cowardly people who hide in the light house and did nothing, everything was a lie

This is what ruined mc sending him into a depression making him question just what he’s trained, learned, done everything, he sacrificed everything, friends, companionship, people liking him, to uphold a honour and legacy that never even existed, this impact I really want to get across for our mc

So yeah truth revealed and here my issue, the siren who become good friend with him tries to cheer him up state all he has already done, he has faced countless monsters so who cares if his family legacy was a lie it doesn’t change all the good he done

This! This is my issue

Given such a emotional speech from his closest friend should make him see reason the natural resolve to agree and yes she is right he has done what no one in town has, but I don’t want the resolve to feel so done and dusted

I have a whole segment of mc depression as he give up the legacy and the town and it people start to worry about mc, yes he annoying but he always did look out for everyone so it like now he depressed and not himself the people come to his aid in showing they care for him

The main way of the resolve is his friend setting up a play literally reenacting all the deeds he done and show him it doesn’t matter who he is, (kinda corny but this is a semi light hearted series of a mad lighthouse keeper and a siren fighting sea monsters, nothing super dark but I like impactful things too) it his action which difine him a more impactful version of what she tried to say before, it this and a monster attack which give him back his resolve to stand and fight

But once again I need a true reason for him to stay depressed, ignoring his friends honest and heart felt word, he’s a character who is logical so he should agree with her but if I do that I can’t have the resolve later on and town coming to his aid in his depression his lost of self

Is he angry at what he sacrificed to uphold a false legacy? Yet why should he care after all the grand things he done but this hard hitting reality moment to shake the mc resolve of who he is and what he meant to do, does he even want to? Is this all a front? Year of pain and suffer behind a mask? that doesn’t fit the mc I’m trying to write he someone who refuses to hide behind a mask he true to himself no matter what

How do I write a character who always true to himself ignore all the good he done and focus only on the false legacy he was raised on

So it’s that little thing, that final piece I can’t figure out which would make a believable shattering of one’s reality and resolve and how the people around him help him find it again

Thanks to any who read this long text but what ideas do you have which can fix this issue?

What are some scenes or reasons that makes you lose interest in a book? I'm a teen writer and very ambitious about publishing a four book series, that is why I want to make sure my characters are relatable and that I don't make the story boring.

Hello fellow writers, I am in dire need of your help!

I’m writing a story about a soldier in the Second World War. At home he has a girlfriend he really loves and they stay in frequent contact through letters (as frequent as it gets).

I want my readers to feel a sense of love and affection towards her too, even though I can just show her through memories and in said letters.

In the progress of the story she falls victim to the cruelties of the war — I want the readers to feel the protagonist’s loss and pain as strong as he does.

Do you have any ideas or advice how I can successfully reach that goal? If you need more details I’ll surely provide them! Thank you already so much in advance and have a terrific day! :))

I've never drank and I never plan to but I'm writing something that I wanna describe the taste of ale, moonshine, and wine. I have very little knowledge of any of these but I hope to find out

I'm trying to decide on the POV and tense for a novel about fate, free will, and a captive girl who gradually becomes one of the foundations of a rebellion against a tyrant.

I'm less interested in the usual "first person is more intimate" vs. "third person is more flexible" advice. I'm trying to figure out whether the specific limitations of the POV can become part of the story's themes.

The basic premise: The protagonist begins the story as a captive with very little conventional power and very limited knowledge of the world around her. Through the relationships she forms with the people around her, she gradually becomes more involved in a growing rebellion against a tyrant. A major part of her influence comes from things that don't initially look like conventional power: empathy, listening, understanding people, and earning their trust.

At the same time, the story is heavily concerned with fate vs. free will. There is an external force in the world that places limits on people's choices and futures, and different characters have very different attitudes toward it.

That's about as much of the plot as I want to get into. The important part for the POV question is that the protagonist begins isolated and uninformed, while the larger political situation is developing beyond her immediate perspective.

That creates a problem for POV.

First person seems thematically appropriate I'm strongly considering first person because the protagonist begins the story isolated and uninformed. She doesn't know the larger political situation, doesn't necessarily know whom to trust, and can't see what's happening outside her immediate environment. If she misunderstands someone's intentions, the reader experiences that misunderstanding with her. If she doesn't know something, neither does the reader.

There also seems to be a thematic advantage to this. She has very little conventional power, so perhaps the reader shouldn't have conventional narrative power either. Rather than seeing the rebellion from above, we would be limited to the same perspective as the person helping create it. The fact that she can't see the full consequences of her actions could therefore become part of the story rather than simply a limitation I have to work around.

Giving the reader other POVs might undermine that experience.

On the other hand, the rebellion eventually becomes much larger than she is. Political decisions are happening elsewhere. Other characters are making plans she doesn't know about. People may be working toward the same cause without her knowledge. At some point, I worry that keeping everything in her head will force me to artificially hide important events simply because she isn't there to witness them, and when she meats back up with the other plotlines I’ll have to deliver a clunky sumarry of of-screan events.

So I'm trying to figure out where the line is between useful narrative limitation and artificial withholding of information.

Then there's the tense question: I'm also torn between present and past tenses. The story is literally about characters whose choices may be constrained or predetermined by a system they don't fully understand.

With present tense, the reader experiences every decision as something happening now. Even if the characters' decisions are secretly being influenced or predetermined by Fate, the reader initially experiences them as genuine choices. That makes me wonder whether present tense could create an interesting illusion of free will for the reader. The reader feels that the characters could choose differently because we're experiencing the decision alongside them rather than being told about it afterward.

Then, when the reader discovers that these choices have been constrained by something outside the characters' understanding, perhaps that realization also changes how they interpret everything that came before.

I'm not sure how much of an actual effect tense would have on readers, though. It could just be me overthinking something that readers won't consciously experience at all.

With past tense, there's more distance. The protagonist is recounting things that have already happened. That could subtly reinforce the idea of inevitability: these events happened, and therefore they couldn't have happened differently (but the story is about defying fate so I can’t decide if this approach would be going against the theme?).

Obviously, past tense doesn't literally imply determinism. Almost every novel is written in past tense. But given that this story is explicitly questioning whether characters genuinely control their futures, I'm wondering if retrospective narration could unintentionally make the story feel more fatalistic.

The advantage of past tense is that it gives me access to retrospective understanding. The protagonist’s forming relationships are slow and we can’t just show her immediately having casual, let alone deep conversations with her captors, so I thought that a retrospective past tense would offer a more natural way for reflective inner monologues and such. The protagonist's ignorance is important to her character arc, but eventually she will understand things that she couldn't possibly have understood at the beginning. Past tense would let the narrator occasionally reflect on earlier events with knowledge she didn't possess at the time. It could allow foreshadowing, recontextualization, and commentary like "I didn't understand it then, but..." without feeling unnatural. That could be very useful for the mystery and for her eventual development into someone who has the perspective to tell the story.

So I'm currently torn between:

Present: More immediate, More immersive, Keeps the reader inside her ignorance, Decisions feel like genuinely open possibilities, Potentially reinforces the illusion of free will, Preserves uncertainty about other characters…

Past: More reflective, Allows retrospective knowledge, Makes foreshadowing and recontextualization easier, Could suit the protagonist eventually becoming a storyteller, But might create a subtle sense of inevitability in a story already concerned with predetermined fate

I'm also considering multiple POVs: Either by establishing an outside POV as a  second protagonist who’s directly fighting to resque her or alternatively - to have mostly first-person POV from the protagonist, but occasionally switch to another character when something important is happening that she can't witness. So if I use secondary POVs, I'd probably want them to be relatively rare and reserved for moments where something genuinely important is happening outside the protagonist's awareness.

The other possibility is a prologue. I could have an omniscient prologue and establish the larger political situation, then switch permanently to the protagonist's first-person perspective once she gets kidnapped.. The idea would be that the reader initially sees the larger machinery of the world, but then the narrative deliberately narrows until we're trapped inside the protagonist's perspective. I'm not sure whether that would feel intentional or whether it would feel like I established one set of narrative rules and immediately broke them. And I don’t want this option to be dismissed by “i’d skip a prologue” like that’s a you problem. The prologue is a part of the story. Why are you skipping the story! (Sorry if that comes off rude, but it just pisses me off when people skip prologues and honestly I wouuldn’t want those kinds of people as my target audience anyway.)

So I'm trying to decide what the story actually needs

The central question I'm trying to answer is: Should the reader's knowledge be deliberately limited in the same way the protagonist's is?

On one hand, I think that limitation could be one of the things that makes the story work. On the other hand, I don't want the larger political story to feel artificially hidden just because I've decided that the protagonist can't see it.

And then there's the additional question of tense: if the reader experiences her choices in the present, does that actually strengthen the illusion that her choices are free? Or is that such a subtle effect that it shouldn't factor into the decision?

So, given this particular story: Would you embrace the protagonist's limited knowledge as a central narrative feature, or would you give the reader occasional access to the wider rebellion?

And between present and past, do you think the fate/free-will theme is actually a meaningful reason to prefer one over the other?

I'm especially interested in arguments based on the specific narrative needs of this story, rather than general rules about which POV is "better."

In my book, can it say:

"She looks a lot like Jessica Simpson."

"I hate 'Girlfriend' by Avril Lavigne!"

"They went to have lunch at McDonald's."

"Let's take my Cybertruck!"

I see some books mention products, businesses, celebrity names, but I'm not aware of its extent or if there is any.

Can anyone explain with this?

This power seems really cool and makes sense for my character, but I’m not quite sure how it would work. What quantities COULD be manipulated? And what type of math would the character need to know to have enough information to manipulate these quantities?

I’m looking to avoid hated tropes in my writing, so any answers are greatly appreciated! Also if you want to explain why you hate it that’d be STELLAR!

Have a great day! ^^

TW: NSFW; Sensitive Topics

This is concerning one of my FL’s mother’s backstory. Her mother had many miscarriages before having her, and she became cold and foul. The issue is that her husband (FL’s Father) caused every one of those miscarriages without her knowing it, and pinning it on her lady-in-waiting. I just want to know if it makes sense/ if it’s too much. In this story, there are themes of violence, murder, prostitution, abuse, cheating, and manipulation. I don’t mind talking about it in the comments, but I would like to DM if I have anymore morality issues. Thank you!!

Many nuances and emotional stuff needs work. So this is just a rough idea. I want to make this a comedy and drama. Not rom com type of comedy, but an actual one. The plot is amateur, I agree. But by working on the scenes as I go and executing the whole fleshed out story properly, I think this would be a good story. I'm not sure if this needs to be spicy or not. Please shoot any suggestions. Here's the idea.

So the main character is an attractive play boy. Also popular amongst girls as a guy who knows what he does. The kind of sex girls have with him is unlike any other. But the most popular thing is that he can last for hours. So many girls fawn over him. Then as we explore the main character more, we'd know he's that way because he doesn't actually like any girl he's having sex with. Or maybe he trained himself to be detached enough (I'm working on exploring this aspect). He likes them enough to have sex, but not make love.While he also mastered karezza and edging in general, this is the primary reason amongst the others for him to last that long.

He's a typical emotionally detached heartbroken guy. He doesn't believe in love and thinks he would never even find a girl attractive enough to finish in her, let alone falling in love with one. Until..... He finds a girl attractive for the first time ever. Then when they have sex, he finishes almost instantly. So this is the idea I have. I should work on the story of the girl's side too, but I don't have any idea for that. So what do y'all think?

I’ve linked my call for help. My issue is that when asking for criticism, I’ve tried to make the adjustments with a rewrite of chapter 2, two times now. However, it doesn’t seem that I’m meeting my criticisms main point of ‘making it actually feel like the story is being told’. He really enjoyed chapter 1, but chapter 2 felt less enticing. Can someone please help, I’ve added chapter 1 just in case anyone needs context to assist me on chapter 2, if you’d like. Thank you(:

In a story I’m writing, there’s a agency in the US Government called the Federal Bureau of Paranormal Investigation (abbreviated to FBPI) which is frankly weird, unprofessional, and useless to the general public. They’re known for recklessly throwing scientists (which they gather for specific projects, there aren’t any scientists working within the agency itself) at weird things without regard for scientific principles or even scientific safety standards.

I haven’t yet worked out why the FBPI was created, but the reason why the US Government kept it running is because the FBPI is good for PR. The FBPI basically lets the government say that they’re doing something about weird things that happen (such as the real life unexplained livestock deaths in Moca, Puerto Rico, in 1975 which laid the groundwork for the legend of the Chupacabra,) and it also lets them cover up confidential government projects with paranormal legends (such as the various legends and conspiracy theories about aliens in Roswell, New Mexico, that were came about after the real life Roswell Incident in 1947; within the story I’m writing, the FBPI was directly involved in creating those myths in order to cover up the fact that the debris the rancher found was a device from the then top-secret Project Mogul.)

But I’m worried about accidentally spreading the message that government agencies are entirely untrustworthy and useless, since that just isn’t true, there are a lot of really important government agencies like the FDA and OSHA. I’m especially worried since the FBPI is a somewhat scientific agency, and I really don’t want to spread that message about scientific government agencies. But the FBPI and its incompetence are really important within the story. The protagonists within the story I’m writing are scientists gathered by the FBPI to work on an investigation into a suburb where a bunch of weird creatures suddenly appeared, and part of their struggle is doing the best they can with inadequate resources, funding, and direction from the FBPI; I also want the FBPI’s incompetence to be an element of comedic political satire (it’s admittedly not that deep, it’s just, “lol, the government’s incompetent.”) But again, I don’t want to spread the message that government agencies are entirely useless and untrustworthy, any advice?

Edit: I should also mention that the FBPI’s recklessness actually leads to a significant event within the story when they poke into something they really shouldn’t have.

Edit 2: I should also note that the FBPI is a background element.

Edit 3: I know that my story isn’t going to change anything politically, I didn’t make this post because I was worried about how my story would affect real world politics, I made this post because themes are an important aspect of writing and I don’t include a message I didn’t intend to in my story, I want my story and its themes to be as well written as I can make them. I’m sorry that I didn’t clarify this earlier or initially make it obvious in my responses to some of the feedback I’ve received; I honestly didn’t think I had to. I don’t understand where the idea that I was worried about how my story would affect real world politics came from, but I’m genuinely sorry that my post read like that.

Edit 4: I’ve decided to rework this concept based on some of the feedback I’ve received here. For one, the FBPI is going to a based on the US Atomic Energy Commission rather than just being entirely made up, and will be renamed to (what is for now) the US Paranormal Investigation Commission. Within the story I’m writing, there are magic crystals called psycrystals which are somewhat similar to radium, and I wanted the US government to mishandle them similarly to how they handled radium; that was what inspired this agency’s incompetence and I initially wanted it to be a satire on general government incompetence and failure to be safe, but I’ve since decided to specifically parody the government’s mishandling of radium.

I need to write an 1000 word gothic story for English and I’m having serious writers block!!! The only requirement is it contains elements of the unknown, anyone got any ideas?

I plan on creating a graphic novel and a plot point that I’ve thought of for the series is for the main character to sacrifice himself to save his best friend to show his growth from a previously egotistical and self absorbed person. Maybe he has to sacrifice some of his memories in exchange for him coming back to life so that he’s technically not the same person? I know that people don’t like character sacrifices being cheapened, so I really want help with this. Thanks you.

I recently received some feedback on a few premises I've written. I was told that my premises don't directly describe what the main character is trying to accomplish or what obstacles they face, and that they mostly just describe conceptual elements of the story.

What would you recommend I do to improve them and make the character's goal and obstacles clearer?

Here are the premises:

-After a difficult recovery, a young army combat engineer officer must learn to balance his personal and professional life while trying to prove himself during a month-long trial leading a new platoon.

-An adventure to collect prehistoric DNA will make a boy question how much it has cost him to hold on to his grief after abandoning his grandfather in the present on the anniversary of his parents' deaths.

My mom said the story she was typing on her phone using the app disappeared. I called her to share her screen and guide me through what she did. I still can't tell what she pressed.

My guess is that she didn't save it and exited the app by accident. Is there a way to retrieve the information?

I'm asking because I looked through the app and can't figure out a way to solve it.

Hello, I want to create a manipulative villain/antihero protagonist for my story. The questions, without going into details, are:

1- Is it possible for a manipulative character to be known on page one? I heard these kinda character should be a secret from the reader so it won't ruin the climax of the story. Does this mean my character will be boring?

2- How could I possibly make the reader enjoy his manipulation tactics? I want him to use it as a survival method and justify his actions.

3- Could I use real-world manipulation methods and learn from them to create my character? Like Gaslighting and Triangulation?

4- Any recommended sources to start learning to create my manipulator character?

For example, should it be:

He turned to them. "Let's go home."

Or should it be:

He turned to them.

"Let's go home."

Are both acceptable, or should I stick with having both action and dialogue of the same character in the same paragraph?

Hey, I'm new around here, but I've been working on my story for around a decade? It's kind of a hazbin-adjacent amalgamation of all my OCs that I then built a world around and morphed things until I got what I could call a cohesive story. Problem is, there's magic involved, and there are plot holes that I have no idea how to solve in a satisfying way. I have ways of solving them, but they don't feel right, you know?

Okay, so, my story follows a girl named Ellie and her adventure in a land called Kaisla, which exists parallel to ours. She's an orphan and all she wants is a family, but having grown up in the system and being nearly 16, she's kinda jaded and closed off emotionally. So she wakes up in this strange land (a la Alice in Wonderland) and goes off in search of a way to get back home, but she ends up twisted up in something bigger than she expected.

Basically, there's a guy named Magnus, and he's an exiled wizard who practices necromancy. People believe he killed his wife and the village they lived in, so no one trusts him. He lives alone in a treehouse out in the middle of the plains with his adopted daughter Kettle and his frankensteinian son Winslow. They have their own issues but what matters is that he actually didn't kill her; his wife killed herself to spite him. She went to my story's version of hell (Deazre), and Magnus couldn't stand that so he attempted to bring her back. He failed, but her spirit used that chance to rip a hole in the fabric of reality and escape Deazre as a malevolent spirit.

So, Mallarfis (his wife) starts leaping around the cosmos, ripping holes in the space time continuum, and these portals (ha! the title!) are left behind when she does so, destabilizing the separation between the four dimensions. Ellie fell through one of these portals and landed in Kaisla, but she's not special -- this has been happening for years and has happened to many people, including Kettle and a band of Adanian refugees (our land, the realm without magic, is called Adania). Magnus has been working to try and solve the destabilization for years, to no avail. While working to locate and close a rift, he found Kettle, displaced from Kaisla into Deazre, and saved her, but she now has fire powers because of her time there.

In Deazre, there is a great beast called the Dragon of the Depths, and it's a spiritual creature whose only purpose is to devour souls and reincarnate them into their next form. It's a being of pure destruction, and the only real reason Deazre exists. Everyone goes to Deazre when they die, except for those who reach a form of enlightenment by committing a great act of heroism during their lifetime. People who achieve this end up in Elyceste, which is a form of heaven... kind of.

Ellie comes to love her little family of strange people and sacrifices herself in a battle against Mallarfis, which causes the fabric between worlds to separate enough for the Dragon to escape. It begins rampaging through Kaisla, but Ellie is now in Elyceste, stuck in this place that never changes. It's described as sterile and eternal. All Ellie wants is to return to Kaisla to be with her new family that she JUST formed, but the gods of Elyceste are like "uh no??? why would we do that??"

So the only thing I have to make the gods allow Ellie to return to Kaisla is the Dragon being a danger to Elyceste as well as the other three realms, but I still don't know how exactly Ellie returning to Kaisla would help... stop the Dragon...? I can't figure out a way for Ellie to convince the gods that she should return to Kaisla without it feeling forced.

I have WAY more details if needed, I can explain anything in more depth if necessary but this story is my baby and I'm debating rewriting the entire thing because the draft/plot holes are making me so angry I want to tear my hair out or trash the whole project.

This is my pilot for a series I'm working on. Please tell me your honest opinions and how I can improve. Please and thank you!

It begins in the underworld with some of our protagonists, Kali Darkthorn and her little brother Hex, who were both born in the underworld. Kali was looking down at a crowd of angels and the fallen, celebrating a peace treaty between the emperor of the clouds above Pandamon and the king of the underworld, Hadrathorn. Both were smiling and happy to start this new chapter of the Order of the Spades.

Misty is in the crowd as Pandamon's daughter Pandorah walks upstage and begins her speech, as Kali readies her sniper aimed at Pandorah. Hex gets in the way of the scope, trying to explain that Pandamon will have us killed if we get caught, including Misty! Kali tries to shake him off the sniper, and as she shakes, she pulls the trigger, and a bullet flies down and hits Pandorah in her ear, completely obliterating it.

A shimmering dark blue blood color covers her face as she soon passes out. Pandamon rushes over and wraps her up as his guards send her back up above the clouds. He looks back at the crowd, then back at Hadrethorn and gives him a disappointed yet mad look. "I thought you said your people could be trusted! I believed you! I TRUSTED you. Look at what YOUR PEOPLE caused!" Hadrethorn puts his hands up and grits his teeth and tries to calm him down.

"Look, buddy, it was only 1 of them... hopefully," Pandamon sighs and pinches the bridge of where his nose would be. "YOU HOPE? I CAN'T BELIEVE YOU!" he looks off to the crowd and demands whoever shot his daughter to come forward. Misty raised her hands and explained who could have done it, but isn't too sure if it really is who she thinks it was.

Eyes fill the sky, one of them putting a spotlight over Misty, and soon eyes stare at Kali and Hex; the eyes dilate and glow a red spotlight over them. He grabs all three of them and throws them towards Hadrethorn. He looks at him deep into his nonexistent soul. "If you want to prove you are trustworthy enough to continue this peace treaty, please. Do yourself, your people, and mine all a favor and get rid of them."

Thorn looks down at his fellow fallen people and looks over to his guards. Misty panics and exclaims to them to stop and asks if there's a different punishment that they could have. Kali and Hex nod as Thorn thought about it for a sec. He snapped his fingers, and a portal opened, revealing Earth. Pandamon steps in front of the portal. "Are you serious!? Sending these- these... DEMONS down to Earth!? Im sorry, Thorn, but I can't let you choose this as their punishment." Thorn looks over at Pandamon, demanding that he step aside.

"You have no power in telling ME, the KING of these people, how I decide to punish MY people, so step aside, don't. Make me ask again." Pandamon sheepishly stepped over to the side; Thorn picked up all three of them one by one, tossing them in the portal like a kid taking out the trash. As the 3 fall into the cold atmosphere, Kali and Misty's scales, like skin, slowly burned off, revealing human-like skin. They crash onto Earth in the Matsu Valley.

Hex was the first to wake up, looking around and sees 2 human like figues next to him passes out. He pokes both of them and jumps as one of them starts moving. Misty slowly gets up and looks over at Hex and cheers that they are still alive. Misty then looks over to Kali and screams, waking her up. "dude what the hell are you yelling for!?" She looks up at a human Misty and an unchanged Hex. She checks her hands and looks in her reflection in a nearby pool of water. She, too, looked human. All 3 were happy to be alive but had to find a way back to fix everything. But that might be hard because they are "Demons among the mortals"