One major difference between me as a conlanger now and me as a conlanger ten or fifteen years ago — beyond simple accrued experience — is my relationship to writing systems.
If I wanted to, I could oversimplify this to something like "well, now I actually know how to do them", but that would be missing the point in service of a mid-tier gag that is not even entirely true. I was neither exceptionally bad at writing systems then, nor am I particularly skilled at them today.
This is not to say that I never thought about scripts in high school or college, or tried to make them — I absolutely did, and even created some that were reasonably complete and usable (given my level of experience at the time). I also understood — as well as someone in my situation could — that concultures would not be using the Roman alphabet unless they were located on Earth within the last few thousand years (or in the non-distant future). If their languages were written, they would be written using something entirely different from the romanization I used to document them.
However, conscripting was also never a main focus of mine, and often I just waved my hand and assumed a script of some sort must exist, but did not try to create it.
What has changed is that, in 2026, I increasingly view my artlanging projects through the lens of their native writing systems and conventions, with romanization as the mere transcription scheme that it is. And furthermore, an artlang project without at least some sort of native writing system now feels woefully incomplete, like a naming language with no grammar beyond a handful of rules for combining onomastical elements.
Now, I still do not necessarily know what the writing system for a language will look like from the start (or near the start) of the project, although I have occasionally made efforts to start thinking about it as early as possible. But this does mean that I i.e. spend less time fretting about whether the romanization is exactly the way I like it, as opposed to just whether it can actually handle the task it is charged with. Outside of specific types of projects, artlang romanizations are just a more typable version of IPA, used to record the sounds of the language in a human-usable textual fashion, rather than part of the art side of the project like the rest of the language.
I have also started to move towards more naturalistic writing systems in many cases, although I would still say that I am less creative than I would like to be with writing systems in general. This echoes a trend throughout my conlanging "career", in which I went through an engelanging phase when I was still relatively new to the art, but then settled into a much more artlanging-focused mindset by the time I started to hit "real adulthood". Creating "perfect" systems once felt like a goal; now it feels like an interesting intellectual exercise that might teach me how a particular aspect of language works in the abstract, but would be of little use in the real world.
Creativity, however, is a muscle that will develop through exercise. A lot of work and many years or decades of experience go into the truly beautiful scripts that I see other conlangers creating; as with other aspects of our craft, there is no way forward other than practice.