njcklenjart

[njcklenjart]

Flaws and Quirks in Male Characters That I’m BEGGING Writers to Explore

✧ Dudes who are bad at sports. Yes, Chad, not every male character needs to throw a perfect spiral in high school. Let him get hit in the face with a dodgeball. Let him (please) suck.

✧ The “pretty boy” who's not vain, just vibing. Like he knows he looks like he walked out of a Renaissance painting but has the self-esteem of a lost ferret.

✧ Shy, awkward boys who don’t magically become suave by Chapter 6. No, he’s still weird at parties and says “you too” when the waiter says “enjoy your meal.”

✧ Flirtatious guys who are actually super respectful. He's flirty but not a walking lawsuit. Shocker. He’s playful, not predatory.

✧ Male friendships that aren't emotionally constipated. Yes, two guys can say “I love you, bro” and not immediately punch each other to cancel it out.

✧ The soft-spoken leader. He doesn’t need to scream orders or have a “gruff, commanding voice.” He just talks, and people shut up and listen because he’s competent.

✧ Dudes with weird hobbies. like, your guy MC collect antique spoons or have a YouTube channel rating old vacuums. Why not. It’s his passion.

✧ Guys who are clingy and insecure in relationships. Not abusive, just genuinely terrified of being left on read for too long. He's trying his best, ok?

[njcklenjart]

Quick tips for writing Villains

✧ Your villain doesn’t have to be the foil of the hero. Sometimes the villain is the exaggeration of the hero. Same dream, just more murdery. More dramatic monologues. Less therapy.

✧ “Oh no, he’s hot” is valid. But why is he hot? Is it the danger? The voice? The haunted eyes? The “I will burn down heaven to see you smile” energy? Dig deeper than vibes. (But don’t forget the vibes.)

✧ If their evil plan could be solved by Google Maps and common sense, I’m deleting your book. No “I will destroy the world to get revenge on my high school crush.” Think bigger. Or weirder. Or petty but well-planned.

✧ If your villain is in the book for 12 seconds and dies offscreen, I will mail you a passive-aggressive letter. Let them be a presence. A shadow. A curse in the dialogue. A name no one wants to say out loud.

✧ They don’t have to be evil. They just have to be opposed. That mentor who believes the hero should sacrifice everything for the greater good? That’s a villain. That parent who loves their child but keeps hurting them “for their own safety”? That’s a villain. Welcome to nuance.

✧ If your villain is funny, I’m already 20% in love. Quips? Sass? Petty villain monologues? Excellent. Bonus points if they’re self-aware about how dramatic they’re being. “You didn’t think I’d actually fall into that lava pit, did you?” Icon.

[njcklenjart]

How to show emotions

Part V

How to show grief

a vacant look

slack facial expressions

shaky hands

trembling lips

swallowing

struggling to breathe

tears rolling down their cheeks

How to show fondness

smiling with their mouth and their eyes

softening their features

cannot keep their eyes off of the object of their fondness

sometimes pouting the lips a bit

reaching out, wanting to touch them

How to show envy

narrowing their eyes

rolling their eyes

raising their eyebrows

grinding their teeth

tightening jaw

chin poking out

pouting their lips

forced smiling

crossing arms

shifting their gaze

clenching their fists

tensing their muscles

then becoming restless/fidgeting

swallowing hard

stiffening

holding their breath

blinking rapidly

exhaling sharply

How to show regret

scrubbing a hand over the face

sighing heavily

downturned mouth

slightly bending over

shoulders hanging low

hands falling to the sides

a pained expression

heavy eyes

staring down at their feet

More: How to write emotions Masterpost

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[njcklenjart]

Dialogue Strengthening Methods

Dialogue serves as the lifeblood of any narrative, offering readers a window into the minds, hearts, and souls of characters. When executed effectively, dialogue not only propels the plot forward but also deepens character development and fosters emotional engagement.

Authenticity through Observation

Authentic dialogue begins with keen observation of the world around us. As writers, we are avid listeners and astute observers, capturing the cadences, quirks, and real-life conversations. For example, in a bustling market scene, the rhythm of vendors haggling over prices or the melodic lilt of a street musician's banter adds depth and authenticity to the setting.

Character Voice

Just as no two individuals are alike, each character in a story possesses a unique voice that reflects their personality, background, and worldview. Crafting distinct voices involves delving deep into the psyche of each character, understanding their motivations, fears, and desires. Consider the contrast between a grizzled detective who speaks in terse, cynical phrases and a wide-eyed rookie whose speech is punctuated by eager enthusiasm. By infusing dialogue with these individual nuances, characters come alive, resonating with authenticity and depth.

Subtext

Beyond the surface level of spoken words lies a rich tapestry of subtext—unspoken thoughts, hidden agendas, and underlying emotions. Mastery of subtext allows writers to imbue dialogue with layers of meaning, inviting readers to decipher the unspoken truths that lie beneath. For instance, in a scene where a character offers a half-hearted apology, the tension between their words and body language hints at unresolved resentment or guilt. By harnessing the power of subtext, dialogue transcends mere communication, becoming a vehicle for nuanced storytelling and character development.

Showcasing Emotions

At its core, dialogue is a reflection of human emotion—joy, sorrow, anger, love. Capturing the emotional essence of a scene requires a delicate balance of words, tone, and context. Instead of explicitly stating characters' emotions, skilled writers show them through subtle cues—hesitant pauses, clenched fists, tearful eyes. Consider a scene where a parent confronts their child about a secret they've discovered; the trembling in their voice and the quiver of their lip betray a mixture of concern, disappointment, and love. By allowing emotions to permeate dialogue exchanges, writers forge a visceral connection with readers, eliciting empathy, laughter, and tears in equal measure.

Conflict and Tension

Dialogue thrives on conflict and tension, driving the narrative forward with relentless momentum. Whether it's a heated argument between lovers or a tense negotiation between rivals, conflict infuses dialogue with urgency and dynamism. Consider a scene where two political adversaries engage in a war of words, each vying for dominance and advantage. By pitting characters against each other, whether in overt clashes or subtle power struggles, writers create opportunities for growth and revelation.

[njcklenjart]

Questions for Crafting Problematic Characters

Sure, let's simplify and add some guiding questions to help you navigate the complexities of writing problematic characters:

Understanding Your Character's Mind: Dive into your character's thoughts and feelings. What makes them tick? What fears or desires drive their actions? How do their past experiences shape who they are today?

Looking at Past Hurts: Think about any past traumas or tough experiences your character has faced. How do these experiences affect how they behave now? Do they have unresolved issues that come up in their actions?

Considering Society's Impact: How does the world your character lives in affect them? Do they follow the rules or rebel against them? Are there societal norms they struggle with or don't agree with?

Thinking about Power and Privilege: Does your character have power or privilege in certain situations? How does this affect how they treat others? Do they realize their privilege, or are they blind to it?

Exploring Different Identities: What parts of their identity are most important to your character? How do aspects like their race, gender, or sexuality influence their behavior? Do they face discrimination or stereotypes because of who they are?

Dealing with Right and Wrong: Are there times when your character has to make tough decisions? What moral dilemmas do they face? Do they always do what's right, or do they sometimes make mistakes?

Giving Your Character Control: Does your character have control over their own life? How do they make choices and deal with the consequences? Do they have the power to change, or are they stuck in their ways?

Seeing Through Different Eyes: Whose perspective is the story told from? How does this affect how readers see your character? Do readers understand why your character does what they do, or are they left guessing?

Writing with Respect and Responsibility: Are you being respectful to the people or groups your character represents? Have you done enough research to understand their experiences? Are you telling their story in a way that's honest and fair?

Exploring Big Ideas: What themes or messages do you want your story to convey? How do your characters, especially the problematic ones, help explore these ideas? Are you starting conversations about important issues?

In short, understanding your character's past, their place in society, and their moral compass can help you write them more authentically. Remember to approach sensitive topics with care and to give your characters room to grow and change.

[njcklenjart]

heartbreak through body language in Men

A drooping posture can convey a sense of defeat and sadness. Keep shoulders slightly slouched, and avoid standing tall or with a straight back.

Facial expressions play a crucial role. A downturned mouth, furrowed brows, and a distant or vacant gaze can all indicate inner turmoil and heartache.

Men often avoid eye contact when they're feeling vulnerable. If you're experiencing heartbreak, you might find yourself looking down or away when speaking to others.

Restlessness can manifest in various forms, such as tapping fingers, bouncing legs, or constantly shifting positions. This indicates inner turmoil and an inability to find peace.

Movements may become slower and less purposeful when someone is experiencing emotional pain. This can include gestures like reaching for objects or adjusting clothing.

Men in heartbreak might withdraw from social interactions or participate less actively in conversations. They may seem physically present but emotionally distant.

Deep, heavy sighs are often involuntary reactions to emotional distress. They signify a release of tension and an underlying sense of sadness.

Heartbreak can drain one's energy. You may notice a decrease in enthusiasm, vitality, and overall liveliness in how you carry yourself and engage with others.

Crossing arms, hunching shoulders forward, or clasping hands in front of the body can create a barrier between oneself and others, reflecting emotional guardedness and pain.

Gestures may become less expressive and more restrained. Hand movements may be smaller in scale and less animated compared to usual.

[njcklenjart]

The Villain Checklist!

Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:

Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?

Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.

Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.

Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.

Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.

Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.

Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.

Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.

Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.

Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.

[njcklenjart]

if you're stuck on a chapter there are a few reasons:

-your set up to the scene you're writing is not working. go back and check it

-you are not in the right POV. think about who would be the most interesting or the most entertaining or the most informative in that scene, depending on what impact you want the scene to have

-you're at the beginning of the chapter and the words aren't coming to you even though you have it planned out already? the solution is simple: you don't like what you have planned out as much as you think you do. do not force it

-solution to a lot of problems comes from a single question I ask myself: Do I choose the kind option, or the mean option? (Your readers will eat up either one)

-You find the dialogue lacking? Act it out

-Your scene feels boring or something just "ain't right" but you can't tell what it is? Try making yourself feel the emotion you want your readers to feel. If you didn't cry while writing a scene meant to make your readers bawl their eyes out, then you might not have connected to your character as well as you wanted to. Put yourself in their shoes, pretend you ARE them.

(And afterwards, please practice putting yourself back in your own shoes and taking care of your mental health. Sometimes the fucked up stuff might get to you. Healthy minds create healthy lives, and in turn, you get to keep creating.)

-Your environment might be bothering you. Take a look around you and see what's nagging you. Is your workspace not clean? Are your notes out of order? A clean/orderly workspace can help you organize your thoughts or get you into a more productive mood. (Trust me, I get it, sometimes it's really hard to keep it tidy.)

-Try white/brown/pink noise. Try listening to music, or to videos that create background noise you feel most productive with.

-Jumping jacks. Squats. Stretches. Wiggle around your room. That one scene in High School Musical where Sharpay and Ryan are warming up. It sounds ridiculous, but this is good for you, your body, and your mind. Release pent up energy, get yourself awake and focused. If you aren't able to do this, try something silly to wake your brain up. Do some puzzles, sing some songs, etc.

-Most importantly:

Did you do your laundry? Did you get enough sun? Did you drink enough water? Did you eat enough today? Did you get your favorite snack? Did you smile? Did you run in your yard like you did as a kid? Did you laugh with your friend? Did you see the way their eyes crinkle when they smile at you? Did you play with your dog? Your cat? Did you look at the flowers in the field near your house? Did you meet someone new? Did you learn something you didn't before? Did you try something you were scared of? Did it go well? Did you enjoy being yourself? Did you explore the world today? Did you live? Did you love? Did you feel? Did you breathe, and relax, and feel that everything is gonna be okay?

It might seem insignificant, but we write from the heart, not just the mind. Let your story sit in the back of your mind when you truly feel stuck. Take care of yourself, try getting out of your head. Notice the details around you, commit them to memory. Your story will wait for you. It might take a day, or days, or a week, or a month, months, or a year or years. But the story sits with you and you'll be thinking about it without actually thinking about it. When you come to your story again, it will be happy that you've grown, no matter how big or small

[njcklenjart]

Apparently a lot of people get dialogue punctuation wrong despite having an otherwise solid grasp of grammar, possibly because they’re used to writing essays rather than prose. I don’t wanna be the asshole who complains about writing errors and then doesn’t offer to help, so here are the basics summarized as simply as I could manage on my phone (“dialogue tag” just refers to phrases like “he said,” “she whispered,” “they asked”):

“For most dialogue, use a comma after the sentence and don’t capitalize the next word after the quotation mark,” she said.

“But what if you’re using a question mark rather than a period?” they asked.

“When using a dialogue tag, you never capitalize the word after the quotation mark unless it’s a proper noun!” she snapped.

“When breaking up a single sentence with a dialogue tag,” she said, “use commas.”

“This is a single sentence,” she said. “Now, this is a second stand-alone sentence, so there’s no comma after ‘she said.’”

“There’s no dialogue tag after this sentence, so end it with a period rather than a comma.” She frowned, suddenly concerned that the entire post was as unasked for as it was sanctimonious.

[njcklenjart]

Random, but a really handy way to make things seem creepy or wrong in horror is to make them incongruously neat or clean:

In the middle of a horrific battlefield, you find one corpse laid aside neatly, straightened and arranged, its arms crossed neatly across its chest

As you walk through the garden, you gradually realise that the oddness you’ve been noticing about the trees is that they are all perfectly symmetrical

As you move through the abandoned house, you realise that suddenly that there’s no dust in this room, no dirt or cobwebs

You hear hideous noises coming from behind a locked door, screams and pleas, and visceral sounds of violence. When you manage to break down the door, there is no one there, and the room is perfectly spotless

In the middle of a horrific battlefield, a hollow full of churned mud and blood, you find five corpses cleanly dismembered, each set of limbs or parts neatly laid out in their own little row

You witness a murder, a brutal, grisly killing that carpets the area in blood. When you return in a blind panic with the authorities, the scene is completely clean, and no amount of examination can find even a drop of blood

You run through the night and the woods with a comrade, pulling each other through leaves and twigs and mud as you scramble desperately towards freedom. When you finally emerge from the forest, in the grey light of dawn, you turn to your companion in relief, and notice that their clothes are somehow perfectly clean

You hand a glass of water to your suspect, talking casually the whole while, and watch with satisfaction as they take it in their bare hand and take a drink. There’ll be a decent set of prints to run from that later. Except there isn’t. There are no prints at all. As if nothing ever touched the glass

You browse idly through your host’s catalogue, and stop, and pay much more attention, when you realise that several items on a dry list of acquisitions are ones you’ve seen before, and it slowly dawns on you that each neat little object and number in this neat little book are things that belong (belonged?) to people you know

Neatness, particularly incongruous neatness, neatness where you expect violence or imperfection or abandonment, or neatness that you belatedly realise was hiding violence, or neatness that is imposed over violence, is incredibly scary. Because neatness is not a natural thing. Neatness requires some active force to have come through and made it so. Neatness implies that the world around you is being arranged, maybe to hide things, to disguise things, to make you doubt your senses, or else simply according to something else’s desires. Neatness is active and artificial. Neatness puts things, maybe even people, into neat little boxes according to something else’s ideals, and that’s terrifying as well. Being objectified. Being asked to fit categories that you’re not sure you can fit, and wondering what will happen to the bits of you that don’t.

Neatness, essentially, says that something else is here. Neatness where there should be chaos says that either something came and changed things, or that what you’re seeing now or what you saw then is not real. Neatness alongside violence says that something came through here for whom violence did not mean the same thing as it does to you.

Neatness, in the right context, in the right place, can be very, very scary

And fun

[njcklenjart]

Lesser-known steps of the writing process:

Finding all the paragraphs where you used some hyper-specific word more than once

Rearranging paragraphs that you swear you wrote in the right order but turned out to be totally backwards

Going for a walk, coming up with the perfect line, and forgetting it as soon as you get home and open your laptop

Creating a separate document where you can dump all of those nice sentences that no longer fit in anywhere

Waking up in a cold sweat because so-and-so was supposed to be barefoot but never actually took his shoes off

[njcklenjart]

If You’re Writing a Female Character, Avoid these Bad Writing Mistakes

Avoid focusing solely on how she looks, what she wears, or how attractive she is to others.

Don’t make her dependent on male characters for rescue or decision-making.

Avoid giving her unrealistic abilities without any training or explanation.

Avoid portraying her as constantly crying, screaming, or overly dramatic without depth.

Don’t make her entire character arc revolve around finding love or getting married.

Avoid creating her as the only female in a predominantly male cast just for diversity points.

Avoid having her dialogue filled with stereotypical phrases and overused expressions.

Ensure she has realistic imperfections and challenges to overcome.

[njcklenjart]

How to Write a Character Who Is Naive

Big Optimist Energy

Naive characters usually have this "everything’s gonna be fine!" vibe. They might think the world is fair, everyone’s nice, and good things happen to good people. Show how they’re super trusting, always expecting the best, even when things are clearly going sideways. Maybe they believe their toxic friend will change or that the school bully is just misunderstood.

Misses All the Red Flags

These characters are notorious for ignoring warning signs. Whether it’s a sketchy new friend or a relationship that’s clearly bad news, they’re blind to the obvious. Even when people around them are like, "Um, don’t you see what’s happening?" they’re still convinced everything’s cool, until it all blows up.

Unintentional Comedy

Naive characters can be hilarious without meaning to. Maybe they take everything way too literally, don’t catch sarcasm, or completely misread the vibe in social situations. It’s the kind of thing that makes you cringe and laugh at the same time because they’re just so clueless. These moments can make them super endearing, even if they’re a little embarrassing.

[njcklenjart]

An action scene isn’t about writing down every punch, kick, or swing of the sword. You’re not choreographing a fight for your reader, you’re throwing them into the moment, making them feel the intensity, the panic, the adrenaline. Focus on the emotions, the tension, the stakes. Show how the character’s thinking changes in the heat of the moment, how their survival instincts kick in, how their body reacts to the chaos. Make it fast, make it brutal, and don’t drag it out longer than it needs to be. Action is about urgency, not precision.

[njcklenjart]

“It’s hard to put a number on how many books I’ve read that feature characters in the woods. Sometimes they’re fleeing, sometimes chasing, sometimes just looking for something to eat.

As someone who spends a lot of time in the woods, I should tell you that most authors get it wrong. Here are ten realities about the woods that every writer should know.”

[njcklenjart]

Things that work in fiction but not real life

torture getting reliable information out of people

knocking someone out to harmlessly incapacitate them for like an hour

jumping into water from staggering heights and surviving the fall completely intact

calling the police to deescalate a situation

rafting your way off a desert island

correctly profiling total strangers based on vibes

effectively operating every computer by typing and nothing else

ripping an IV out of your arm without consequences

heterosexual cowboy

[njcklenjart]

How to draw: Not white characters

How to draw a Black person

How to colour Black people skin tones

How to draw dreadlocks

How to draw African hair

How to draw curly hair

How to draw braids

How to draw braids part 2

How to draw cornrows

How to draw Bantu knots

How to draw two strand twists

How to draw an Asian person

How to colour darker skin tones with alcohol markers

How to draw hijabs/traditional Muslim hair coverings

How to draw a hijabi girl

All links and art provided by @ itsajart on TikTok

Before you go “mY aRt sTyLe iS dIfFrEnT tHoUgH” you can moderate it and play around with your style to get it to fit.