#'i hate [character] she makes every scene worse i wish she didn't exist' without any reasoning behind it

[riddlerosehearts]

i miss old early/mid-2010s style confession blogs with cute graphics for every submission so much and i HATE the new resurgence of confession blogs so much i'm not sorry 😭 confession blogs back then used to have rules about what could and couldn't be published and almost all of the new ones allow anything including blatantly hating on other users by name and are just constant pointless discourse generators omg. i keep having to block a new one every time i'm online.

[sincerely-sofie]

🥀

Just curious on how it was while writing your story (since it reached such a character limit lol)

And I was wondering if you had any advice for those who wish to write a story like this? (Not the exact same, just how to write characters interacting lol)

(Referencing this ask game)

🥀 An answer to a question:

It's been difficult— this year's NaNoWriMo didn't go even half as smoothly as last year! Midway through November, I decided to give up on reaching 50k words for the sake of my health. Things shook out in a way that I could take up the challenge again, but by then I had fallen behind on my target word count, and getting back on track was no small task to accomplish. But I've kept at it, and even though I don't like the way this draft is going as I write it, I don't need to. Rough drafts exist to be edited, not to be published! :>

My top pieces of advice when it comes to writing character interacting are to find a way to know how they think, know what they want (and sometimes what they're afraid of) in a given scene, and to give them more depth than the story you're writing explicitly requires.

To write character interactions well, it's important to know how your characters think as well as how they feel. Being aware of what makes them tick is something vital to making them feel like actual people as you write them interacting with others.

In Better the Wool, Narinder is extremely haughty and proud— it's a trait that he's always had, but sank into much deeper after his imprisonment, and defines a lot of his interactions. He looks for ways to boost his ego and will readily belittle others to do that. If you hurt his pride, he'll lash out in response. He always has to get the last word in an argument. He doesn't accept criticism well at all. Egotistical behavior is his bread and butter, and it's largely rooted in shame. He has to act like nothing is his fault, or if it is then it was justified, because it's how he distances himself from his problems. Knowing that makes writing him both in and out of scenes with other characters much easier, and also allows me to recognize that a scene where he strays from his stubborn pride and is undignified and vulnerable will need to have a significant reason for him to behave atypically.

The Lamb, where Narinder is defined by his pride, is defined by her need for control. She is desperate to maintain the peace and unity amongst her followers, and perceives any bump in the status quo as reflecting poorly on her own worthiness as a person. Her need to control people is rooted in a need to keep people around her, as well as herself, safe. She might delegate tasks to others on occasion, but it's a struggle that she only survives out of necessity. Her giving up control of a situation, or even worse, passing it off to someone else entirely, is a choice she would not make lightly, and that's something I keep in mind during every interaction I write for her.

On the subject of knowing what the characters want, knowing what they need in contrast is a great help when writing interactions. Even if Narinder doesn't accept that what he needs is to set his pride down and make amends instead of getting back the Red Crown like he wants, it's always going to be needling away at him in the back of his mind during every interaction he has. This is a method of character development I learned from K. M. Weiland's blog, Helping Writers Become Authors. If you want to learn more about writing a Want vs. a Need, I recommend checking her stuff out!

As for giving characters more depth than your project requires, I like applying this strategy to my OCs the most, but it's relevant in fanfiction as well. I like to think up all sorts of trivia for characters— their favorite food and why they enjoy it (one OC of mine likes brownies with a pretzel crust, but hates brownies without it, because he grew up on his dad's recipe using pretzels and thinks that plain brownies taste bland without it), their thoughts on different concepts like family being the most important thing in one's life (another OC is fundamentally baffled by this idea because her society doesn't have nuclear families and the children in it are raised communally, so it's like asking her if the city she grew up in is the most important thing in her life), etcetera, etcetera. It's a way to get into the characters' heads more and have fun while enriching your understanding of how they perceive and interact with the world around them.

[moltensmusings]

@ladydoe8, I did see your ask and went to respond but made the post private and it has since disappeared into the void of my blog. I have no idea how to find it and I'm not sure if that's because this is a side blog or not.

That said I still wanted to make a response.

Part of my issue with some fights in the grand magic games is how much they lack the feeling of being random. Obviously we get made aware that the king has the ability to pick and choose what fights he wants to see, but in the case of a battle like Wendy vs Cheria, it didn't feel like the king himself actually chose to make it happen and instead Mashima just decided to pit those two against each other because he didn't want Wendy to fight anyone else.

I think maybe the king telling Arcadios that towards the end of the games he wants Yukino to battle Lucy would work and set the audience up to be hyped for the confrontation, only for it to never happen because both of them are forced out of the games for different circumstances.

I like Kagura vs Yukino I just wish it was written in a way that allowed Yukino to show her strength more than giving us an "I'm just better" kagura fight. Yukino should've had one fight before this that took no effort for her to win and didn't result in her using any of the Zodiac keys so that her loss to Kagura would allow us to understand how strong Kagura is without anyone having to whisper it in our ear.

As for Lucy, she should've fought someone else for sure, but not Yukino. I've said before I don't think Raventail should've competed and I stand by that. Whatever group takes their place should've contained the enemy Lucy fights and wins against. I hate the cheating plotline because it requires every single character in universe to be so insanely stupid for it to work at all. It makes the guards seem incompetent at their jobs and brings into question why Lacrimas even exist in the first place if not to keep an eye on mages in the stands and stop foul play. Not to mention there should be a barrior protecting the audience anyway because of how dangerous magic is. Anti-magic exists, you're telling me no anti-magic shields could've been used?

I still would've wanted Lucy fighting Flare, but in a fight that doesn't take place in the arena. Flare comes to either take out or kidnap Lucy under orders from Ivan, and we get a parallel to Phantomlord where this time Lucy holds her own and comes out on top, or at least manages to escape largely unscathed.

I want Lucy to actually be on top of the world before the Naval battle. I want to see her feeling good about herself and actually winning before Minerva gets thrown in because not only will it make Minerva more effective as an antagonist, it'll be actually horrific to watch what happens. Now first note is I would never draw or show the Naval battle with Lucy in a fanservice way because that takes away from the emotion the audience should get from the scene.

For Minerva, the elements are interesting in canon but the execution is BS. I want Minerva to be incredibly good at sticking just enough within the rules to never get Sabertooth penalized while skirting the edges in a way that infuriates her opponents. Instead of wailing into Lucy, she simply keeps her from leaving the bubble until she passes out. The rule as given by the announcers is that all enemies must either say they forfeit or be knocked unconscious, as long as Minerva doesn't kill her they won't intervene. Aquarius would actually care about Lucy in this version and only be forced back into the spirit world when Lucy's lack of oxygen makes her magic far too unstable to maintain a gate. Minerva doesn't kill her enemies. She knows it's a game so why would she kill anyone. But the horror of the scene is what I'd lean into. I think this set up for Minerva would also make her eventual reappearance in Tartaros a bit more terrifying because if she was willing to essentially torture in opponent before becoming a Demon how much worse will she be afterwards.

I think setting up Minerva in this way with her first battle in the games being something that sticks with both the rival guilds and the audience in such a harrowing way is a good idea. It makes her stand out and really sets the tone for her future involvement in the story.