#Writing Tools: Conflict!

[carlyraejepsans]

HELPP i found out about character AIs and im losing it over calling deltarune sans "a more manipulative personality" 😭😭 like whatt we've only seen this man like 2 times

sorry im being a hater hgfjdks but you're the sans understander

lmaoo character.ai, look where the fall of ai dungeon got us, smh. thank you for the compliment though!

[mochasucculent]

SOLID video, highly recommend

[jackass-jones]

Was having so much fun replaying p3p that I forgot that this game is bad lol

[wanukilppari]

A fantasy series where each book has the same map, but from completelly different perspective.

[angorwhosebabyisthis]

genuine writing tip: if you sit down to write and it seems chaotic, disjointed, disconnected, repetitive etc in a way that feels like something is wrong, it might be because you need to do some selfcare. you're not a hack; things like needing to eat, being dehydrated, needing a shower, having unbrushed teeth, sleep deprivation etc will fuck up your cognition to a degree you might be more surprised by in some cases than others. writer's block, and/or your writing feeling like a garbled mess, might be a check engine light to go take care of that stuff.

(this is one reason writing can be such an extremely useful tool for my health, mental and physical, when i'm doing it regularly. i write a few sentences, even just to get a quota out of the way, and suddenly i get hit by a dozen status effects at once that i've been ignoring for hours or days. it also, for me, comes with the added motivator that i want to write damn it go get maintenance out of the way so you can do the words.)

this is by no means a blanket statement! it might not work for everyone, and in some people's case it might make things worse; if, for example, you're someone who sits down to write and then gets sucked into it for hours to the exclusion of all else. but it helps me a lot, so i thought i should share: if any of this resonates with you at all, it might be worth considering.

[kyouka-supremacy]

dazai's the one who made sskk and saw their potential, right? that's probably why he's the matchmaker in fics

[About this] I mean, he can be the matchmaker to his heart's content but that doesn't change the fact that it's natural to assume he wouldn't be in charge of pairing up ada and pm members for ordinary low stakes missions, I believe that's a job for Kunikida or Fukuzawa. But then again - and I'm derailing here, please indulge me - I don't think ada and pm would join forces as casually and often as fics make you believe to begin with. I get it's a useful narrative tool to make sskk interact in fics, but I'm not really a fan? In my opinion it diminishes the impact of them belonging to rival organizations / being star crossed lovers– what's the point of working for opposite teams if they seem to join forces and work together all the time anyway. Besides to me the appeal of sskk fighting is way bigger than sskk collaborating... The tension... The clashing of ideals... They ARE enemies. And I get they've joint forces in the very canon a bunch of times and how that might be misleading but the point of those collaborations was precisely how rare and loathed and required by the highest stakes they were– their very joint operations in canon would lose all the impact if you were to find out they have a mission together every next Tuesday.

[salsflore]

free me of my mikachi thoughts i cannot live like this anymore.

[leveragehunters]

CoPilot in MS Word

I opened Word yesterday to discover that it now contains CoPilot. It follows you as you type and if you have a personal Microsoft 365 account, you can't turn it off. You will be given 60 AI credits per month and you can't opt out of it.

The only way to banish it is to revert to an earlier version of Office. There is lot of conflicting information and overly complex guides out there, so I thought I'd share the simplest way I found.

How to revert back to an old version of Office that does not have CoPilot

This is fairly simple, thankfully, presuming everything is in the default locations. If not you'll need to adjust the below for where you have things saved.

Click the Windows Button and S to bring up the search box, then type cmd. It will bring up the command prompt as an option. Run it as an administrator.

Paste this into the box at the cursor: cd "\Program Files\Common Files\microsoft shared\ClickToRun"

Hit Enter

Then paste this into the box at the cursor: officec2rclient.exe /update user updatetoversion=16.0.17726.20160

Hit enter and wait while it downloads and installs.

VERY IMPORTANT. Once it's done, open Word, go to File, Account (bottom left), and you'll see a box on the right that says Microsoft 365 updates. Click the box and change the drop down to Disable Updates.

This will roll you back to build 17726.20160, from July 2024, which does not have CoPilot, and prevent it from being installed.

If you want a different build, you can see them all listed here. You will need to change the 17726.20160 at step 4 to whatever build number you want.

This is not a perfect fix, because while it removes CoPilot, it also stops you receiving security updates and bug fixes.

Switching from Office to LibreOffice

At this point, I'm giving up on Microsoft Office/Word. After trying a few different options, I've switched to LibreOffice.

You can download it here for free: https://www.libreoffice.org/

If you like the look of Word, these tutorials show you how to get that look:

www.howtogeek.com/788591/how-to-make-libreoffice-look-like-microsoft-office/

www.debugpoint.com/libreoffice-like-microsoft-office/

If you've been using Word for awhile, chances are you have a significant custom dictionary. You can add it to LibreOffice following these steps.

First, get your dictionary from Microsoft

Go to Manage your Microsoft 365 account: account.microsoft.com.

One you're logged in, scroll down to Privacy, click it and go to the Privacy dashboard.

Scroll down to Spelling and Text. Click into it and scroll past all the words to download your custom dictionary. It will save it as a CSV file.

Open the file you just downloaded and copy the words.

Open Notepad and paste in the words. Save it as a text file and give it a meaningful name (I went with FromWord).

Next, add it to LibreOffice

Open LibreOffice.

Go to Tools in the menu bar, then Options. It will open a new window.

Find Languages and Locales in the left menu, click it, then click on Writing aids.

You'll see User-defined dictionaries. Click New to the right of the box and give it a meaningful name (mine is FromWord).

Hit Apply, then Okay, then exit LibreOffice.

Open Windows Explorer and go to C:\Users\[YourUserName]\AppData\Roaming\LibreOffice\4\user\wordbook and you will see the new dictionary you created. (If you can't see the AppData folder, you will need to show hidden files by ticking the box in the View menu.)

Open it in Notepad by right clicking and choosing 'open with', then pick Notepad from the options.

Open the text file you created at step 5 in 'get your dictionary from Microsoft', copy the words and paste them into your new custom dictionary UNDER the dotted line.

Save and close.

Reopen LibreOffice. Go to Tools, Options, Languages and Locales, Writing aids and make sure the box next to the new dictionary is ticked.

If you use LIbreOffice on multiple machines, you'll need to do this for each machine.

Please note: this worked for me. If it doesn't work for you, check you've followed each step correctly, and try restarting your computer. If it still doesn't work, I can't provide tech support (sorry).

[literaryvein-reblogs]

words for when your characters get into a fight (pt. 4)

Pain

ache, anesthesia/anaesthesia, distress, harassment, hurt, pinch, strain, suffer, torture, wrong

Attack

aggression, assail, beat up, blast, blind-side, bomb, brutality, charge, come at, coup d’état, embroil, encroach, fire, foray, go for, infest, insurrection, invasion, lay into, mug, occupation, offensive, onslaught, overrun, pillage, pounce, raid, ravage, rush, sortie, subvert, waylay

To destroy

ablate, abolition, annul, batter, bomb, bring down, burst, butcher, clobber, come unglued, consumption, coup de grâce, crumple, cut down, decimate, deforestation, demolition, desecrate, desolate, devastate, dismantle, dispatch, do away with, do in, end, endanger, eradicate, erosion, execute, expunge, exterminate, extinguish, finish, genocide, hara-kiri, homicide, jeopardize, kill, knock off, liquidate, mangle, massacre, murder, obliterate, paralyze, pillage, poison, prostrate, pulverize, put away, put out, quench, raze, ruin, sack, shiver, slaughter, smash, stamp out, subdue, suppress, undo, vandalism, violation, wipe out, wreck

To injure

abuse, ail, batter, beat, bruise, cost, crush, debilitate, deface, deform, desecrate, devastate, disagree, disfigure, expose, fragment, gripe, handicap, hurt, incapacitate, jeopardize, lacerate, maim, mar, mistreat, mutilate, outrage, paralyze, poison, pummel, repay, ruin, sabotage, scar, shatter, shoot, smart, snap, spoil, stress, taint, torture, turn, violate, vitiate, wrong

To make dirty

adulterate, clutter, mess up, smudge, stain, tarnish

To make hot or cold

air, chill, freeze, heat, melt, numb, refrigerate, shrivel, warm

To make wet

absorb, dampen, dip, drench, drool, dunk, extinguish, marinate, oil, permeate, saturate, souse, splash, spray, squirt, submerge

Military action

barrage, blow up, conflict, coup d’état, deploy, deposition, dethrone, disarm, draft, engage, enlist, explosion, incursion, induction, invade, maneuver, occupation, offensive, overthrow, rebellion, revolt, salute, station, volley, warfare

Bad person

accessory, accurser, adversary, aggressor, alarmist, antagonist, ass, assassin, authoritarian, barbarian, bigmouth, bottom feeder, bum, burglar, cad, captive, charlatan, clod, cold fish, conspirator, criminal, crook, culprit, deadbeat, delinquent, demon, derelict, desperado, devil, dirty old man, dolt, do-nothing, dope, dregs, drone, dumbbell, dunce, enemy, espionage, exile, failure, fall guy, femme fatale, fighter, firebrand, fool, fugitive, gangster, glutton, good-for-nothing, gossip, grump, hellion, hobo, hot dog, hypocrite, imbecile, impostor, incubus, insurgent, intruder, Judas, killer, klutz, know-it-all, lawbreaker, lemon, loafer, loser, lummox, mad person, maniac, menace, misanthrope, miser, mole, mountebank, naysayer, ne’ er-do-well, nuisance, nut, ogre, organized crime, parasite, pawn, pessimist, pill, placebo, prodigal, prostitute, psychopath, quack, rascal, renegade, rogue, ruffian, sap, scamp, schlemiel, Scrooge, shirked, shyster, simpleton, skinflint, sleazebag, sneak, sourpuss, spy, swindler, tattletale/tattler, thug, tool, traitor, troll, truant, tyrant, vandal, wanton, whipping boy, wimp, witch

NOTE

The above are concepts classified according to subject and usage. It not only helps writers and thinkers to organize their ideas but leads them from those very ideas to the words that can best express them.

It was, in part, created to turn an idea into a specific word. By linking together the main entries that share similar concepts, the index makes possible creative semantic connections between words in our language, stimulating thought and broadening vocabulary. Writing Resources PDFs

Source ⚜ Writing Basics & Refreshers ⚜ On Vocabulary Writing Notes: Fight Scenes ⚜ Word Lists: Fight ⚜ Pain

[probablyasocialecologist]

And so it makes sense that these are now the places where fascism grows; that’s what these places were designed for. The suburbs were invented as a reactionary tool against the women’s liberation and civil rights movements. The US government, in concert with banks, landowners, and home builders, created a way to try and stop all that, by separating people into single homes, removing public spaces, and ensuring that every neighborhood was segregated via redlining. The suburbs would keep white women at home, and would keep white men at work to afford that home. These were explicit goals of the designers: “No man who owns his house and lot can be a Communist,” said the creator of Levittown, the model suburb. “He has too much to do.” The reason Target has become the locus of today’s particular right-wing backlash is the same reason countless viral TikToks attempt to convince women that they’re at risk of being kidnapped every time they’re in a parking lot. It’s the reason why true crime is one of the most popular podcast genres in America, and why many refuse to travel without a gun by their side and shoot people if they set foot on their driveway.

[...]

It is of course true that these mass hysterias are part of an organized right-wing movement that is attacking human rights across the country—through legislation banning abortion, gender-affirming care, and books, and making it illegal for educators to teach American history accurately. But the shape this movement has taken is not coincidental; it is in fact the product of the unique shape of public life in America, or lack thereof. Suburbanites do not have town squares in which to protest. They do not have streets to march down. Target has become the closest thing many have to a public forum. We often hear that urban areas are more liberal and suburban ones more conservative, and we’re often told that this is because of race. That may be partly true, though cities are whiter than ever and suburbs more diverse than ever. Instead, it may be that suburbanism itself, as an ideology, breeds reactionary thinking and turns Americans into people constantly scared of a Big Bad Other. The suburban doctrine dictates that public space be limited, and conflict-free where it exists; that private space serve only as a place of commodity exchange; that surveillance, hyper-individualism, and constant vigilance are good and normal and keep people safe. It is an ideology that extends beyond the suburbs; it infects everything. Even cities, as Sarah Schulman writes in The Gentrification of the Mind, have become places where people expect convenience and calmness over culture and community. What is a life of living in a surveilled and amenity-filled high-rise and ordering all your food and objects from the Internet to your door if not a suburban life? To make matters worse, the people who have adopted this mindset do not see it as an ideology, but as the normal and right state of the world; they, as Schulman writes, “look in the mirror and think it’s a window.” So when anything, even a gay T-shirt, disrupts their view, they become scared.

[novlr]

How to Write Betrayal

Betrayal is a powerful plot element that is represented in countless stories. The gravity of betrayal brings a profound depth to character dynamics, plots, and themes alike, making it an indispensable tool for writers to explore emotions, conflicts, and the complexities of human nature. Let’s explore some quick tips on how to write betrayal!

Behaviour

Secretive actions

Dishonesty

Becoming emotionally distant

A sudden change in routine

Pushing people away

Nervous or fidgety movement

Frequent lying or making up stories

Unexpected aggression or irritability

Unjustified mood swings or emotional outbursts

Increasingly defensive

Interactions

Disturbed interpersonal relationships

Frequent misunderstandings or fights

Withholding information

Avoiding personal discussions

Insincerity in conversations

Frequently cancelling or missing plans

A sudden shift in relationship dynamics

Quick to deflect or place blame

Frequent subject changes

Gradual emotional detachment

Body Language

Avoiding direct eye contact

Defensive stance and crossed arms

Covering mouth or touching face

Shuffling or restless movements

Forcing smiles or laughter

Constantly looking around or at the ground

Stiff, tense posture

Heavy breathing or frequent sighing

Avoiding touch or skin contact

Exaggerated gestures

Attitude

A lack of concern or empathy

Increasingly personal and hurtful arguments

Erratic or unpredictable reactions

Self-centeredness

Insincerity

Dismissive or negative attitude

Callous disregard for other's feelings

A negative or pessimistic outlook

Inability to handle criticism

Withdrawal from relationships

Positive Story Outcomes

In the wake of a betrayal, a story can manifest various positive outcomes that add depth to the plot and its characters. Relationships can be strengthened, showing their resilience. Characters may discover newfound self-reliance and learn valuable lessons about trust and forgiveness, leading to an increase in empathy and understanding, personal growth, and the reinforcement of personal values. These experiences can encourage a clearer understanding of personal boundaries, prompt self-reflection, introspection, and the development of healthier coping mechanisms. Ultimately, these positive outcomes can bring about improved communication and honesty, forming the silver lining in the cloud of betrayal.

Negative Story Outcomes

The aftershocks of betrayal can reverberate throughout your story. This might include an irreparable fracture of trust and damage to relationships. Betrayal can trigger psychological trauma, leading to an increase in suspicion and insecurity. Feelings of inadequacy or self-blame may surface, and characters can experience a heightened sense of isolation. The fear of forming new relationships or trusting others can become overwhelming. There may also be an escalation of conflict or violence and the reinforcement of negative behaviours or patterns. Damaged self-esteem or self-worth may be another repercussion, and this can encourage destructive coping mechanisms.

Helpful Synonyms

Treachery

Deception

Double-crossing

Duplicity

Backstabbing

Two-faced

Disloyalty

Unfaithfulness

Infidelity

Falseness

Perfidy

Treason

Fraud

Deceit

Slander

Misrepresentation

Falsification

Chicanery

Double-dealing

[frailsituation]

Tips for building immersive plots

1. Start with your core idea

• Every plot begins with a spark—a question, a concept, or a character. Build from that seed.

• How? Ask, "What excites me about this story?" and focus your energy there.

• Example: A story about a magical curse could explore themes of redemption or betrayal.

2. Brainstorm freely

• Don’t start by thinking about structure. Instead, write down every idea you have—plot points, character traits, world details—without judgment.

• How? Use mind maps, lists, or “what if” questions to expand your ideas.

• Example: “What if two rival kingdoms were forced to unite to stop a shared enemy?”

3. Map out key events

• Divide your plot into beginning, middle, and end, and identify major turning points. These events should shape the character’s journey.

• How? Use the three-act structure, or simply think in terms of setup, confrontation, and resolution.

• Example:

Beginning: A thief steals a sacred artifact.

Middle: The artifact begins to curse them, forcing them to seek help.

End: They must choose between keeping the artifact’s power or destroying it.

4. Plan with cause and effect

• Immersive plots follow logical progression. Ask yourself: “What happens because of this event?” for every key moment.

• How? Make sure each event impacts the characters or world.

• Example: A hero saves a village → the village leader reveals a secret about the hero’s past → this drives the hero to confront their estranged parent.

5. Flesh out your subplots

• Subplots add depth and make your world feel real. Tie them to the main plot for maximum impact.

• How? Use subplots to explore secondary characters, add emotional stakes, or introduce twists.

• Example: While on a mission to defeat a villain, the hero struggles to repair their broken friendship with their ally.

6. use story beats to stay organized

• Break your story into smaller moments: inciting incident, midpoint twist, climax, resolution.

• How? Write one sentence for each beat to outline the flow of your story.

• Example:

Inciting incident: A cursed item bonds to the protagonist.

Midpoint: They discover the curse is tied to a powerful enemy.

Climax: They must sacrifice their freedom to destroy the curse.

7. Think of immersive twists

• Twists keep readers engaged and make your story unforgettable. They should feel earned, not random.

• How? Ask, "What would surprise the reader but make sense in hindsight?"

• Example: The mentor helping the hero turns out to have caused the conflict in the first place.

8. Build emotional stakes

• Plot isn’t just about events—it’s about how those events affect your characters. The stakes should feel deeply personal.

• How? Tie the plot to your protagonist’s fears, desires, and growth.

• Example: A hero who’s afraid of failure is forced to lead a mission where the cost of failure is catastrophic.

9. Create a planning routine

• Writing immersive plots takes time and refinement. Set aside regular sessions to brainstorm, refine, and test your ideas.

• How? Use tools like storyboarding, sticky notes, or apps like Scrivener to organize your ideas.

• Example: Start each session by reviewing your previous notes, then tackle one section of your plot.

10. Test your plot

• Once you’ve mapped out your story, summarize it to see if it holds together. Does each event flow logically? Are the stakes clear?

• How? Share your outline with a friend or writer’s group for feedback.

• Example: “A reluctant hero must destroy a magical artifact to save their world, but doing so will cost them their memories.”

Follow for more!

[soursherbat]

LAMB X BISHOP MASTERPOST YEAAAA!!!

(original template link)

this genuinely took me so long but i needed to explore my ship dynamics with ramzi and his bishops! more details under the cut if you want to know more- warning this post is LONG!!!:

[edit: i was obviously rlly sleep deprived while writing this so im editing it for better readability, including using more consistent pronouns for everyone bc reading it back this post. was very hard to parse 💀]

in order, just adding notes and addendums :3c im super sleep deprived so im trying my best but i need to yap about them

ramzi's pronouns are it/he/they!

narinder;

initially a very slow burn relationship, this sheet shows them at their peak. it takes a very long time for the lamb to forgive narinder, and vice versa, but once they're over their differences they're committed.

notes;

he/they for narinder :3c he's bisexual with a preference for masc presenting people! (using he/him for this post)

prefers to be the big spoon but will allow ramzi to take that spot if it really insists on it

reaallly loves to wear the lamb's fleeces and cloaks (the only clothing of theirs that will fit him) but is too proud to directly ask for them

narinder really does not like most people- the only ones he usually socializes with are ramzi and his siblings, possibly a follower he can tolerate for a few minutes. if ramzi is talking to others while narinder is shadowing him he tends to just flick his tail and sulk quietly until his lamb gives him attention again

narinder isn't great with words, he prefers to show ramzi his love with physical affection (in private) and acts of service, while ramzi is more than willing to shower narinder with loving words and acts of devotion

ramzi refuses to confess its feelings to narinder first, full stop. narinder waits and waits, but eventually gives in and tells ramzi how he feels first- ramzi is still feeling bitter and betrayed by narinder, not appreciating them snatching it from its peaceful death to be a tool in his games. they're both incredibly conflicted, it takes a long while for them to work their differences out. its not something that can be solved with a single conversation, but eventually they come to terms with everything that's happened and make amends

ramzi wouldn't actually squash the bug- it'd prefer to just grab it and take it out of whatever space its invaded, narinder will just smack it and be done with it

im just applying the driving one if i ever make a modern au lmfao

narinder cannot cook to save his damn life after being locked up for so long- ramzi had to learn quickly being raised by ratau, i'll be real i dont think that rat knows how to cook

that prickly cat would prefer not to show his love for the lamb in public, but he might sneak a kiss while no one is looking... ramzi however doesn't care, though it does like to fluster narinder a little by flirting while others are around

these two would kill for each other, narinder is practically begging the lamb to let him do so actually- nari is described as the lamb's shadow (affectionately) by most because of how often he's seen just following it around the cult. god help you if you confess your love to the lamb while he's around- though ramzi does get pretty jealous if it sees anyone making eyes at his special kitty...

nari is 4,000 years old virgin to me lmao. ramzi has had a few relationships before narinder, it actually marries shamura before nari- they're not beating the toxic yaoi allegations any time soon they were still battling their resentment around that time

i'll touch on the spicier dynamics in a dedicated post sometime >:3c that'll apply to the rest too-

i wouldn't describe narinder as being awkward, but moreso stoic and lost really. he's also just incredibly pissed off with ramzi, feeling robbed of his rightful status as a god and feeling jealous of everything its built for itself in such a small amount of time- later on he's more flustered than nervous or awkward because that damned lamb wont stop flirting with him

gods help you if narinder even sees you making eyes at the lamb. he's incredibly possessive over his former vessel, its perceived rejection of him made something in him snap and they want to possess it, even if he knows that's not exactly plausible... he's normal, i swear (<-lying) ramzi returns some of that energy, it really does not like followers flirting with its favorite cat- i'll be the first to admit that they've got some toxic codependency going on

-

leshy;

leshy uses any pronouns! he really just don't care that much, same with his sexuality (using he/him for simplicity for this post)

these two fight over who gets to be the big spoon, since they're nearly even in height (leshy tries to argue his branches make him taller) it makes it easier for them to trade big/little spoon positions- but theyre so competitive they end up wrestling over it

leshy can't even see the clothes he's wearing, but he likes the idea of ramzi matching with him, even if he won't directly admit that

ramzi is rarely called by name when leshy is around, it's always 'lambzi', 'lamby', 'cottonball', or any other seemingly sarcastic pet name he can come up with for it- meanwhile ramzi often calls him 'wiggler' or 'wormy'

compared to leshy, ramzi is a little less outgoing. leshy loves to be the center of attention, he loves to pull pranks and cause mischief whenever he can.

ramzi's quick to let leshy know he is loved through any means, though surprisingly leshy is a bit more inconspicuous about showing his affections for his lamb through old traditions it clearly has no clue about but leshy gets a bit of joy watching its confusion (shamura tells it later-)

these two have a pretty easygoing relationship, at first leshy is upset about his lost godhood but he quickly begins to like staying with the lamb when he learns how accommodating and, frankly, extremely chaotic it is- they get along very well and have a teasing, poking and earnestly soft relationship rather early on. leshy admits his feelings first, mainly getting fed up that ramzi hasnt confessed that it obviously likes him by that point

neither of them mind bugs, leshy actually likes them quite a bit. they'd prefer to catch and release rather than smash them

the poor worm is blind of course he cant cook!! he might be able to if he really focused on building muscle memory and focusing his senses but he's honestly just too lazy to bother, heket's cooking is better anyway

leshy doesn't care if anyone is looking, he loves his lamb! he gets a little embarrassed when they know its siblings are around, but she does get a kick out of knowing he's making narinder jealous

ramzi would lay down his life for his precious chaotic grub, it knows leshy is more than capable but it can't help but worry sometimes- leshy knows ramzi can handle itself so he's pretty relaxed about everything, unless ramzi comes home particularly hurt

i like to think leshy was a bachelor in his time... why not?? he's the bishop of chaos, im sure he's started a love triangle intentionally to watch them fight over him- ramzi however is a little less experienced in romance

leshy has not an ounce of awkwardness in his body, ramzi's a little awkward when he says something particularly unhinged but otherwise they match each other's freak a little too well

leshy would never admit to ramzi that the smell of anyone else stuck to his wool makes leshy a little jealous... another reason he likes to lend his clothes to ramzi, really-

-

heket;

she/they/he for heket, she's bisexual with a preference toward women (using she/her for simplicity on this post)

heket is the big spoon, no questions asked. she loves to cradle that lamb in her arms and it is NOT one to complain about that

heket doesnt lend out her clothes very often, but she likes to see how baggy they are on ramzi- she quite likes seeing it wake up wearing her shirts...

ramzi is incredibly formal with heket, usually referring to her by name or some honorific to show its respect (something she appreciates greatly)- meanwhile heket is always referring to the lamb by anything but its name, really

heket's level of social battery depends on the day, some days she would prefer not to speak to anyone, others she's more outgoing

heket shows her affection by making sure ramzi isn't overworking itself, making sure it's eating and sleeping- she knows it can care for itself, but she just wants to protect her lamb.

there's absolutely no way heket would swallow her pride and confess her brewing feelings for ramzi, she waits very patiently for it to finally get its nerve up and admit that it wants to pursue a relationship with her- after (mostly) healing her throat, she doesn't feel so lonely in the cult once her voice returns and she begins to feel conflicted about ramzi... she wants to hate him, but it's doing everything they can to help her siblings and she can't help but respect and admire it for that, she would admit that she would never consider it if she was still a god-

heket thinks bugs are cute, she'll either catch and release them or keep them in a little container for a bit (she's never beating the weird little sister allegations to me)

ramzi's cooking definitely is not as good as heket's, if it cooks a meal the whole cult is asking when it's heket's turn next LMAO-

PDA ruins heket's cool and stoic exterior in her eyes, though she can't just say that to the lamb- she'll gladly give it a hug or a kiss when nobody's looking, though

honestly, ramzi is just protective over all of the bishops. it feels terribly for killing them repeatedly and making them suffer in purgatory, and it never wants to see them suffer again- heket knows the lamb is strong, she's seen it with her own eyes. that doesn't stop her from worrying for it a little when it leaves on a crusade, however...

heket has some relationship experience, though its been a WHILE- forneus and ramzi are her most recent romantic endeavors and she's incredibly awkward about both of them

heket is insanely awkward, she tries to maintain a cool exterior but it's so hard when that damned lamb is so cute and that sweet cat mom is so kind and shaped- whats a woman to do in her situation??

she can get a little bit jealous if her buttons are pushed on the wrong day, but other than that ramzi and heket have a pretty open relationship

-

kallamar;

any pronouns for kallamar! though he/she are most preferred, she's very lax about his gender and loves to experiment (using he/she interchangeably, lamb is referred to by it/its for simplicity)

despite being nearly a full foot and a half taller than ramzi, kallamar loves to be its little spoon! he feels so safe in his lamb's embrace, she would never leave if it was possible

none of her clothes would fit the lamb, but he does have clothing made for it often! he'll be damned if he lets ramzi walk around looking anything less than presentable, even if its naked it must be TASTEFULLY naked- (though his definition of what that means is a bit nebulous. ramzi's convinced he just wants to ogle)

they love to make up pet names for each other, 'mari' and 'kallie' are ramzi's favorites to use for its precious husband. kallamar is particularly fond of calling ramzi his puppy, often flustering it-

kallamar is a YAPPER and she will not shut up about how much he loves her lamb! ramzi doesn't mind it, but she's often talking so much that it can't properly find the words to express it back- so it gives gifts often, knowing how much its wife loves to adorn himself in jewelry and silks!

ramzi is actually a little bit intimidated by kallamar's experience in love and how pretty he is, kallamar ends up making a very dramatic love confession in front of everyone, totally flustering ramzi (though it has to admit it really loves the dedication!)

he is TERRIFIED of bugs kallamar will shriek so loudly if she finds even a small beetle anywhere near her living space- ramzi often finds itself catching the little bugs while kallie screams bloody murder in the corner

kallamar absolutely can cook but he doesn't want the responsibility of cooking entire meals for the whole cult so she intentionally cooks like shit to avoid it- ramzi catches onto that pretty quickly though

these two need to get a ROOM the confessional is NOT to be used in that way!!!

kallamar's overprotective attitude mainly comes from a place of not wanting the lamb's image to be ruined, he'll tend to its makeup and wardrobe, even helping to enforce loyalty amongst its flock to keep its image pristine- and kallamar is just an easy bullying target, ramzi is Very quick to put an end to that!

kallamar is absolutely more experienced than ramzi, though he's no less dedicated to it. it makes their relationship very calm, there's very little tension between them!

ramzi is very awkward around kallamar at first, he's pretty indignant and a bit cruel to it during the first few weeks- once ramzi begins offering him gifts and praise she warms up rather quickly, however. ramzi's disarmingly cute appearance and dirty mouth tends to make kallamar a nervous mess sometimes, though...

there's not a single ounce of jealousy between these two 🧍‍♂️ they both understand that they're dedicated to one another, and can dedicate themselves to others without compromising their bond

-

shamura;

they/it for mura! i feel that they enjoy experimenting with their clothing in relation to their gender, but they prefer neutral pronouns (using they/them for mura and he/him for ramzi for readability)

these two take turns on who gets to be the big spoon, though usually shamura claims that spot

shamura loves to weave clothes for ramzi! they enjoy seeing his face light up when they incorporate designs ramzi has shown them that sheep often wore, wanting to keep that memory alive for him

they're pretty formal at first, but the two of them can't help but call each other by loving nicknames once they've become comfortable with each other- ramzi often calls shamura 'softie' or 'dearest'

shamura prefers to keep to themself, though they've grown rather attached to webber. they've basically adopted the little creature, that's their son...

once clarity has returned to shamura through ramzi's healing, they have a better grasp on their words- but they still struggle to word their feelings a lot of the time. they try their best, but they find it easier to give gifts or show their affections with physical intimacy when words fail them

shamura is incredibly paranoid and wary of ramzi's presence when they're first indoctrinated, until they finally break bread and reach an understanding, shamura doesn't even consider the lamb could feel anything but hatred and resentment toward them. they assume that he wants revenge, but learns that he just wants to help them- it takes a bit longer for the fear to truly leave shamura, but when they never feel that dagger in their back, they begin to soften he clearly isnt lying to them, he's helped all of their siblings become as happy as he can- and he asks nothing in return of them? it feels too good to be true, but they can't help but trust him eventually ramzi confesses first, and is initially (softly) rejected... but theyre not entirely opposed! mainly conflicted, for a while-

they both love bugs, obviously- though sometimes ramzi gets bitten while trying to show shamura the little spiders he's captured

shamura likes to cook but they prefer liquid only foods- it's not horrible, but sometimes they want more variety

shamura is a bit shy about their relationship with the lamb, they're the least experienced with this sort of thing out of all of the bishops- war and reason have no room for love and compassion, after all. they're learning, with ramzi's help

if someone even LOOKS at ramzi the wrong way, shamura is the first to come to the lamb's defense. both a form of devotion, claiming ramzi as their charge they'd guard with their life, and a form of facing their grief- they'd ended ramzi's life once, they don't want to see it hurt anymore

these two match each other's freak so well its scary- you dont wanna see what happens in the mating tent when these two are in there!!

after shamura's initial wariness and shortness with ramzi fades, they become incredibly shy and awkward- they don't know how to navigate all these new feelings, and they don't really know who to turn to for advice

shamura is very possessive of their lamb- they were the first to be wed by him, after all- not to mention i personally think them being a spider influences this quite a bit,

WOAW THATS IT!!! holy shit thats a lot of text.... anyway if u have any questions abt any of them or want more clarification feel free to send me asks i love to yap abt them all <3

oh boy im not looking forward to putting all the tags on this

[thewriteadviceforwriters]

Master Dialogue Writing Techniques for Engaging Fiction (For Writers)

(Beware, long post!)

As fiction writers, we all know that effective dialogue is essential for bringing our stories and characters to life. After all, the way our protagonists, antagonists, and supporting players speak to one another is one of the primary ways readers get to know them on a deep, intimate level. Dialogue reveals personality, uncovers motivation, and propels the narrative forward in a way that felt narration simply can't match.

But nailing natural, compelling dialogue is easier said than done. It's a craft that takes serious skill to master, requiring writers to have a keen ear for authentic speech patterns, a nimble handle on subtext and implication, and the ability to strike that delicate balance between being true to real-world conversation while also keeping things snappy, dynamic, and laser-focused on the story at hand.

If you're someone who struggles with crafting dialogue that truly sings, never fear. In this in-depth guide, I'm going to dive deep into the techniques and best practices that will help you elevate your dialogue writing to new heights. By the end, you'll have a toolbox full of strategies to ensure that every exchange between your characters is as gripping, revealing, and unforgettable as possible.

The Fundamentals of Effective Dialogue

Before we get into the more advanced nuances of dialogue writing, let's start by covering some of the foundational principles that all great fictional conversations are built upon:

Reveal Character One of the primary functions of dialogue is to give readers a window into who your characters are as people. The way they speak — their word choices, their tone, their body language, their turns of phrase — should provide vivid insight into their personalities, backgrounds, values, quirks, and emotional states.

Think about how much you can glean about someone just from how they communicate in real life. Do they use a lot of slang and shorthand? Are they verbose and flowery with their language? Do they struggle to make eye contact or fail to respond directly to questions? All of these subtle linguistic cues are powerful tools for crafting multi-dimensional characters.

Drive the Plot Forward While revelations about character are crucial, you also want to ensure that your dialogue is constantly pushing the story itself forward. Each exchange should feel purposeful, moving the narrative along by introducing new information, triggering plot points, creating conflict, or prompting characters to make pivotal decisions.

Dialogue that feels aimless or extraneous will ultimately bore readers and detract from the forward momentum of your story. Every line should have a clear intent or function, whether it's uncovering a hidden truth, setting up a future complication, or escalating the tension in a high-stakes moment.

Establish Distinct Voices In a story featuring multiple characters, it's crucial that each person has a clearly defined and differentiated way of speaking. Readers should be able to tell who's talking just from the rhythm, diction, and personality of the dialogue, without any additional context clues.

This doesn't mean every character has to have an over-the-top, hyper-stylized way of communicating. In fact, the most effective character voices often feel grounded and natural. But there should still be distinct markers — whether it's word choice, sentence structure, tone, or speech patterns — that make each person's voice instantly recognizable.

Convey Subtext While the literal words being spoken are important, great dialogue also traffics heavily in subtext — the unspoken emotional undercurrents, power dynamics, and hidden agendas that simmer beneath the surface of a conversation.

The most compelling exchanges happen when characters are communicating on multiple levels simultaneously. Perhaps they're saying one thing out loud while their body language and tone convey a completely different sentiment. Or maybe they're engaged in a subtle war of wits, trading verbal jabs that reveal deeper wells of resentment, attraction, or vulnerability.

Mastering the art of subtext is key to creating dialogue that feels layered, lifelike, and imbued with dramatic tension.

Strategies for Writing Snappy, Realistic Dialogue

Now that we've covered the foundational principles, let's dive into some specific techniques and best practices that will take your dialogue writing to the next level:

Omit Unnecessary Details One of the biggest mistakes many writers make with dialogue is bogging it down with too much extraneous information. In real life, people rarely speak in perfectly composed, grammatically correct full sentences. We stumble over our words, interrupt each other, trail off mid-thought, and pack our speech with filler words like "um," "uh," and "you know."

While you don't want to go overboard with mimicking that messiness, you should aim to strip your dialogue of any overly formal or expository language. Stick to the essentials — the core thoughts, feelings, and information being exchanged — and let the subtext and character voices do the heavy lifting. Your readers will fill in the gaps and appreciate the authenticity.

Master the Art of Subtext As mentioned earlier, crafting dialogue that's rich in subtext is one of the keys to making it feel gripping and lifelike. Think about how much is often left unsaid in real-world conversations, with people dancing around sensitive topics, conveying hidden agendas, or engaging in subtle power struggles.

To layer that sense of unspoken tension into your own dialogue, consider techniques like:

• Having characters contradict themselves or say one thing while their body language says another

• Utilizing loaded pauses, interruptions, and moments of uncomfortable silence

• Injecting subtle sarcasm, skepticism, or implication into a character's word choices

• Allowing characters to talk past each other, missing the unspoken point of what the other person is really saying

The more you can imbue your dialogue with that layered, emotionally-charged subtext, the more it will resonate with readers on a deeper level.

Establish Distinct Voices As mentioned earlier, ensuring that each of your characters has a clearly defined and differentiated speaking voice is crucial for great dialogue. But how exactly do you go about accomplishing that?

One effective strategy is to give each person a unique set of verbal tics, idioms, or speech patterns. Maybe one character is prone to long-winded, flowery metaphors, while another speaks in clipped, efficiency-minded sentences. Perhaps your protagonist has a habit of ending statements with questioning upticks, while the sarcastic best friend always punctuates their barbs with an eye roll.

You can also play with differences in diction, syntax, and even accent/dialect to further distinguish how your characters communicate. The key is to really get to know the unique personality, background, and psychology of each person — then let those elements shine through in how they express themselves.

Lean Into Conflict and Confrontation When it comes to crafting gripping dialogue, conflict is your friend. The most compelling exchanges often arise from characters butting heads, engaging in verbal sparring matches, or working through deep-seated tensions and disagreements.

Conflict allows you to showcase the high stakes, unresolved needs, and deeper emotional currents that are driving your characters. It forces them to make bold choices, reveals aspects of their personalities that might not otherwise surface, and generates the kind of dramatic tension that will really hook your readers.

Of course, you'll want to avoid making every single dialogue scene a full-blown argument. But learning to sprinkle in well-placed moments of friction, confrontation, and clashing agendas is a surefire way to elevate the energy and impact of your character interactions.

Read Your Dialogue Out Loud One of the most valuable tricks for ensuring your dialogue sounds natural and lifelike is to read it aloud as you're writing. Hearing the words out loud will quickly expose any clunky phrasing, overly formal grammar, or inauthentic rhythms that would otherwise go unnoticed on the page.

Pay close attention to how the dialogue rolls off your tongue. Does it have a smooth, conversational flow? Or does it feel stilted and unnatural? Are your characters' unique voices shining through clearly? Are there any spots where the back-and-forth starts to drag or feel repetitive?

Actively listening to your dialogue — and making adjustments based on how it sounds in the real world — is an essential part of the writing process. It's one of the best ways to refine and polish those character interactions until they feel truly alive.

Hopefully, this can help you all!

The key is to always keep your focus on authenticity. Ask yourself: how would real people actually speak?

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

[thebibliosphere]

One of the really fun and interesting things about writing a polyamorous romance as someone who is ambiamorous/polyamorous is finding new ways to make sure the narrative hits the expected genre beats without just sort of... mushing it into a pre-existing monogamous romance mold, which is what I'm afraid happens a lot of the time.

Trust me, it was my job in the publishing house to make them fit that mold. I hated it.

Reading other poly-centric romances, I can always somewhat tell when someone is writing polyamory from a sexual fantasy aspect (zero shade; I'm here for all the group sex) without actually considering how it functions as a relationship dynamic, which can often come off as... well.

It's lacking for me as a romance.

Erotica-wise, it's fine. But it misses the romantic beats for me that I want as a polyamorous-leaning person.

There's so much emphasis on the polycule and never the individual dyads within the larger relationship.

For example, in a triad, there are actually four relationships to handle.

The dyad between A + B. The dyad between A + C. The dyad between B + C. And the overarching relationship between A + B + C.

With monogamous-leaning authors or authors that've been pressed into conforming to the pre-existing genre beats, there's a tendency to treat the relationship as a homogenous mass where everything is fair and equal, and you treat all your partners the exact same way.

And I get it. It's easier to write everything as peachy-keen and to have external conflict be resolved with either acceptance or a brave confrontation.

But it doesn't always land for me as someone who wants to see my style of love represented in the genre.

In healthy polyamory, either closed or open, each relationship is unique in its own way. Taking the example of a triad again, the way A acts with C likely differs from how A acts with B.

And that's a good thing!

Because C might not want the same things as B, so trying to treat them both the exact same is a surefire way to make sure someone isn't getting their needs met, and that will lead to conflict.

Polyamory isn't striving for equality between partners but rather equity.

What are your individual needs, and how do I meet them, as well as meet the needs of my other partner(s)? What do you want from the larger relationship as a whole? How do we accommodate everyone without making someone feel neglected or uncomfortable? How do we show this in the narrative? How do we make sure character A isn't just treating B the same as C in every interaction? Do they ever fall into that pitfall? How do they remedy it?

It seems like common sense when you write it out like that, but it's a major pitfall I see time and time again. The characters never alternate their approach between partners, if there's any focus on the individuals at all.

The other major telltale thing I've noticed is that taking time to be with one partner is seen as a step down from the "goal" of the greater polycule.

The narrative is framed in such a way that they might start out with individual dates, but the end goal of the romance is to eventually be together 100% of the time all the time, and wanting individual time alone with any one partner is somehow "lesser."

Which is the goal of romance in monogamy, but it's not the goal of romance in polyamory.

Granted, you do need to end on a Happy Ever After or Happy For Now for it to fit the genre requirement. And a nice way of tying that up is to have everyone together at the end as a happy polycule all together all at once. I'm not disputing that as a narrative tool. I'm just pointing out that there's a tendency to present those moments as the sum total of the relationship when in actuality, there are multiple relationships that need to end happily ever after.

The joy of polyamorous love is the joy of multitudes. It's the joy of experiencing new things, both as individuals and as a polycule. If you're not taking care of the individual dyads, however, your polycule is going to crash and burn. You cannot avoid that. So why, then, is there such avoidance of it in stories meant to appeal to us?

Is it simply inexperience on behalf of the author? Or is it that they're not actually being written for us? Is it continued pressure to meet certain genre beats in a largely monogamous-centric genre? All of the above?

Either way, I'm having fun playing around with it and doing all the things we were warned against in the publishing house.

I'm having fun with Nathan and Vlad enjoying their own private dynamic that is theirs and theirs alone. I'm having fun with Ursula and Nathan being so careful and vulnerable around each other. I'm absolutely 100% here for the chaos of Vlad and Ursula without a chaperone. And I'm here for the chaos of Vlad and Ursula together and Nathan's fond, loving eye roll as he trails after them, too enamored to tell either of them no because where would the fun in that be...

Anyway. Don't mind me. Just getting my thoughts out while everyone else is in bed.

[hayatheauthor]

How to Write Relatable Characters: A Writer’s Guide

Relatable characters are the lifeblood of any compelling story. They're the ones readers root for, cry with, and remember long after they've turned the last page. But what exactly makes a character relatable? Why do some characters feel like old friends, while others fall flat? 

In this guide, I’ll walk you through the key elements that contribute to creating characters that resonate with readers on a personal level. From building a strong backstory to crafting authentic dialogue, this blog will equip you with the tools to create vivid, compelling, and believable characters that will captivate your readers and add depth to your narrative.

1. Understanding Relatability

Definition: What Makes a Character Relatable?

A relatable character is one that readers can connect with on a personal level. This connection might stem from shared experiences, emotions, values, or even flaws. Relatability is about creating a character who feels real��someone who could exist in the reader’s world, or even in their own life.

Importance: Why Relatable Characters Matter

Relatable characters are crucial because they engage the reader emotionally. When readers see a piece of themselves in a character, they become invested in that character’s journey. This investment is what drives readers to keep turning pages, eager to see how the character will overcome their challenges or achieve their goals.

Connection to Audience: How Relatability Creates Reader Engagement

Relatability bridges the gap between fiction and reality. When readers connect with a character, they experience the story on a deeper, more personal level. This connection makes the story more memorable and impactful, as readers are more likely to empathize with the character’s struggles and triumphs.

2. Building a Strong Backstory

Personal History: Adding Depth and Relatability

A well-crafted backstory is essential for creating depth in a character. It’s the foundation that shapes who they are, how they think, and how they react to the world around them. A character’s past experiences, upbringing, and the events that shaped their life provide context for their actions and decisions in the story.

Key Elements of a Backstory

Family and Upbringing: The influence of family, culture, and environment on the character’s development.

Past Traumas and Pivotal Events: Significant experiences that have left a lasting impact on the character.

Personal Motivations and Desires: The underlying drives that push the character forward.

Examples of Effective Backstories

Consider Harry Potter’s backstory: growing up as an orphan, mistreated by his aunt and uncle, and discovering he’s a wizard. This backstory not only explains his initial naivety and longing for acceptance but also makes his journey into the wizarding world all the more compelling.

3. Developing Flaws and Imperfections

Humanizing Characters Through Flaws

Perfect characters are boring. Flaws make characters human and relatable. They allow readers to see themselves in the character, imperfections and all. Flaws create tension and conflict, driving the character’s growth and development throughout the story.

Common Character Flaws

Insecurity: A character’s self-doubt can lead to relatable internal conflicts.

Fear: Whether it’s fear of failure, rejection, or the unknown, fear is a powerful motivator.

Pride: Excessive pride can lead to mistakes, making the character’s journey more complex.

Balancing Flaws with Strengths

While flaws are essential, it’s important to balance them with strengths to avoid making the character too unlikeable. A character’s strengths should complement their flaws, creating a well-rounded and realistic individual. For example, a character might be stubborn (a flaw) but also incredibly determined (a strength).

4. Creating Emotional Depth

Internal Conflicts and Emotional Complexity

Relatable characters often face internal struggles that mirror real-life emotions and dilemmas. These internal conflicts add layers to the character, making them more complex and interesting. Readers are drawn to characters who experience a range of emotions, from joy and love to anger and despair.

Techniques for Showing Emotional Journey

Dialogue: Use conversations to reveal a character’s feelings and thoughts.

Internal Monologue: Dive into the character’s mind to explore their inner turmoil.

Actions: Show emotions through the character’s reactions to situations.

Creating Reader Empathy

To create empathy, your character needs to be vulnerable. Show their fears, hopes, and insecurities. Let readers see the character at their lowest points, struggling to overcome challenges. This emotional journey is what will resonate with readers, making them feel invested in the character’s fate.

5. Crafting Authentic Dialogue

Realistic Speech Patterns

Authentic dialogue is crucial for making characters relatable. People don’t always speak in perfect sentences or with flawless grammar. They interrupt, hesitate, and sometimes say the wrong thing. Capturing these nuances in dialogue helps make your characters feel real.

Voice and Tone

Each character should have a unique voice that reflects their personality, background, and emotional state. A character’s tone can convey their attitude, whether they’re sarcastic, serious, or playful. Paying attention to how your characters speak can add depth and authenticity to their interactions.

Dialogue as a Window into Character

Dialogue is a powerful tool for revealing character traits, flaws, and emotions. For example, a character who speaks in short, clipped sentences might be guarded or angry, while one who rambles might be nervous or insecure. Use dialogue to show, rather than tell, what your characters are feeling and thinking.

6. Relating Through Common Experiences

Shared Struggles and Universal Experiences

One of the most effective ways to create relatable characters is by giving them experiences that resonate with readers. These can be universal struggles, such as dealing with loss, searching for identity, or falling in love. When readers see characters going through similar experiences, they’re more likely to connect with them.

Cultural and Social Touchpoints

Characters can also relate to readers through cultural references or social issues. This could be anything from navigating family traditions to dealing with societal expectations. Incorporating these elements into your character’s life can make them more relatable to readers from similar backgrounds.

Examples of Characters Relating Through Shared Experiences

Consider Elizabeth Bennet from Pride and Prejudice. Her experiences of navigating societal expectations and family pressures are relatable to readers, even centuries after the book was written. Her wit and independence make her a character that many can see themselves in, despite the historical setting.

7. Avoiding Stereotypes and Clichés

Unique Characterization

While some character traits may be common, it’s important to avoid reducing your characters to stereotypes or clichés. Stereotypes can make characters feel one-dimensional and unoriginal. Instead, aim to create characters with unique, multi-faceted personalities that go beyond surface-level traits.

Subverting Expectations

One way to avoid clichés is to subvert reader expectations. For example, instead of making the “tough” character emotionally distant, show their softer side. Or, instead of the “nerdy” character being socially awkward, make them confident and charismatic. Subverting these stereotypes can create more interesting and relatable characters.

Writing Diverse Characters with Authenticity

When writing characters from diverse backgrounds, it’s crucial to do so with respect and authenticity. Avoid relying on stereotypes and instead, research and understand the nuances of the culture, experiences, and perspectives you’re portraying. Diverse characters should be as complex and fully realized as any other character in your story.

8. Giving Characters Agency and Growth

Active vs. Passive Characters

Relatable characters are often those who take control of their own destinies. Active characters make decisions, face consequences, and drive the story forward. On the other hand, passive characters who simply react to events can feel less engaging and relatable.

Character Arcs

A well-developed character arc shows how a character changes over time. This growth can be in response to internal conflicts, external challenges, or both. A character who evolves in a believable way is more likely to resonate with readers.

Growth and Change

Show your character learning from their experiences, whether it’s overcoming a fear, letting go of pride, or learning to trust others. This growth makes characters more dynamic and relatable, as readers witness their journey from start to finish.

9. Testing Relatability: Beta Readers and Feedback

Beta Readers

Beta readers are an invaluable resource for testing the relatability of your characters. They can provide feedback on whether your characters feel authentic and engaging. They can also point out any areas where the character’s actions or dialogue might seem out of place or unrelatable.

Character Surveys

Consider creating character surveys or questionnaires for your beta readers. These can include questions about the character’s likability, believability, and relatability. The feedback you receive can help you refine your characters and ensure they resonate with your audience.

Revisions

Use the feedback from beta readers to make necessary revisions to your characters. This might involve tweaking dialogue, deepening backstory, or adjusting character arcs. Revising with a focus on enhancing relatability can significantly improve the impact of your story.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!