#crafting guide

[telekineticmaniac]

The video that no cosplayer asked for, but most cosplayers need — let's talk about cosplay crafting safety!!

[thewriteadviceforwriters]

Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[characterssaythedarnestthings]

"We are going to defeat Dracula with two things: Garlic, and the ✨Power Of Friendship ✨💕💫😻😽😸🥳🫶🤩🥰🥰. Here, I made crucifix Friendship bracelets! 🥰✝️📿" - Abraham Van Helsing, Dracula

[hypewinter]

The summonings for residents of the Infinite Realms are constant. Across space and time they do not change. They require the same strokes in the sigil from past to present and the same breaths needed to chant from one edge of the universe to another.

Danny has always liked this as it has allowed him to see many wonders of history. And to visit many alien planets. He has met all sorts of people and experienced all sorts of events. But he has never experienced something like this. This time, he is summoned to a dying world. The planet exploding as its core devours itself. This time he is faced with two desperate parents pleading for him to save their son. But he can't. Living beings cannot be taken back through the summons. All Danny can do, is promise to guide their son to safety.

[daily-odile]

pov: eon tries to explain why eating a star was a good idea, [eon design by @the-bitter-ocean]

bonus:

[teashopcrafts]

Very proud of the newest Hitchhiker's Guide Towel, and was so excited to get the commission for an older project to give it new life.

Now they can always know where their towel is, lol.

Use code JUSTBECAUSE for 20% off your order!

Check out the shop: https://teashopcrafts.bigcartel.com/

[fordprefectsleftshoe]

Last winter I made this Hitchhiker’s Guide to the Galaxy phone case and I’ve been waiting for today to share it!

I started with this rough plan. I kinda based it off the one in the tv show but mainly pulled from my own imagination.

Best part! The interchangeable screen! Right now I have four screens from the tv show. Pinterest has a lot of high quality images of them. I have a few more saved that I’ll eventually size and print. My favorite is the babel fish.

You may also notice the bar on the right moves up and down. It doesn’t do so very elegantly but it was a last minute thought that I really like.

And here’s backstage! I have lots of layers for a more realistic effect. It was my first time doing a paper craft like this so maybe I’ll be able to make an even better one in the future!

Happy towel day!

[grey-sorcery]

Suggested Reading

Threshold Theory Energy Work Fundamentals The Subtle Body Spell Design Spell Dictation Sigils: How-to Intro to Gnosis Anchors

What is a Spell Circle?

Spell circles, while they aren’t necessary, are a tool that is used as a focal point for a working. They are also very helpful in aiding in headspace via the implementation of aesthetics. Spell circles are technically hypersigils, or a complex sigil that is typically constructed of multiple sigils in tandem. They are typically constructed of three parts: Incantations, foundations, and root sigils. They are used in a ritual format, typically with each practitioner having a standardized approach to using them for spell work. 

How do they work?

A spell circle is similar to a sigil in the way that there is an incorporation of intention, energy, passion, and focus in their creation. Spell circles operate most effectively within the energetic model or something adjacent. The psychological model will be entirely ineffective; at least as I have prescribed their creation in this article. They often contain sigils as well as some other elements that serve to connect the circle to the overall working. These elements include incantations, words, phrases, symbology, geometric/organic designs, numerology, etc. 

Incantations, words, or phrases can be said out loud as part of the working (provided that doing so doesn’t break gnosis), or written out and burned into ash and incorporated into the working through that process. Though they can also be incorporated in other ways as well. As an example, you could write a song and record it and have the tablature or staff wrapped around the perimeter of the spell circle. You could then listen to the song while casting your spell using it as a centerpoint of your gnosis.

The other elements of a spell circle are used to enhance the threshold of the root sigil or purpose. Each additional element adds a node, or correspondence, to the threshold of the spell. Doing so helps refine the accuracy and potency of the working. 

Designing a Spell Circle

If you have experience working with sigils, then designing a spell circle can be pretty easy. I highly recommend using programs like procreate to make these, or drafting tools! Freehanding them can be quite difficult without any experience with technical drawing. I use my tablet to draw them digitally and then trace them onto a burnable substrate such as paper.

Incantation(s)

An incantation is a phrase that is said that astutely states the intent of the spell. It is important to have this memorized, if you use them. Without having them memorized, using them will pull you out of gnosis by disturbing your focus. Incantations are like the thread that binds the spell circle to the rest of the working, especially if you use other tools, sigils, etc. When I construct my spell circles, I use the pronunciation of my sigils as the incantation, which are all aspects of a conlang that I developed. This can be seen as a sigil chain. So long as the incantation is written somewhere on or near the circle, then it is capable of being connected to the burning of those sigils via the incantation. I find that having the incantation encircle the root sigil is the most aesthetically pleasing for me. 

Root Sigil

This is a sigil that is at the core of the circle. It should represent the base goal of the spell. This sigil is connected to the rest of the circle via the Foundation(s). Like all sigils, it is important that it is drawn while channeling its meaning through your mental state, emotions, and subtle body to be most effective.To create them, I will draw the enclosing circle first before drawing a grid within it. This grid is then used to ensure that the root sigil is centered and scaled appropriately. The sigil is always the first part that I draw. Here are a few examples of sigils I have used for spell circles:

Foundation(s)

Foundations are simple designs that each have their own correspondences. Some foundations use numerology to derive their meaning, others are given their meanings based on how they interact with the root. The foundation(s) used should also align with the purpose of the spell; but more specifically, to describe the means of manifestation of the spell to some degree. They can also be used to expand the context of the root sigil, ex. Whether it is intended to be a blessing or curse. I am always sure that when I draw them in the grid, that they appear to be a part of the sigil, yet also behind it by having the lines stop and continue any shapes that are a part of the sigil, like circles, triangles, and squares. Here are a few foundations that I use:

Associative Symbology

These symbols are things I don't really implement in spell circles myself, but include things such as astrological symbols, alchemical symbols, magical alphabets, color, and imagery. These symbols are typically incorporated in equal distribution around the circle in radial fashion, but can also be used in other configurations. The number of symbols can be implemented with numerology in mind as well. Colored line-work can also be used to further the correspondences. Imagery such as pictographs can also be used, following similar implementation as other symbols. 

Applications

Spell Circles can be used for all sorts of workings, typically in a ritualistic fashion. However, they may also be used as passive sigils, meaning that they are placed and affect a specified space gradually over time. If they are used in this fashion, they will need to be revisited and charged periodically. When using a spell circle in a ritual, place them underneath the central spell elements such as cauldrons, candles, bowls, etc. Please use discernment. Fire safety is of the utmost importance. Once the spell is in motion, use the incantation that connects the circle to the working. I highly recommend rehearsing your incantation until it is memorized so that your spell’s effectiveness isn’t hindered. I highly recommend placing a spell anchor onto your spell circle as well so that there is a direct medium holding it. This way the spell can be recharged, broken, or altered as necessary.

Ritual Closing & Disposal

As part of closing any working, it is important to close off all energy that is connected to the working other than the anchor. Part of this is disposing of the spell circle in a responsible manner. This can be through responsibly burning it and burning the ashes, burying the spell circle itself (Provided it is on a biodegradable medium), soaking it in water to dissolve the ink and then cleansing the medium, or if it is drawn on a dry-erase board you can just erase it and cleanse it. When burying the ashes of your working, try to use your discretion as to which direction it is buried relative to your sleeping place or place of casting. 

Identifying a Spell Circle

A few popular designs for spell circles have been misidentified in the past, specifically those of John Dee, who was a prolific cryptographer. These designs have a lot of the hallmarks of spell circles; however, they are enclosed with 72 latin letters, which don’t have any magical or mystical correspondences, but are very common in encryption wheels, and then are encoded through biblical reference. The influence his work had was very substantial in the development of spell circles and their design. While his encryption circles can be used for magic, like any other design drawn through intention, passion, and gnosis, it is obvious that it was not intended as such given the historical context of his life. 

Interested in my other articles? You can find my masterpost here.

Patron Shoutouts!

Megan Kipp Jinsu

Thank you for your continued support! My patrons help me maintain the drive to create content and help me keep food in my pantry.

My patrons of Mystic tier and higher had access to this article a week before it was public! To see other perks of supporting me, click here!

[basicallyanotherwitchesthing]

William and Claudia Madsen - A guide to Mexican Witchcraft - Minutiae Mexicana - 1969

[erenfox]

guess who just speedran through A Good Girl's Guide to Murder and One of Us is Lying, and now is gonna hyperfixate over pipravi, natewyn, addy mf prentiss as a whole, and ashton x eli (what's their ship name???) 😍😍😍

[frosteaart]

this image by @callmehere-iwillappear is living in my head rent free so i had to draw my interpretation of it

[hawnks]

Logging out for a while, love you miss you <3

[shalpilot]

ohhhg i am not leveling these efficiently no one talk to me

[teashopcrafts]

The larger Hitchhiker's Guide Quote Towel is done!!! And damn is this thing big, lol.

Now you really can be ready for anything the universe throws at you if you know where this towel is.

And a nice comparison pic with the original smaller towel too.

Use code JUSTBECAUSE for 20% off!

Check out the shop: https://teashopcrafts.bigcartel.com/

[rabarbarconfiteor]

cartoon boing sound

[lavellyne]

can the "finding your art style" discussion finally end because it does nothing but feeds people's insecurity and obsession with finding something... that they already have?

i've been there, trust me. growing up i was obsessed with "finding" my own art style. but you know what it only did? it made me almost quit drawing altogether on many occasions when in reality i already had one.

an art style is how you interpret everything around you through the act of creation. it's how you draw right now. it's how you place the lines. your line-weight. it's how you draw the eyes. it's how you shade.

an art style grows with you. it grows with your improvement. of course you can explore and bump it up by testing bits and pieces from art you love. but you don't add those bits to nothing. you add to what you already have, to the art style you already have. it's how you draw.