#dark character arcs

[joncronshawauthor]

Master the Dark Arts: GUILD OF ASSASSINS Halloween Special!

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[thewriteadviceforwriters]

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

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👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

[whatisamildopinion]

Kyoto- Phoebe Bridgers

Pro-tip: don't think too long about how Moonshine and Bev have ouroboros arcs with family members and devils and saving the world at great personal cost. Don't think about it too hard. I definitely haven't (lying)

[vivsinkpot]

How to Write a Redemption Arc That Hurts (In the Best Way)

Redemption isn’t a straight line. It’s jagged. Messy. Earned.

Whether your character is a once-noble hero who made one devastating mistake—or a full-blown villain who slowly realises what they’ve become—a strong redemption arc can be one of the most emotionally resonant journeys in fiction.

Here’s how to write one that lands:

1. Start With the Fall (Or the Flaw)

Redemption means nothing without something to redeem. What did they do?

– Betrayal? Violence? Abandonment? Apathy?

Make the sin personal, and make sure your reader feels the weight of it.

✍️ Tip: Don’t shy away from their wrongdoing. Redemption is powerful because it’s hard-earned.

2. They Have to Want It (Eventually)

A redemption arc doesn’t work if they’re forced into it or if they don’t regret their actions.

There has to be a moment — big or small — when they begin to want to change. That spark is everything.

Examples:

A flash of guilt after seeing someone harmed by their choices.

Hearing a phrase they once said…used by someone crueler.

A moment of kindness that catches them off-guard.

3. Let Them Resist It

Real change is uncomfortable. Your character should stumble, fight it, maybe even relapse.

They might question if they even deserve redemption. That doubt makes them human.

✍️ Narrative tension idea: Just when the reader thinks they’ve changed, let them snap under pressure—and then feel the shame of it.

4. Give Them a Chance to Actively Do Good

Redemption isn’t about feeling bad — it’s about making amends.

They need to choose to do something selfless, painful, or courageous — not because it earns them praise, but because it’s right.

Make them:

Apologise without expecting forgiveness.

Protect someone they once hurt.

Make a sacrifice no one will ever know about.

5. Let Consequences Stand

Redemption is not a get-out-of-jail-free card. Let people mistrust them. Let them lose things permanently.

They can change and still face the cost of what they did — and that’s what makes it powerful.

6. Not Everyone Has to Forgive Them

Forgiveness is not owed. Some characters will never believe the change. That’s okay. It’s real.

Use this to:

Add tension and realism.

Explore different reactions to trauma.

Show that redemption is internal, not dependent on external validation.

7. End With Who They Become—Not Just What They Did

The final step of a good redemption arc isn’t about “undoing” the past.

It’s about choosing who they are now — and committing to being better.

They’re still carrying scars. But now, they’re facing forward.

✍️ Bonus Tip: Redemption arcs hit hardest when they hurt. Let it cost something. Let it mean something. Let them bleed for it. That’s when readers believe it.

Redemption Arc Prompts (for maximum angst & payoff)

Need a spark to start the fire? Here are some redemption arc prompts to put your character through it — and maybe, just maybe, let them claw their way out again:

🩸 The Monster Who Chose His Soul

They were never supposed to feel guilt. Their nature was cruel, cursed, inhuman — so when they start to care, it shatters something deep. But caring isn’t enough. So they go in search of what they were never meant to have: a soul, a conscience, something to make the guilt stick. Not for redemption. Not for love. But because they can’t stand not knowing what it means to be human.

Use this for…

Vampires, demons, cursed warriors, AI trying to evolve.

Arcs where the redemption begins after the obsession.

Characters whose change isn’t instant—it’s agonising, feral, and full of relapse.

Key Questions For Writers

What event or moment makes the monster realize they want a soul or conscience?

How does their monstrous nature conflict with this desire for humanity?

What sacrifices must they make to earn or reclaim their soul?

How do others react to their transformation—fear, disbelief, hope?

Does the monster’s journey lead to true redemption, or is it an ongoing, painful struggle?

Emotional Notes

The agony of clawing through darkness for something intangible.

The loneliness of being neither fully monster nor human.

The fragile hope that change is possible — even when the past screams otherwise.

Let their monstrous heart break—and witness the fierce fight to claim their lost humanity.

🕯️ The One Who Survived…and Shouldn’t Have

They lived through the massacre, the betrayal, the war—whatever happened—not because they were brave, but because they were cowardly enough to survive. They made the wrong choice. They ran. They closed the door. They didn’t look back. And they’ve hated themselves every day since.

Now the world remembers them as a hero. Statues, ballads, accolades. But they know the truth—and it’s rotting them from the inside.

So they disappear. Not in disgrace, but in determination.

Not to erase the past.

But to earn the life they didn’t deserve.

Use this for…

A reluctant protagonist with deep survivor’s guilt

A morally grey character trying to rebuild something they helped destroy

An older warrior protecting the next generation to make peace with the last

A spy, a traitor, a deserter who becomes the shield they once refused to be

Key Questions for Writers

What lie do people believe about this character?

What one decision do they regret the most?

What would it take for them to forgive themselves?

What’s the first thing they do to try to be better—and does it hurt?

Emotional Notes

Anguish that simmers under silence.

Redemption through action, not speech.

Consequences that can’t be undone, only carried.

Let the weight of survival shape them. Let them falter. Let them bleed for the right thing this time.

❤️‍🔥 Changing for the Love That Never Was

They were reckless, broken, or cold — maybe even cruel. But when the person they secretly adored barely noticed them, something snapped. Not because they wanted to be better for themselves, but because they needed to be worthy of love they’d never received. They start changing — small things at first, then big. Trying to erase their flaws, rewrite their past, and fit the ideal they imagine the other wants. But love built on self-denial is fragile.

Use this for…

Characters trapped in unrequited love or obsession

Antiheroes who want to become heroes for someone else

Stories where identity and self-worth collide

Tense romance arcs with bittersweet or tragic endings

Key Questions for Writers

What flaws do they try to hide or fix?

How does their unrequited love affect their choices?

Do they ever admit the change isn’t truly for themselves?

What happens when the love remains unreturned?

Can they find self-acceptance apart from the other’s approval?

Emotional Notes

Longing that cuts deeper than hate.

Masks slipping under pressure.

The painful difference between being wanted and loved.

Let your character wrestle with heartbreak, identity, and the price of change—for better or worse.

⚖️ The Villain Who Broke Their Own Rules

They were ruthless, feared, and driven — yet they always told themselves some deaths were “necessary.” But when their actions accidentally kill someone innocent — someone they never intended to hurt — that line breaks. The guilt crashes over them like a storm. No excuse, no justification, no second chance. For the first time, they question everything: their goals, their methods, even themselves. This moment becomes the catalyst for change, forcing them to confront their darkness — not just to save themselves, but to stop hurting others.

Use this for…

Characters trapped in unrequited love or obsession

Antiheroes who want to become heroes for someone else

Stories where identity and self-worth collide

Tense romance arcs with bittersweet or tragic endings

Key Questions for Writers

Who was the innocent? How do they affect the villain’s conscience?

What personal rules did the villain break?

How does this death change their motivations?

Can they ever make amends, or is this their undoing?

How do others react to the villain’s shift?

Emotional Notes

Crushing guilt that can’t be ignored.

A fragile hope born from devastating loss.

Inner conflict between old habits and new purpose.

Let your villain’s cold exterior crack—and watch them fight to rebuild what they’ve broken.

💔 The Final Breach of Trust

He’s broken her trust one too many times — through lies, betrayal, or neglect. Before, there was anger, tears, shouting. But now her silence is worse than any outburst. The cold, emotionless “Get out” is a door slammed shut forever. For the first time, he truly sees what he’s lost — not just her love, but her belief in him. And it terrifies him more than any punishment. Redemption won’t come from empty apologies or promises; it will come from the long, painful work of earning back a love that may never return.

Use this for…

Romantic dramas with fractured relationships

Characters grappling with addiction, betrayal, or repeated mistakes

Stories about self-awareness born from loss

Emotional arcs where redemption means more than just forgiveness

Key Questions for Writers

What was the betrayal, and why was it the last straw?

How does the character react to the silence and coldness?

What does he do differently after hearing “Get out”?

Can she ever forgive, or is his redemption truly for himself?

How does the loss change his identity?

Emotional Notes

Silence heavier than words.

The shattering weight of finality.

Redemption as a path through grief and self-loathing.

Let the moment of loss be the spark that sets the slow burn of change in motion.

A Final Note

Redemption stories are some of the most powerful journeys you can write — they dig into pain, change, and hope in ways that stay with readers long after the last page. Use these prompts to explore the messy, beautiful process of transformation, whether your character rises, falls, or struggles somewhere in between. I’d love to see what you create — tag me so I can cheer you on and share your work! ❤️

[poorly-drawn-mdzs]

Shout out to all artists who had to work without any strong direction or instruction.

I wish you a merry “the client likes it anyways”

[this-is-a-name-dont-worry]

Tenna is a parallel to Asgore

Since I haven't seen it be talked about much, and that I even saw several people be surprised when someone else said it, I'm just gonna make a post where I explain it

While it's fun to talk about Tenna, Child of Divorce (and it's very much one of his themes too), we have to admit, Tenna isn't really like Kris. Maybe he reflects some of Kris' feelings on their parents' divorce, but Tenna's actions are actually more reminiscing of Asgore

Throughout Chapter 3, Tenna keeps reminding Kris of the good times and fun memories the family had with him, in an attempt to stay relevant to Kris after many years being turned off. Meanwhile, Asgore has the same attitude, even saying that if Toriel could remember the good times, maybe it could bring her back. Both Tenna and Asgore cling to the past and its good times, in hope that by reminding those who left them, things will get better

Tenna is also extremely clingy; when Susie refuses to do the show, he immediately starts feeling like it's all over now, and after the first show was finished and Susie and Ralsei were shown to have a good time but now it's time to keep going, Tenna ropes us into a second round, then when the second one is done, he insists for a third round to happen despite the characters wanting to move on. It was fun for a bit, but now Tenna is just desperately trying to get a thing that's over going. Asgore is extremely clingy, and he keeps trying to get back the marriage and family that's obviously over. It was a good thing, now it's over, and he needs to move on, else the good time spent when it was happening will become tainted

Finally, Toriel. In Chapter 3, Toriel is absent, and is only seen at the end. She is kept asleep in a ball, preserved, and is the ultimate prize. Asgore has kept in his mind a specific idea of Toriel, preserving that image and not seeing the current Toriel. His objective is to fix things with her, she is an ultimate prize (<- though i must clarify: Asgore motivations are likely a lot more complex than just "want Toriel back", like in Undertale his motivations were more complex than just "want to free monsters")

We can add something about Tenna and Spamton becoming a confirmed relationship that ended badly, with Spamton leaving suddenly after a phone call, that puts Tenna as one half of a "divorce", and may have a parallel to how Toriel left Asgore (in a way that must have felt sudden to Asgore, since he seems so sure that if he just fixes one thing it will all be better. that's an attitude of someone who hasn't seen signs of a potential divorce before the one event). Toriel wants to throw Tenna out , which Tenna doesn't want, and Toriel threw Asgore out, which Asgore did not want. Also, Tenna saying "it's normal for couples to fight sometimes, right Kris?" is brutal for poor Kris and their divorced parents, but also... that's such a parent phrase to tell the kid when said kid brings up to their parents they dont like seeing them fight. "Don't worry, Kris, it's normal for couples to fight sometimes!" is a sentence that Asgore could have definitely told in the past. Finally, Tenna asking how email works is such a dad trying to figure out some basic technology for his child moment. Tenna is indicated to be old and outdated, after all.

Conclusion, Tenna and Asgore are both people who cling to the rose tainted glasses of the past where the family was united and loved each other, and both have been set asides for a long time, but think that if they can just remind people of the good things, and just do one thing to make it right, it will all be back to "normal". The major difference, is that Tenna got to move on, and you can even help him find a new person in Mettaton, when Asgore is still stuck in the past.

With some hope, after Chapter 5, he'll get the chance to move on too

[literaryvein-reblogs]

The Hero's Journey (Christopher Vogler)

Heroes are introduced in the ORDINARY WORLD, where

they receive the CALL TO ADVENTURE.

They are RELUCTANT at first or REFUSE THE CALL, but

are encouraged by a MENTOR to

CROSS THE FIRST THRESHOLD and enter the Special World, where

they encounter TESTS, ALLIES, AND ENEMIES.

They APPROACH THE INMOST CAVE, crossing a second threshold

where they endure the ORDEAL.

They take possession of their REWARD and

are pursued on THE ROAD BACK to the Ordinary World.

They cross the third threshold, experience a RESURRECTION, and are transformed by the experience.

They RETURN WITH THE ELIXIR, a boon or treasure to benefit the Ordinary World

The Hero's Journey Model:

In psychological terms this stage represents the resolve of the hero to return to the Ordinary World and implement the lessons learned in the Special World.

This can be far from easy. The hero has reason to fear that the wisdom and magic of the Ordeal may evaporate in the harsh light of common day.

No one may believe the hero's miraculous escape from death.

The adventures may be rationalized away by skeptics.

But most heroes determine to try.

The stages of the Hero's Journey are a good guide to the steps needed to create a realistic character arc:

CHARACTER ARC — HERO'S JOURNEY

limited awareness of a problem — Ordinary World

increased awareness — Call to Adventure

reluctance to change — Refusal

overcoming reluctance — Meeting with the Mentor

committing to change — Crossing the Threshold

experimenting with first change — Tests, Allies, Enemies

preparing for big change — Approach to Inmost Cave

attempting big change — Ordeal

consequences of the attempt — Reward (Seizing the Sword) (improvements and setbacks)

re-dedication to change — The Road Back

final attempt at big change — Resurrection

final mastery of the problem — Return with the Elixir

Source: Christopher Vogler's The Writer's Journey: Mythic Structure for Writers (3rd Edition)

Writing References: Plot ⚜ Character ⚜ Worldbuilding

[dontbelasagne]

desperately need to do a presentation on why the Twelfth Doctors journey perfectly represents the transfem experience

their previous eleventh incarnation being suave and hypersexual (i know moffat is mostly to blame but!) is reminiscent of attempts to fit into heteronormative ideals of masculinity. whilst it is not completely insincere, there are obvious signs this does not fit you as a person, it is acted out of desperate need to being seen. as Vastra put it, eleven wore that face, and subsequently that form of masculinity, to be accepted. on becoming twelve, realising even an "idealised" masculinity does not inherently serve them, they retreated into themselves as a person for self-reflection and trying to understand why they feel so detached from who they are.

the "am i a good man" arc mirrors being closeted and having to present as something not inherently tied to your sense of self, but still wanting to be the best of your perceived gender as any failure could leave you spiralling into self-doubt about simply being like any other "man". you ignore your gender dysphoria/questioning by trying to claim a moralistic view of gendered expression. made even more clear by Twelve rejecting Clara's heroic view of them, establishing that even though they have made efforts to be a "good man", that is just a placeholder for their loss of identity.

Missy appearing as she does, who as a character serves as a parallel to The Doctor on what they could become, and her eventual arc in trying to become good is symbolic of the fear around transition regret that internalised transphobia can create when you are closeted. Missy never gives importance to their fem existence other than nonchalant jokes, rather showing a more free and expressive personality devoid of any frustration. this immediately dismisses the transphobic assumption that trans people are only focused on their gender. also, Missy representing trans femininity is inherently tied to chaos and upsetting the status quo, she is the embodiment of what society considers accepting your womanhood as someone previously labelled masculine. what many others, and The Doctor themselves, saw as a need for attention and senseless disruption is Missy not needing to serve a false version of who they are, that they can now focus on becoming whoever they want to be now without losing energy to performing a gender that society has imposed on you. Missy could never have made the decision to stand with The Doctor if she had not given importance to her own queerness.

it wasn't coincidence with meeting Bill, she was the perfect foil for The Doctor to finally let go of their anxious attachment to masculinity. i would even argue for the majority of s10, The Doctor is largely ambiguous in their gender identity and does not fit into any construction of masculinity or femininity. whilst they still present as something socially labelled as masculine, they do not internalise that gender expression. they are uncaring about and not needing the validity that comes with heteronormativity, and thus is free to finally accept the decision they have to make. as Bill says, it is so hard to let go of The Doctor, and that rings true for twelve themselves. but they begin to realise The Doctor can be anyone. yes, they are tired, it would be so easy to simply rest and not give value to who you can become. but choosing to let go of everything you once were to survive is better than oblivion. it is better to let go, to choose another lifetime where the only person that dies is your falsity, to finally get it right and choose kindness. for yourself and for those who you love. they regenerate, not just into another person, but into someone who (if only tv scripts...) can now move forward.

[shibee-inu]

*twirls hair* so there's this ship I think is funny-

[martianbugsbunny]

I am once again thinking about the alternate universe in which the writers actually bothered to unpack Rumple's mental state after being held in captivity by Zelena and used that as a motivator in his plot points instead of just making him so evil again for no reason

[stardustedknuckles]

It's looking like there's a growing divide between Campaign watchers and Tlovm watchers in terms of like. We're here for the characters. 12-episode seasons aren't. They can't be. I'm already making peace with everything we'll lose in the Mighty Nein show, and I know I will enjoy it for what it is but I also know that almost nothing that made the story so special will translate to the screen, because turning it into a show automatically means (in this day and age) that plot must be the number one priority. They've already come out and told us it's going to be different, the characters we know and love but new stories.

Because that's how this has to work. And I feel bad for campaign one lovers, because while it is certainly the easier of the two to translate to a big, overarching story, even though it's a more "traditional" high fantasy story with easier archetypal characters, the archetypes and the plot aren't what cemented most people's love for the campaign. So much of the love for critical role is stored in the interpersonal dynamics and the payoff that comes from hundreds of hours of tiny interactions that one day become cornerstones of development and even affect or dictate the plot.

There's no room for that. There's no room for Bard's Lament in a story that cannot afford to remove and replace a main character. A lot of tlovm is for people who have been here for all of campaign one. Most of it, however, isn't. It's for a new crowd. While CR may have creative control, you can bet your ass that there were months and years devoted to figuring out how to map a character-focused love of the show into a plot that hits the right beats to be viable in the show market.

And it worked. Tlovm has consistently high viewing numbers, and its popularity has brought and will continue to bring new people into the universe who have never interacted with CR previously. That's not a bad thing - imagine finishing your favorite show and discovering it has another FIVE HUNDRED HOURS of the equivalent of behind the scenes content. That's incredible for these newcomers. But man, it is in many ways a loss for us.

[legends-of-a-side-blog]

Watching Jericho’s arc of EoM before BDW: where the FUCK did this second demon come from? This was barely even foreshadowed at all??

Watching Jericho’s arc of EoM after BDW: Look what the cat dragged in. I knew you were around here somewhere you slimy bastard. You ugly bird. You weird gross crow.

[chik3chirkun]

Oh Thor, you accidental brilliant bastard!

“When you speak, do I never hear Mother’s voice?” says Thor to Odin who only recently was ready to sacrifice countless Asgardian lives just to get revenge on the Dark Elves and ordered to shoot down the ship with his heirs in it. But now Odin looks sane again, he doesn’t punish Thor for treason and even expresses affection for him. So Thor gladly buries all his doubts about his father’s righteousness, blaming it on him being overwhelmed by grief, and leaves Asgard believing it to be safe in Odin’s hands. He doesn’t doubt or question Odin’s integrity ever again, even when confronted with his lies and war crimes.

Because Loki, who Thor is actually talking to, doesn’t know that Thor was beginning to question Odin’s ways. Instead of an authentic portrayal Loki plays Odin as he wishes he was: wise, fair, merciful, able to admit his mistakes, and most importantly able to express fatherly affection even while acting as King. And in doing so he accidentally becomes his enabler, thwarting Thor’s disillusionment. It is a white lie, born out of love and meant to protect Thor from the truth of how far gone Odin has become. Sounds familiar? This is the most Frigga thing Loki has ever done.

So trying to impersonate Odin, Loki accidentally became Frigga. And Thor hit the bullseye without even knowing he was shooting.

[johnnyshrine]

★ 127 // “Chao”

[dogpawsswapgod]

something I've appreciated about The Dragon Prince is how it eschews a good/evil, hero/villain binary and instead insists that what matters are choices: the path one chooses to walk. are you fated to walk a dark path? or did you make a choice with every step?

characters say "i had no choice," a lot, but eventually face the truth (usually before a big moment of growth): there's always a choice, and you've always been making choices. this is something pretty much everyone is going thru throughout the series but no one more obviously than Viren (and now, Claudia 😭).

when Viren faces his younger self in the mirror in season 5 and young Viren rejects the idea that he is "fated" to walk a dark path, he places his hand on the glass, saying "i am free, and so are you!" this is one of the series' main theses--alongside whether history is "a narrative of strength or a narrative of love"--that "i have no choice," is never true. our choices are all we have, and they shape our reality by paving the path we take.

Viren has been a worthy and engaging "villain" throughout the series, totally hateable, a grade A baddie, but I'm grateful for how his arc ended in season 6. i admit i shed a tear for that old war criminal.

if history is to become a narrative of love then different choices must be made.

making space for anger and holding "villains" accountable for their harmful choices, but also allowing for those same villains to change (or cut out) their hearts and thereby change the path they have walked--even if it's only in the final few days of a lifetime of wickedness-- all play well alongside the setting of the story: a magical world on the precipice of revolutionary transformation ("a long slow spiral into chaos," as one Star Elf put it).

can't guess how this will play out with the big boss battle against Aaravos himself in the final season, but for now, I'm content w how the writers seem truly invested in exploring these big ideas and applying them to the characters' story arcs.

[literaryvein-reblogs]

Writing Worksheets: Death & Sacrifice

Worksheets & Templates Death; Sacrifice; How to Kill Your Characters

Use the following questions as a story guide, or to interview your characters...

DEATH

What do you think happens after you die?

How does the thought of death affect you? Why?

Whose death has affected you the most?

What is the biggest lesson that death has taught you?

How do the deaths of people you didn’t know personally affect you?

Recount your favourite death myth.

What would you like to happen to your body after you die?

What would you like to be written on your tombstone, in your obituary, or in a posthumous biography of your life?

If you were a ghost, what would be your favourite haunt?

What do you fear most about death?

How is death not what you feared?

Describe death as a person, creature, or symbol.

What are your thoughts on euthanasia?

Which fictional character’s death affected you the most?

Is your own mortality different to that of others?

How has your perception of death evolved over time?

Research a death ritual.

How does death create life?

Choose 3 very different characters and explore their relationships with death.

How would you solve the trolley problem? [The Trolley Problem: You are riding in a trolley without functioning brakes, headed toward a switch in the tracks. On the current track stand 5 people who stand to be killed if the trolley continues on its path. You have access to a switch that would make the trolley change to the other track, but another individual stands there. That person is certain to be killed if the switch is activated. So do you switch tracks or not?]

Write a fictional will.

SACRIFICE

How do you know it’s the right time for you to make a sacrifice?

What are you afraid of losing?

How will losing this change you?

How will not losing this allow you to stay the same?

What is the cost of not making this sacrifice?

Why is this sacrifice necessary to achieving your dreams?

How can you make it feel more like a relief than a sacrifice?

Why have you been chosen to make this particular sacrifice?

What are the steps you need to take to make this sacrifice?

How will you know that you’ve really made it?

How to Kill your Characters

A worksheet to kill off a character...

Why is the characterʼs death important?

When does it occur?

Why then?

How long does it take?

Who is there with the character?

What is the character’s reaction to imminent death?

What emotion is evoked in the reader?

Locations (associated with the character):

Objects (associated with the character):

Themes (associated with the character):

Ways to die:

Effects of death on other characters:

Effects of death on the story:

Source