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literaryvein-reblogs · 6 months ago

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Writing Notes: Plot Method

The Save the Cat! Beat Sheet was originally developed by Blake Snyder to help screenwriters plot movies, but it works just as well with novels.

It breaks down the 3-act structure into small, specific sections (sometimes just one scene long).

Each section pushes your story forward in its own way.

The exact word count/page count of each section depends on how long your novel is and what type of story you’re telling, but you can use the colored chart below and the percentages in the instructions as a guide.

Context Note: This method is based on the concept of the Three Act Structure, which is an inherently Western approach to plot. It can be a useful way to tell a story, but it is by no means the only one.

ACT 1

Opening Image (0-1%)

Show a “before” snapshot of your protagonist and their world.

What is life like before the adventure begins?

It represents the struggle & tone of the story.

Set-up (1-10%)

Expand on the “before” snapshot.

Explore your protagonist’s life, including the internal flaws and external challenges they’ll have to overcome in order to change for the better by the end of the story.

Present the main character’s world as it is, and what is missing in their life.

Also introduce important supporting characters.

Theme Stated (happens during the Set-up)

What your story is about; the message, the truth.

Usually, it is spoken to the main character or in their presence, but they don’t understand the truth/lesson…not until later, when they have some personal experience and context to support it.

Thus, include a scene where a character says something that hints at what the protagonist’s big life lesson will be - how they’ll have to change and grow by the end of the story.

Catalyst (10%)

The moment where life as it is changes.

Examples: It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc.

There’s no going back to the “before” world from here… What is the inciting incident that pushes the protagonist into the next phase of the story?

Debate (11-20%)

But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take.

Show the protagonist questioning themselves and resisting the path ahead - wondering whether they have what it takes, or whether or they should just run home and hide under the bed.

“Should I just…?” “I really shouldn’t because…” “But what about…” Can I face this challenge? Do I have what it takes? Should I go at all?

It is the last chance for the hero to chicken out.

ACT 2

Break Into 2 (20%; Choosing Act Two)

The main character makes a choice and the journey begins.

We leave the “Thesis” world and enter the upside-down, opposite world of Act 2.

They make the choice to begin their adventure/transformation/journey/new thing.

Show your protagonist deciding to plunge into Act 2.

The Promise of the Premise (21-50%)

This is when the reader thinks “Ah, now we’re getting to the good stuff they hinted at on the back cover of this book!”

It’s also one of the longest sections in your book.

Show your protagonist getting used to their new world - loving it, hating it, making mistakes or doing well, meeting new people (see more below) and keeping the reader entertained.

This is when the main character explores the new world and the audience is entertained by the premise they have been promised.

B Story (happens during The Promise of the Premise)

This is when there’s a discussion about the Theme – the nugget of truth.

Usually, this discussion is between the main character and the love interest.

So, the B Story is usually called the “love story”.

Introduce a new character or characters who will eventually help the protagonist learn their life lesson.

Friends? Mentors? Love interests? Nemeses (nemesi?)? Who are they? How will they help?

Midpoint (50%)

This moment is when everything seems “great” or everything seems “awful,” depending on your story.

The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”).

Either the Fun and Games section has lead to a false victory for your protagonist (they think they’ve been doing great so far) or a false defeat (they’ve been having a hard time so far).

What happens in this moment, halfway between beginning and end?

But not everything we think we want is what we actually need in the end.

Bad Guys Close In (51-75%)

Get ready for a bumpy ride. If your Midpoint was a false victory, now things start to go wrong for your protagonist.

If the Midpoint was a false defeat, well, things seem to be looking up, but the bad guys are getting closer and will have something to say.

Note: Bad guys can be actual physical enemies, but they can also be emotional enemies, like doubt or jealousy or fear.

Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.

Show the protagonist’s newly-built world beginning to unravel.

This will also be one of the longer sections in your novel.

All is Lost (75%)

This is when something happens to make your character hit rock bottom.

It’s the absolute lowest part of your novel.

Maybe someone or something dies (either literally or figuratively).

The initial goal now looks even more impossible than before. And here, something or someone dies.

It can be physical or emotional, but the death of something old makes way for something new to be born.

What does this moment look like for your protagonist?

Dark Night of the Soul (76-80%)

Your protagonist now has time to react to their “All is lost” moment, to mourn what they lost and wallow in hopelessness.

They’re worse off than they were at the beginning of the novel.

Show how low things have gotten.

Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc.

But, you must fall completely before you can pick yourself back up and try again.

ACT 3

Break Into 3 (80%; Choosing Act Three)

The “aha!” moment; the “lift yourself up and try again” moment.

Show the protagonist realizing what they need to do in order to tackle their problems, both external and internal.

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.

Finale (81-99%)

The protagonist does what they decided to do in the Break Intro 3 beat, and (because of all the learning/growing they’ve done and the support or insight from the B Story), their plan works.

This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story.

The Bad Guys are defeated, the world is changed for the better.

What are the battles? How will the protagonist triumph (or not)?

This is another longer section, so you’ve got the space to make things dramatic and intense.

Act Three is about Synthesis.

Final Image (99-100%)

This is the opposite of the Opening Image, the “after” snapshot instead of the “before.”

Show the reader how the protagonist and their world have changed.

THE END

Sources: 1 2 ⚜ Writing Notes & References

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picturejasper20 · 1 year ago

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Steven Universe as a character is someone who has been mischaracterized and flanderized over the years, to the point people who aren't into the fandom or haven't watched the show believe that mischaracterization to be a fact rather that a product that comes from memes and jokes

The truth is that Steven often fights in the series when it is needed, usually by fusing with someone else like Connie or Amethyst since he is still developing his powers in the original series. He doesn't cry when he has to fight back or defend himself, with exception if the person attacking is someone he considers a friend. Because, yes, for a 14-15 old teenager it isn't fun having to do something like that and it can be traumatic.

He also doesn't start to cry the moment someone refuses to change their mind or is being mean. He often isn't afraid to be sarcastic or call that person out. He didn't cry when Aquamarine mocked him in ¨Stuck Together¨ nor when Jasper didn't apologize for poofing Amethyst in ¨Crack the Whip¨

However, what we see is sometimes him blaming himself for not being able to help people that, more often than not, have been hurt by Rose Quartz, his mother, in some way. After Season 3, Steven fears a lot that he is going to become like Rose and he is going to hurt people the way like she did.

In general Steven deals with an Atlas complex in the show. He feels like he has to fix his mother mistakes and deal with ¨what she left behind¨ even when Rose wanted for him to be his own person as seen in the tape she left for him as it was revealed in the episode ¨Lion 4: The Alternate Ending¨.

Steven also defines his identity a lot for being to help other people and fix their problems. He believes that he has to be ¨useful¨ for others. So when he believes that he failed to help someone, that may lead him to think that he isn't living up to his ¨purpose¨ or that he is a failure as a person.

In reality, he isn't that much different from other hero protagonists from other animated shows. Those who are kind and emphatic and willing to listen to other people and give them a second chance if the person changes their ways. You probably like an animated show that has a protagonist like this. (Who was probably taken inspiration from Steven if the series came out after SU).

The main difference, i think, is that Steven goes a bit more than those protagonists do when it comes to listening to other people, understand their motivations and give them another chance if they regret their actions. A lot has to do with how he is aware that his enemies (usually gems) act the way the do because of the system they were born into rather ¨they are evil just because¨. He gets that their motivations come from the system that hurt them or lead them to believe that their actions are justified.

Another common mischaracterization is that Steven becomes super buddies with every person he helps...when this isn't always the case. There are some occasions that Steven shows discomfort around people who he has given a second chance. Just because he gives them a second chance doesn't mean that he immediately considers them close friends, maybe allies at best.

A good example of this is the gif above of Steven's interactions with White Diamond in ¨Homeworld Bound¨. White Diamond touches Steven very close to where his gem is- which makes Steven distressed since in his battle again White, she ripped his gem out to prove that Pink was still ¨alive¨. In most of the episode Steven shows to be very uncomfortable around the Diamonds and Spinel, to some extent. They bring him bad memories, which is the main reason he has been doing everything to avoid going to them to ask for their help until this point in Steven Universe Future. He even almost accidentally hurts White's gem by smashing her head against a pillar when she lets him control her to talk to himself. This being result of a intrusive ¨vengeful¨ thought.

I wouldn't say that Steven hates the Diamonds,but- he doesn't want to be their friend neither and wants to avoid in general because he feels nervous and bad around them. It's something like ¨I'm glad that you are changing but i don't want to be associated with you. Please, i would appreciate if you kept your distance from me.¨ dynamic.

On last point, Steven is someone who usually pushes his feelings down in certain situations and buries them down, which has led him to have strong emotional outbursts in bad moments. He usually prefers to ignore his own problems and take priority on others. Again, this comes a lot from his desire to be useful and be needed, making him trying to ignore how he feels about certain people and pretend that he is doing fine.

This explains why we don't see him lash out that much to others in the original series, and, why he feels so frustrated and angry in Future, since all that anger and negative feelings can't no longer be ignored as they used to and they are having a negative impact in Steven's mental health. This, of course, isn't meant to be seen is a healthy coping mechanism. It is in fact potrayed as something pretty self-destructive for Steven, as a huge flaw of his, that over time he comes to learn that it isn't the best way for him to deal with his problems.

These are some of the most common misconceptions i have seen about Steven's character online. I could go in more depth with some of them but i think the points should be clear enough. This could be considered a general analysis of how Steven is as a character and how he operates, leaving aside more specific things that can be covered in other posts.

#steven universe #steven quartz universe #steven universe future #rose quartz #su analysis

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egoitsharu · 1 month ago

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Cheng Xiaoshi is a good protagonist

Cheng Xiaoshi's development is one of Link Click's strongest points. At first, we meet him as someone impulsive, emotional, and even a little immature, which contrasts with Lu Guang's calculating personality. However, those initial characteristics not only make him very human, but also lay the foundation for his evolution.

Past and motivations

The loss of his parents during his childhood deeply marked his character. This turned him into someone who struggles with feelings of abandonment and guilt, which often leads him to get too involved in missions. However, that same vulnerability is what makes him connect so well with the stories of the people he helps.

Constant Evolution

A good protagonist doesn't stay stagnant, and Cheng Xiaoshi continually evolves. He learns from his mistakes, faces his fears, and strives to grow, making his journey interesting and meaningful.

Relationships and emotional growth

Cheng Xiaoshi learns a lot from his relationship with Lu Guang and Qiao Ling. Although at first he depends a lot on them to make decisions, the experiences he goes through, especially the most painful ones, push him to mature. The way he begins to recognize the consequences of his actions, such as when he puts his life at risk for others, shows evident growth.

The Weight of Choices

One of the recurring themes in his development is his difficulty accepting that he cannot change the past without consequences. Throughout the series, we see how he faces that harsh reality, which leads him to be more thoughtful. Even in his moments of greatest pain, he remains someone with a huge heart, willing to sacrifice everything for those he loves.

Strength and Hope

Despite the traumas, Cheng Xiaoshi never loses that spark that characterizes him. He is a person who always seeks to protect others, even at the cost of himself, but over time he learns to balance his desire to help with a greater awareness of the risks.

He represents the internal struggle

The constant dilemma of wanting to help others, even if it sometimes destroys him inside, makes him a very real character. His struggle between doing the right thing and accepting the inevitable is a universal conflict that many can relate to.

Sacrifice and bravery

Cheng Xiaoshi is not a hero who acts out of ego or to gain something. His actions are always driven by a genuine desire to protect others, even if this puts him in danger. That makes him admirable.

In short, Cheng Xiaoshi is not just a great protagonist because he is brave or has interesting skills, but because his emotional and moral journey resonates deeply 💕✨

#link click #linkclick #cheng xiaoshi #lu guang #shiguang daili ren #bridon arc #link click yingdu #yingdu arc #yingdu chapter #shiguang dailiren #shiguang #link click bridon arc #bridon chapter #link click bridon #link click yingdu chapter #cheng xiaoshi i love you #bridon spoilers #yingdu spoilers #link click spoilers

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fixyourwritinghabits · 11 months ago

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No Such Thing As Filler

Okay, so yes, this is another post based on something I saw that irritated me, but it seems like this idea keeps coming up, so I need y'all to internalize this. There is no such thing as filler in good writing. None. Do not approach your work thinking you have to fill space in a story, I will beat you with this wiffle bat. Don't ask me where I got the wiffle bat. Don't even worry about it.

The idea of filler comes from a very particular place - when an anime or TV show has to fit in a certain number of episodes, but doesn't have enough content (hasn't caught up with the manga, the source material isn't long enough, etc) to cover those episodes. An episode has to be written, but the characters can't really progress, and so are given something else to do. Many a trope has come from these episodes, and they're sometimes necessary. Filler in this context is something that makes sense.

The dark side of filler is the idea that you need some space between Big Event 1 and Big Event 2 in your story, therefore you need throw anything in there to take up space and make your word count. This is a mistake I've made and I've seen plenty of other writers do it too, but it's a huge waste of your time. You do need something between those big action scenes, but you should always be writing to accomplish something.

Instead of thinking of that writing as filler, try to approach it with three things in mind:

Move Forward With Character Development and Backstory - Your characters barely survived a huge gunfight, and they won't encounter the big bad again for another few chapters. How do your characters decompress from that gunfight, and what does that say about them? Did a cocky character go in guns blazing, only to be deeply shaken by how a real fight works? Did that fight spark a moment of deep trauma for the main character that they have to reflect on afterwards?

Filling this space with meaningless scenes is a huge waste of opportunity. Think about how to dive deeper into your characters.

Move Forward With Plot and Subplot Development - The bad guy beat the heroes to the stolen gem, but they left behind a clue to why they want it. However that clue could reveal some painful truths about the protagonist's beloved great aunt... Carmen Sandiego???

A major goal following a big action scene is having the characters figure out what to do with what they've learned and what to do next. It's where romance subplots or secret relative subplots make progress, when truths are revealed and next steps are taken. You can absolutely do this in any setting - a flirty conversation while at the battling cages, a tense moment of feelings while hunting down a wayward chicken - but your main goal is making progress for both the characters and plot.

Move Forward With Worldbuilding - Worldbuilding has it challenges, believe me. You don't want to write a chapter on how an airship works only to have to cut it later. But you should still try to flesh out your world, and you should do so with the perspective of how to use that worldbuilding to your benefit. Maybe a critical scene hinges on the main characters knowing how that airship works, or that lake your main character often stares at is the setting of the big Act 3 Boat Battle. The weather can play into both perspective and emotions. Knowing what the main character's house and car looks like can reflect a lot on their personal character or backstory.

When you're struggling with a scene or a chapter, rather than writing filler, take a few steps back and think. What can you establish with your worldbuilding? What can you reveal about your characters through their dialogue and actions? What subplot could you explore or add in these between moments?

Filler from a fandom perspective - Now let me make this clear - if you're writing a fanfic just to have a cute moment between the characters you like, or you really want to force everyone to do that weird Twilight baseball scene, that's fine. You don't need a grand goal to achieve for every story, there's no need to justify your fanwork in any way other than you wanted to do it.

But I'd also argue fanwork doesn't fall under the filler label either - something you create, be it a character snapshot or a 'what if the gang meets Slenderman' parody, isn't taking up meaningless space. It's something fun you did that you and others enjoy, and there's nothing wasteful or pointless about that.

#writing advice #plotting #filler #writblr #the wiffle bat is a metaphor #for uuuuh something that sounds cool and interesting #let's go with that

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eelclaw · 3 months ago

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the protagonists of the broken code. who's rootspring

i am tbc's number 1 hater! negative thoughts below

shadowsight: other characters sometimes acknowledge that he was manipulated by ashfur, but the narrative puts all of the blame for the ashfur situation on him, neglecting that (a) he did exactly what he was supposed to do as a healer (obey and take messages from a starclan cat), and (b) the codebreaker hysteria was far more a product of clan culture than the actions of a single apprentice. he isn't treated like the victim that he is, and it is frustrating and not cathartic.

bristlefrost: what the hell does she even do. what does her spy arc accomplish or contribute (like mother, like daughter). she finds out that bramblestar isn't bramblestar far too early. she's so perfect and she has no flaws and she's so empty. i want her to be worse. how much more interesting would she be if she was sneaky and selfish? if she was loyal to the imposter because she truly believed in what he was saying? not to mention how she reciprocates rootspring's feelings with literally zero warning, and ceases to have what little character she'd had to begin with. i genuinely don't care that she dies, they did nothing to make her an engaging character. miss bristlefrost, i'm sorry they did you so bad.

rootspring: first rootpaw thinks he's weird because of his father. i hate this because i hate tree. later, rootpaw thinks he's weird because he can see ghosts. so they give him this "i just want to be normal" deal, and the clans suddenly pretend that ghosts are silly and not real. sure, rootspring and tree are the first clan cats with this specific power. and i get that the clans have very rigid beliefs, and they are afraid of anything that contradicts those beliefs, and that's interesting! but ghosts have been appearing to clan cats all the way back to tpb. fireheart tries to kill clawface at one point and he senses spottedleaf's spirit beside him, there to avenge her death. so rootspring's issue is stupid and he's nothingburger to me.

bramblestar: the arc really depends on me giving a shit about what happens to him. which i don't.

i think bramblestar is unintentionally a bad person and a great character. he proves himself by rejecting tigerstar, but he's still deeply insecure. he makes mistake after mistake (conspiring with tigerstar; hesitating to save firestar from the fox trap; forsaking his children after finding out they're not biologically his; using his power over squirrelflight as a warrior, deputy, and leader to control her), and for none of these mistakes is he held accountable (no thunderclan cat except leafpool learns that he plotted with tigerstar; he is allowed to remain deputy; his children think he was the best father ever; in every situation, squirrelflight seems to bear the consequences of his actions).

in other words, bramblestar gets chance after chance to redeem himself, and he keeps fucking it up. again, that's interesting! there is a story here about how difficult childhoods affect adults, and how powerful men are not held responsible for hurting people. except that's not how he's written. he's written as a completely good person, a brave and noble leader, and all of the clans respect him and they need to get him back.

there's a crazy amount of bramblestar worship in this arc. even rootspring, a brand new skyclan apprentice, thinks about how important bramblestar, the thunderclan leader, is, and how all the clans wouldn't be the same without him. i can't take it seriously.

graystripe: graystripe also got a crazy amount of worship. i couldn't stand reading every few paragraphs about how great he is.

side note: shadowsight, bristlefrost, and rootspring all want the same thing. they advocate against killing bramblestar's body. wouldn't it be more interesting if the protagonists had different perspectives and opinions? if they wanted different things? for example, it makes sense that shadowsight wouldn't want bramblestar dead. he feels like the only way to make up for his mistake is to recover bramblestar alive. but bristlefrost could be in favor of killing bramblestar, because the only way to make up for her mistake (supporting the imposter) is to get rid of him. putting our protagonists at odds would generate some interesting conflict.

conclusion: i also have problems with ashfur (why does ashfur try to stir up trouble with codebreaking which will certainly get him caught when he could just take over bramblestar's body and live quietly with squirrelflight), tigerheartstar, mothwing, starclan, the dark forest insta-death water, firestar possessing rootspring, the pacing (oh my god! they were debating whether to kill bramblestar for like three books! and for three more books they were running in circles in the dark forest!), etc. but i've already written a lot and i'm out of steam lol.

let me finish by saying these are kids books, and i'm not expecting them to be the cream of the crop, but there are a lot of writing choices which are incredibly misogynistic and/or completely baffling from a narrative standpoint. i still have a soft spot for this series though. dammit. okay bye

#shadowsight #bristlefrost #warrior cats #eel art #eel talk

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champion-of-love · 4 months ago

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the writing choices in between the earlier specials (true hearts day, thronecoming) and the latter ones (dragon games, epic winter) kind of felt insulting to be honest. and i'm not talking about apple. her going back on her word on not making raven to follow her destiny is an example (to me) of regression and not an erasure of her character journey. people, teenagers especially, are not perfect creatures and sometimes we commit mistakes even though we swore not to make them again. growth isn't a linear line. what gets me are the character assassinations (daring) and heavily underdeveloped characters shoehorned into the spotlight (crystal). daring's story could've been fine in epic winter IF the last few seasons didn't just show us a more nuanced and believable portayal of his character. crystal's story could've been fine IF she was just a side character and not made to be the main protagonist of an entire movie that requires a well-written character which she wasn't. i know this show is aimed for kids but it's kind of demeaning to think that kids won't be able to spot bad writing.

#ever after high #eah #apple white #raven queen #daring charming #crystal winter

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hayatheauthor · 1 day ago

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Hello! I just found your blog and I love it!! How would I write a good protag's best friend character (or sidekick but not really) Much appreciated!!!

Thank you for the ask! Sorry it took me forever to get to it

How to Write a Protagonist’s Best Friend (Without Making Them a Sidekick!)

A great best friend character does more than just stand beside the protagonist, here are some tips to help you capture that:

What Makes a Best Friend Character Strong?

A well-written best friend character has qualities that make them stand out on their own. Here’s what sets them apart from a generic sidekick:

They Have Their Own Story – They shouldn’t exist just to serve the protagonist’s journey. Give them goals, conflicts, and motivations that intersect with the main plot but don’t revolve around the protagonist.

They Balance the Protagonist – A best friend should contrast the protagonist in meaningful ways. Maybe they challenge the protagonist’s worldview or complement their weaknesses with different strengths.

They Change Over Time – Just like the protagonist, they should grow. Their relationship with the protagonist should evolve based on the events of the story.

For example, in Percy Jackson, Grover is not just comic relief—he has his own mission (finding Pan, proving himself as a protector), and his strengths (resourcefulness, empathy) balance Percy’s impulsive nature.

What Role Should They Play in the Plot?

A best friend character shouldn’t just be there for emotional support—they should impact the story. Here are some ways to make sure they play a meaningful role:

Driving the Plot – Have them take actions that change the course of the story. Maybe they uncover crucial information, make a decision that alters the protagonist’s fate, or even become a source of conflict.

Acting as a Foil – A best friend often highlights the protagonist’s strengths and flaws through contrast. Are they more cautious while the protagonist is reckless? More idealistic, while the protagonist is cynical?

Having Moments of Leadership – The protagonist shouldn’t always be in charge. Let the best friend take the lead at times, making key choices that drive the story forward.

Common Mistakes to Avoid

Even well-meaning writers can accidentally flatten a best friend character. Here’s what to watch out for:

Making Them One-Dimensional – If their entire personality is “supportive and loyal,” they’ll feel like a cardboard cutout. Give them flaws, ambitions, and struggles.

Using Them as a Plot Device – They shouldn’t just show up to deliver emotional support or conveniently solve problems for the protagonist. They need to have agency.

Forgetting Their Growth Arc – Just like the protagonist, they should be affected by the events of the story and change accordingly.

A common complaint about Ron Weasley’s character in later Harry Potter books is that he sometimes feels like just a sidekick, while Hermione and Harry have more direct influence on the plot. Had Ron been given more individual agency in key moments, his presence might have felt stronger.

How to Develop Their Relationship with the Protagonist

A strong friendship isn’t always smooth sailing. Consider:

Conflict & Tension – Friends fight. Maybe they disagree on how to handle a situation. Maybe one feels overshadowed by the other.

Moments of Distance – Do they ever drift apart? Are they forced into situations where they can’t rely on each other?

Loyalty vs. Individuality – The best friend doesn’t always have to be on the protagonist’s side. Maybe they make a choice that goes against the protagonist’s wishes.

Examples of Well-Written Best Friend Characters

Here are some standout best friend characters and what makes them strong:

Samwise Gamgee (The Lord of the Rings) – Sam is fiercely loyal, but he’s also stronger than Frodo in many ways. He makes tough calls, pushes Frodo forward, and carries both emotional and physical burdens.

Inej Ghafa (Six of Crows) – Inej is Kaz’s closest ally, but she doesn’t just follow him blindly. She has her own sense of morality, her own trauma, and her own dreams beyond him.

Peeta Mellark (The Hunger Games) – Peeta isn’t just a love interest—he challenges Katniss emotionally and strategically, making choices that directly impact her fate.

Robin (Stranger Things) – Unlike the stereotypical “supportive best friend,” Robin has her own quirks, insecurities, and motivations that make her dynamic with Steve stand out.

These characters don’t just exist to assist the protagonist—they challenge them, change them, and make the story richer.

Tips to Make Your Best Friend Character Stand Out

Here are some practical ways to make sure your best friend character is strong and memorable:

✅ Give them distinct personality traits – Don’t let them blend into the background. Make sure they have mannerisms, speech patterns, and habits that set them apart. ✅ Let them struggle – Just like the protagonist, they should face obstacles that force them to grow. ✅ Make them essential to the story – If you could remove them from the plot and nothing would change, they’re not well-integrated enough. ✅Let them ride solo – Just because they're friends doesn't mean they have to be glued to the hip the entire story! Maybe they get separated during a key arc, have a bit of tension that splits them (think Ron and Harry) or have different offices/schools/hobbies. ✅ Show their relationship evolving – Friendships aren’t static. The ups and downs should feel natural and meaningful.

Looking For More Writing Tips And Tricks?

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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threepandas · 4 months ago

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Bad End: Games Played

As children, we learn to play the Quite Game.

It's rather simple. You scrunch down real small, ball yourself real tight, and find the bestest most hard to reach hiding spot you can! Then? Oh THEN, children, we all get really, REALLY quite. Until mummy or daddy find you. And no matter what, no matter WHO, you Do Not Move, until THEY come and find you.

Not for treats. Not for hugs. Not for threats or scary noises.

No. Matter. What.

To the others, it was a game. But to me? Born just a bit... different? I looked my parents in the eyes, saw the fear that lived there. That hunted them and haunted their dreams. I watched the way they acted. Guarding me. Never letting me wander. Keeping me between them as they slept. Holding me, shielding me. Both whispering their lessons, their love, each moment they could.

And I knew it was no game.

I was an obedient child. Perhaps that is why I lived, where others did not.

Or perhaps? It was my vague, half remembered, knowledge of this world. To be more exact, the chronological series of Otome games, set in this world. Endless streams of political and social clusterfucks, that cast the map into conflict after conflict, all for the selfish romances of a few. Pseudo-historical straight to pseudo-modern magical realism.

Clans of mages. Elves, werewolves, the whole shebang. All trapped in an endless cycle of conflict. Sometimes silent, sometimes open. Always, soaked in blood.

But hey... at least the Protagonist is happy! Right?

We should be furious. We should HATE them.

Our Clan? Did shadow magic. Unfortunately. Because unsurprisingly, Otome troupes ran true, and we? Have a complete Edgy Little Fuckboi as our Clan Heir. Worse still, I RECOGNIZE that Edgy Little Fuckboi! The fucking chuunibyou is a romance target!

I'm sorry, I was under the impression the Clan Heir's job was to KEEP US ALL ALIVE! Not get your DICK WET! But, my bad! My fucking MISTAKE! How COULD I have BEEN so foolish! You go on, then! Just piss RIGHT off, and leave the rest of us to suffer, while you chase SOMEONE ELSE'S GIRLFRIEND!

Fuckwit!

Ha ha.... oh god. We're all gonna die. Aren't we?

We should trust Alphard. No one else understands us.

Everyone? Absolutely fucking EVERYONE? Waves it off. 'Just a phase' and 'he's young, he'll get it out of his system'. As though the problems doesn't run deeper. As though the Clan Head isn't an old man, barely holding us together. As though he isn't planning to hand it all over to a chuunibyou who refuses to sit still and LEARN ANYTHING. Who picks fights he expects US to win for him. Expects US to die for him.

So he can look 'cool'.

Alphard is basicly running this place. But does the Clan Head care? No. Because Alphard is a 'half-breed'. Because ALPHARD has the audacity to be, what? Fire Mage?! Oh dear god! Not ANOTHER GROUP OF HUMANS!? Gasp! Shock! Someone call the fantasy church! Fuckers.

Ooooh but their TEMPER! Everyone knows how UNSTABLE they are!

We should show them 'Unstable'. Make them regret what they've done.

'Bout to see up close and in person MY 'temper' and 'unstable' fuckin BOOT, old man!

No, I don't care if that made sense! Shut up! Fuck you! I get to be upset, okay!? This is nepotism and it's dangerous! And... and NO ONE LISTENS TO ME! It's like they're merrily marching towards a cliff and calling ME paranoid for pointing it out! Telling me to calm down. To stop exaggerating. It's a CLIFF!

The only one who listens? Is Alphard.

Alphard is our friend. Alphard listens to us. We should Trust Alphard.

Storming towards his office, shadows writhing in my wake, I seriously wonder. Would I have gone completely apeshit by now with out him? Left the clan? I don't know how he can bear it. The weight of their stubbornness. Their wilful blindness, which IS going to get people hurt. Killed. Probably already fuckin has.

How many more clansmen do we have to LOSE?

They'd tucked him away in some side wing, like some dirty little family secret. I'd always hated it. Big whoop! He gets two powers instead of one! Jealous ass little shits. It was fear and politics. I KNEW it was! He refused to say so, but I KNEW. And no amount of pained smiles and changing the subject would make me drop it!

It wasn't RIGHT.

God, the more time went on? The angrier I felt about it. The more it burned me. Ate me up inside. It's like my temper just...? Gah! Fuck this and fuck THEM! We don't need them! We should leave! Just the two of us. Go and never com-!

.....wait a second... that's not... right....

My head pounds with the worst sort of migraine. Shadows hissing like angry cats, as they crawled viciously around my head. Chasing whisps of something they can't seem to catch. I stopped between hallways. In one of our Clan's many, MANY shady areas. Leaning more into the darkness... helped. Made my head hurt less.

God, I've got to talk to talk to Alphard about this. It's starting to really worry me. The anger, the snarling flare ups, the dark moods. Not to mention the obsessive thoughts. It wasn't like me. Might be a curse? Maybe. Could be fire magic or related, so he would know. And if not? Well, nothing beats Fire for burning curses away.

....actually, Light, might. But we are A PROUDLY BIASED household here, thank you. So like? Not gonna SAY Shadow magic is BEST magic... BUT it absolutely, totally IS. And Alphard? OBVIOUSLY the greatest Fire Mage alive! No I will not be taking questions, thank you and goodnight.

We should see Alphard, we miss him.

Yeah... yeah I do really miss him, dont I? Where is he?

My head throbs viciously. Ow. It's been getting worse. My control too. My shadows fighting me at every turn. Which? Scares me more. Because YEAH, others? Have been big on the 'beat them into submission' tract of Shadow Mastery. But ME? No, no. I know for a FACT. You can not rule through fear. Not for long.

Bribery and alliances work wonders. Friendships and love. My shadows get FED. They get CUDDLES. I take my shadows for enrichment walkies and give them interesting puzzle boxes to play with. They fuckin LOVE me. Would meat thresher through CITIES if I asked.

So to suddenly Stop Listening?

It means they think I'm... I'm not myself. They are making the executive decision to act on my behalf, to protect me, even if they have to do so FROM me. And... and I don't know what's causing it. Don't know what's wrong or how to fix it. I'm getting scared.

Because something is very wrong.

Everything is fine.

Another wave of vicious hissing, of throbbing pain in my head. This time though... THIS time? I think I felt that. The discordant thoughts. The contradiction. That isn't me. There's something in me head that DEFINITELY isn't me! No there isn't. No WONDER my Shadows are so pissed! Fuck!

I stick to the darker hallways. It helps with concentration, the pain. Whatever is in my head? Is like sticky, burning, spiderwebs. Like trying to grab at thin lines of super heated metal, covered in tar. How... how LONG has it all BEEN there?

You should leave it. You don't know what you're doing. You could get hurt.

Oh fuuuuck YOU. Get out of my HEAD! Where is Alphard?

I stumble down the final hallway to his so called 'office'. It was a guest room once. As a kid, I helped him convert it. Back when the old fuck refused to step down, despite his son and heir, the next clan head, being DEAD. And? AND!? That Heir's fuckin chuunibyou kid being a tiny, insufferable, brat.

We get it! You're hurting! EVERYBODY'S hurting! Your fuckwit parents got HALF THE WARRIORS KILLED! We STILL haven't recovered from that. And Edgy pants goes on and ON about the 'glory of his ancestors' as though? He's not talking about his PARENTS. One generation fucking BACK!

That family ORPHANED me. But do you see ME starting shit? No!

Yet? God forbid the Old Bastard do what's RIGHT for the Clan! No, no! Between a literal infant, a FUCKING ZYGOTE, and a fully grown adult? Better pick the baby! Who CARES that Alphard was the better choice!? Chuunibyou brat is BLOOD! And we CAN'T have the 'half-breed' nephew in charge!

Better connections? More accomplishments? Fully trained and, once again, AN ADULT? All irrelevant. He's too fucking well liked! Too TRUSTED! Too much a THREAT to your precious little legacy and hold on power. So hey, fuck the rest of the Clan! Right? Why would WE need competent leadership!? You can just shove all the work you can no longer DO, on to Alphard.

Force him to rule in all but name. All but honor and title. Spit in his face then tell him to thank you.

Bastard!

He isn't there, in his over crowded office. Piles of paperwork. Empty tea cups, long cold. Mismatched pillows I'd stolen from around the compound, to make it feel less depressing. His classy art pieces mixing with my cheap, shitty ones. The souvenirs I'd brought back, again and again, because I do not forget my friends.

My head hurts so bad. How long has it been building?

Another wave of pain, as my Shadows hissing and growl in outrage, writhing like electric snakes around me. Safe and stronger, here in the unlit office of a friend. They want 'it' out. Hunt and hunt, but can not catch hold. How strong must the caster be? Older then me, probably. Far more experienced. I've been pretty diligent.

They'll stand no chance, though, against Alphard.

He's the best curse breaker I know. Honestly? He's the best at a lot of things. It's been great to learn from him. And he's? Gonna lose his SHIT. He already worries when I go out without him. But to find out somebody slipped a curse on me? Ooooh, shit. I'd almost laugh, if my head didn't feel like it was in a VICE.

Man's gonna feed them their KNEES.

As a PASTE.

.......I wonder, now that I think about it? Looking around the crowded office space? If Alphard has any pain meds? He SHOULD. There's no way in hell, he deals with chronic stupid all day without headaches. He should? Definitely have something for this. Probably. Might not actually FIX it, since it's magic based, but it can't HURT.

Decided, I get up. Slowly. Spread my shadows out. They love doing simple, achievable, tasks. Like 'find the box!' Or 'open this puzzle!', usually for treat rewards. (Cup time, usually. Or bits of my food. But honestly? They LOVE cup time. They like to hide under it and push it around the floor. Each group of them have favorite cups.)

Nothing but paper, cups, snacks, a couple piles of pillows, and a coat I had forgotten. Huh. Maybe his desk? Would make the most sense I suppose. It'd be on hand. Head and neck, one big regret, I stiffly shambled over. Organized chaos. More nonsense and damages caused by chuunibyou and his sycophants, in the name of luuuuuv~. God damn it.

At least no one died... this time.

I tear my eyes away from the top page. The one next to it? Shouting reports. Elves: pissed, werewolves: pissed, everybody: pissed. Guess who's fault? Oh fantastic! So THAT'S why he's not in his office. Probably trying to keep us all from dying. Another report after that. Protagonist-chan.... wow that's unflattering. Word it a little harsher, why don't you?

My eyes absent-mindedly keep scanning, as I look for a med box. Some sort of pill bottle. Something that might hold headache medication. Nothing on top of the desk. Drawer? Should be top right one, right? Since he's right handed? Easiest to reach. Let's see... pens, pens, spellwork paper, brushes, mints, bottle! AaaHAH! I hold it up to what little light there is and squint.

Wow. That's pretty strong. And not just for headaches.

.....should I have a talk with Alphard? Probably. Maybe? Definitely keep an eye on this. Don't wanna be jumping to conclusions, here. Still! Helpful. Down the hatch!

I pop back one of his pills, stealing one of his fancy tea in a can. He may complain, but we both know he won't stop me. Nor does he even mean it when he does. I'm like this sorta needy, demanding, housecat. I wander in, eat his food, tell him to pay attention to me, then wander off. Should have known better then to feed me, that first time~! He got stuck with me ever since.

Briefly a burning wire escape my grip. We should-Stop THAT! I beat it back down. Violently. It's taking a lot more concentration, more pain, then I'd like to admit, to fight it. Damn near wack a mole in my brain. There's no-CEASE! Desist! You are NOT welcome! Get! GET!

The pain meds are definitely helping. A LOT.

In fact...? Huh. Looking around? Without the pain to distract me? Those... aren't my shitty art works. Not the meme-y ones I bought, that I thought he'd like, nor the pieces I made in various art classes. They're just...? Random cheap art.

What the fuck?

Was Alphard ROBBED? Also? Where are HIS pieces? That one with the lady and the clearing? The couple dancing near the lake? That little statue? It's all random snobby fake art. Like someone wanted to give the IMPRESSION that nothing had changed, but had cleared out everything personal...

Alarmed. I looked down at the can I grabbed. It was the kind he offered to guests. Kept for me. Because... because he couldn't STAND it. Too sweet. Tearing the mini fridge back open? Nothing but cheap tea cans and teas he hated remained.

I slammed it closed. Urgently reached for the tea cubbies. Fancy LOOKING teas. The kind Alphard always makes fun of. Quality is in the tea, not the pretty pictures on the box, he says. His tea is GONE. Worse? MY drinks are gone! Why are MY drink-? The coat!

My hand snaps out. The coat flung into it by my shadows. The instant it touchs my palm, I know it is wrong. Too rough and too new. Some modified mimicry that my shadows could tell apart from the original. It's not their fault. They don't have senses like mine. I stare at it, feeling a building sense of panic, before look back up at the room around me.

Is... is ANYTHING where it should be?

Gaze snapping from place to place, shaking as the panic starts to swallow me whole, I realize... No. Not a single thing. It's all staged. Made to LOOK like nothing's wrong. When... when everything IS. Oh god. Where is Alphard? What the FUCK have they DONE to him?!

I drop the coat. The drink. Adrenaline slamming into me like a truck. Slamming the door open, I flood the hallway beyond with writhing, furious night. I AM Shadow and it IS Me. We run. Hunting, hurting, FURIOUS. If they have hurt our friend? If they DARE have-!

A howling whistle splits the night, closer, Closer, BANG. The compound rocks with the force of the explosion. The wards hiss to life like great titans of black sand. Ink dark, they nerely block out all light. Casting eerie spell light over the buildings below, as lights flip on. More whistling. Booms.

We are under attack.

For an instant, I am torn in two. Half of me? Demands I find my friend. They other half? Knows that I must protect the Clan. We stand together or we DIE together. Loyalty wins out. My parents, Alphard, the people I care about, they would never forgive me, if I abandoned my post now.

I turn from my hunt. Race towards the ward stones out front. I'll have to help the others reinforce them. Lend the Clan my strength. As long as they can't get in? We should be-

The wards SHUT OFF.

Even as I run, fast as I can, I watch with horrified eyes... as they slide back away. No. No no NO! They should do that! That CAN'T DO THAT! That's IMPOSSIBLE! Those are SEIGE Wards! Built over generations! Hundreds of mages poured power into them! Went over them with pin prick combs! They don't 'malfunction'!

Oh god. Please, God, NO!

Did someone SHUT THEM DOWN?!

Ahead, the sounds of violence and chaos draw near. Above, I can finally see what's raining down on us. It's war magic. FIRE war magic. Thrown from air ships, who's spotlights bathe the compound in a terrible, all consuming light. All the better, to prevent our Shadows from reaching even a single one of them.

Someone told. They didn't know about that limitation to our powers before. Our front gate! Open! Traitor, traitor, TRAITOR! WHO!?

Across the chaos, the bloodshed and death, familiar color catches my eye. Explosions and spotlights light him from above. The airships blades, kicking up leaves and dust. That familiar, familiar color. From his Father.... the fire mage.

Alphard stands so calmly, one hand still resting on the command stone for the wards. As chaos reigns around him. The pleased little smile on his face, the one he wears, when all his plans come together, ever so nicely. No. Please. No.

His eyes are so cold. So flat.

He feels nothing as they die. Doesn't even glance, at the kinsmen desperately calling his name. Dying at his feet. He... he doesn't look away. Just raises one hand, one finger, and...

"Shhhhhh~ Be. Good." He says, utterly silent in his betrayal.

My world shatters.

I run.

Slamming my palm against the evacuation alarm, sirens begin to blare. It's over. It's all... all fucking over. How could he? H-How COULD-? Grief wants to choke me, blind me, but I don't have the TIME. I have to get out. Survive. I.. I can cry later. Mourn for the friend I THOUGHT I had, later. I trusted him. FUCK, I TRUSTED him!

I skid around the corner, heading towards the closest exit. Gotta grab my bug out b-!

Shadows in the darkened hallway surge, up and over, like a heavy hand slamming down. I barely drag myself out of the way. Lose my footing as I do. Go crashing to the floor. Scrambling, I turn as my shadows hiss, only to be met with deeper rumbling thunder. Shit. No!

I try to get up. Fling my self up into a run. Only to meet a shadow formed backhand. Smashed, thrown. Finding myself slammed back, onto the floor, wheezing. The air knocked out of me. Lightly, dark shapes takes form. Alphard stepping through blank and barren wall, using the Shadows under his control as a medium.

Not a hair out of place.

Just the two of us.

Alone.

"Why the rush, mischief?" He teased lightly, as though my world was not collapsing, all around us. As though my best friend had not betrayed me, betrayed US, to our doom. Up and down the hall, sirens blared. "You look upset."

I snarled. Grief and betrayal twisting into something ugly in my chest. Hand whipping out, I aimed for his fucking throat.

"Ah~, you're mad. Is this because I didn't consult with you first? Mischief, there was so much to do! You know you hate all those boring political meetings. Alliance work and archival research. Sweetie, there were stake outs! You hate those."

Effortlessly, he leaned out of the way of my attacks, looking amused and unbothered as he continued to speak. I RAGED. Screamed. Taking chunks of the wall behind me, to use as projectiles. Anything. Anything, anything, ANYTHING! Just HURT, damn you! TRAITOR! How COULD YOU!?

In the distance... the haunting, damning, final cries of my kin, as the died.

I Trusted You!

"I know~" he laughed, as though nothing had changed. As though this were a fucking GAME! "It was so easy, too."

His voice became two toned in a way that could only be magic. One that was heard, one that was felt. One that... that I had...! Realization did not crash. It seeped, like the cold and fatal poison it was. His betrayal was not NEW... was it? Not SUDDEN.

I... I had been betrayed long, long ago.

No you weren't. Alphard loves you~

How long had he been in my head? He was my magical instructor. I had hated the Clan's main teachers. Right? DID I? Could I even know? H..How much? For HOW LONG?! I was a CHILD! Had no defenses against the manipulations of my mind! Would you really stoop so LOW?! Was ANYTHING real!? ANY part of out friendship-!?

I choked, on the sob I refused to let him have. He... he didn't have the RIGHT.

"Oh, Mischief." He said, sounding mournful as he strolled easily through the ruins I had created around us. "Don't cry. Shhh, shhhh. It's okay, dear. You're upset. This is upsetting, I understand that. But we will preserver, overcome, and together? We will get through this."

We? There was no 'WE'. N-Not anymore. Not after THIS.

"Oh but that's where you're wrong, Mischief." He breathes out, like the confession of the truely insane, his voice soft. Yet, somehow? Bonechilling in how loud it seemed.

"I get you."

"That's the first thing I demanded, after all! No more idiots. No more dead weight. No insults, fools, or brats I can't break! Ha ha! Just me and my Mischief! Free at last! And all it cost me? Was my chains. Best of all? All the idiot Fire brat wanted for it all? Was his 'competition' out of the way! Ha ha ha! Gods bless, usefull fools!"

He stood before me now. Head thrown back, hand over his eyes in disbelief, as he laughed and laughed. Unhinged with his euphoria. With the machinations, that had lead to his victory. And... and I could not recognize him. This... this monster wearing the face of my best friend. I felt numb. Cold and far away. I... I just... I wanted to go away... please, God. Far, far away.

Stop it. Please, Alphard... Stop it...

P-please...

My shadows curled around me. Battered, torn, but ever loyal. They would not leave me. Not even now. Not even to save themselves. Weakly hissing. Thrashing, trying, in their own small ways, to appear bigger and stronger threats then they were. In... in the vain hope that... that the thing that was hurting us? Might believe them.

Might leave me alone.

I had never felt so unsafe, surrounded by the shadows sworn to my once friend. How many times? How many times? Had I fed and played with these very Magics? Snuck them charcoal? Interesting toys to burn? Creatures of fire and shadow. Massive and rumbling, the very Shadows that once played with my own... now tore them apart.

It burned. Hurt. Who...? WHO was this man? This monster? That wore my best friends face? I couldn't... I can't... please! God, please! Don't make me do this anymore...

My mind, somewhere between delirious and screaming, for some god forsaken reason? Reminded me of the Quite Game. I... I wondered, terrified and full of grief, if the children would know to run. Not to wait, for parents that... that would not be coming. Not this time. Not ever again. All because of this man.

The smoke on the breeze terrified me. Everything terrified me. How? How could I possibly hold so much fear? How could there possibly be MORE? Just as I think I can not feel it anymore deeply. Once again, Alphard teaches me I am wrong. This... this is not how he, is... is supposed to be... how WE are...!

"Oh sweetheart, mischief, darling..." He again attempted to sooth, hand slipping away from his face as he rolled his head down to peer at me. Kneeling with almost boneless fluidity. "None of that. No more tears. Alphy's here, okay? I know change is scary. And you're upset and confused. But Alphy loves you just like always, and nothings gonna happen to you, alright?"

"Remember how you wanted to travel before? See those festivals? Go abroad? We get to do that now! Alphy can take CARE of you, now. Properly. Get you all the things you deserve. It'll be great, Mischief. No more stress or tears. Cuddles for days. You'll love it, I promise."

From beneath his feet, spreading like a terrible rot, black fire spread. It didn't touch me. Couldn't, as it seemed to reach, with greedy hands, down the halls. Consuming the only home I'd ever known in this life. Consuming everyone it touched, if the distant sounds of panic, were any indication. He was killing them all. Friend, foe, what difference was there?

Everything burned.

Numb, I could only sit there, before the stranger I thought I'd known.

"Our love story's been a long time coming, sweetness. My perfect, beautiful, Mischief~♡. Once we're free? We'll never look back. Have the happily ever after we deserve. Let the rest of the burn."

"I'm so glad I found you, Mischief. So glad I made you mine. It's going to be beautiful, darling. I promise. You'll thank me."

"Now come here, to Alphy. We're gonna play a game~♡"

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hustlerose · 9 months ago

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as i slowly exit my "bethesda's writing and design are literally satan" era, i find myself less angry about their many missteps, and more melancholy about what might have been. fallout 3's pre-broken-steel ending, for example

everyone makes fun of that one moment. your super mutant buddy you just met tells you "we all have our own destinies, and yours culminates here. i would not rob you of that." like sorry player 1, you have to die here for no good reason because it's dramatically satisfying

i submit this ending pissed people off not because it's bad, but because it's the wrong ending for fallout 3. fallout 1 and 2 had endings and they felt just fine, but fallout 3 is not a narrative-driven game like those ones. it's a big fun sandbox that you play in to your heart's content. a bittersweet ending with hints of destiny is unwelcome here. even ending the game at the climax is a mistake. the only sensible ending to a bethesda game is "play til you stop having fun." so they did that ending instead, as dlc

what pisses ME off about the ending is that it's so inspiring. i can't help but wish i'd played the game that matched that ending. imagine a version of fallout 3 where all the characters talked like that. imagine the chosen one narrative was dialed up to 11, where every moment of narrative was suffused with tragedy and inevitability. imagine if more characters talked metatextually, musing on your role as player and protagonist. think about all the cool foreshadowing that could have been done to set up a tragic ending where you make the ultimate sacrifice for the greater good. you could wring so much moral complexity out of this moment, as it could force you to reflect on your charcter's choices. you are the most important character in this world. fate bends around your story. what if the other characters could tell, and had opinions on that fact?

i want to read that story god dammit! sometimes i think it's up to me. maybe i have to rip that great ending right out of fallout 3 and stitch up a whole new story around it. one that actually supports fawkes' dialog as its central theme

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literaryvein-reblogs · 5 months ago

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Writing Notes: Flat & Round Characters

Flat Characters - Consist of only a few features (usually based on clichés). They’re generally static characters meant to serve the story.

Round Characters - Have depth. They have weaknesses, strengths, flaws, fears, tastes, and dreams. They are well characterized in order to seem real. They're dynamic and change over time. They feel affected by the story’s events because they suffer their consequences and learn from them which makes them more realistic and believable.

The use of flat characters

Flat characters are often used in TV comedies (30-minute sitcoms with canned laughter) because comedic stories usually focus on the anecdote and the joke.

Thanks to their commonplace situations and characters, sitcoms are able to transmit a sense of familiarity to the spectator.

Flat characters also have a supporting role in stories with round main characters in order to achieve one of these effects:

Fast recognition: You need your readers/audience to easily recognize the type of characters you are presenting.

Contrast: Flat and/or static characters can highlight the internal or external evolution of round characters.

When to avoid flat characters

Unless you’re specifically looking for one of the previous effects listed for flat characters, it’s best that your characters (especially the protagonists) are round in order for your readers to identify with them.

Creating round and deep characters

Consider the following:

1. Internal Changes

Do your characters undergo any internal changes throughout the story?

Think about their situation at the beginning of the story.

Is it the same as it is at the end? It shouldn’t be.

They can be worse or better, but the story’s events should have affected them in some way.

2. External Changes

Do the external circumstances surrounding your characters change throughout the story?

Just as their personalities suffer variations, their external conditions should as well.

For example, one of your characters could be a farmer at the beginning of the story and then become a warrior by the end.

3. Goals

What do your characters want?

They should have a conscious desire – something that moves them into action.

4. Wishes

What do your characters need?

Regardless of what they think they want, there’s something they need at an unconscious level – something different from what they consciously desire.

That contradiction will bring depth to your fictional heroes.

5. Achievements

What do your characters attain?

Do they achieve any of their goals?

How does that affect them?

If you have the answer to the last question, you’ll have a clearer idea of how the story’s events have changed their way of facing life.

For instance, if they achieve what they wanted at the beginning of the tale but that’s not what they really need, they can learn from their mistakes and try to correct them.

However, they might also give into frustration.

6. Weaknesses

What are their weaknesses?

Everybody makes mistakes and has fears and flaws, so if you want your characters to be more believable, they’d better have weak points and see themselves in need of facing them if possible.

Your characters overcoming these weaknesses or not depends on the story you want to tell and on the type of evolution you want them to experience.

Some overcome them and progress while others don’t and fail. The contrast between them is what makes the story more believable.

7. Strengths

What are their strengths?

Apart from weaknesses, your characters can have strong points they may or may not know about.

Sometimes, they discover them and learn how to make the most of them.

Other times, they do not know, and it leads them to failure.

You, as a writer, should be clear about those strengths and so should your readers be in order to better understand your characters.

8. Conflicts

What’s your characters’ inner conflicts?

Once you’ve answered the previous seven areas of question, you’ll find this one easier to answer.

Every good character must deal with an inner conflict throughout the story such as a mental debate between what they need and what they want or a moral struggle between what they’re trying to attain and what they consider correct.

This type of dilemma makes your characters interesting, and their experiences can turn into life lessons for your readers.

Source ⚜ More: Writing Notes & References ⚜ Goals & Motivations "Well-Rounded Character" Worksheet ⚜ Conflict ⚜ 170 Quirks ⚜ Flaws

#character development #on writing #writing tips #writing advice #writeblr #dark academia #writing reference #spilled ink #writing prompt #creative writing #fiction #character building #gustave dore #literature #writers on tumblr #light academia #writing resources

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jymwahuwu · 4 months ago

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I love and think about Emperor Jing Yuan a lot. Like a servant girl getting called in to be the emperor Jing Yuan's Concubine 😋

I love ancient China like the history, art and clothing. when I think about Chinese Emperor Jing Yuan I think of Cinderella Chef (animated version) it's so cute and romantic. I also think about the fic series I used to read in 2020 or 2019 when the reader is the selected tailor for the emperor and the emperor falls in love.

It was such a good story, with many good different story elements to it even though it's was an yandere x reader 😭 and I'm not even exaggerating how good it is. It was slow burn yandere yet sooo good and worth it

I have to read it again cause it's sooo good.

There's sooo many good art of Jing Yuan in ancient Chinese clothing and I love and appreciate it sm 🤤

Jing Yuan kept a servant girl as his concubine, wanting her by his side every moment. As emperor, he faced countless threats and worried constantly for her safety. Yet, he couldn’t resist making her his bride, even though the public and his family disapproved. How could a servant girl from a humble background become empress alongside the emperor? But he paid no attention to their criticisms, choosing instead to live in his Fantasies with her. She was the only woman he’d ever met who cared for him beyond his wealth and title, and he was determined to keep her close forever. 😇

Wow, I also like Chinese palace stories actually!! What you said made me imagine a lot. It turns out that Jing Yuan is so suitable for the palace AU🥰✊

Have you watched "Story of Yanxi Palace"? It was a popular palace drama in 2018, and social media was all about it at that time. The historical prototype of the female protagonist is Empress Xiaoyichun (孝儀純皇后). She first started as a concubine. During her lifetime, she was the "Imperial Noble Consort" (皇貴妃), which was the highest position among the concubines after Empress. The core of its story is about a confident servant woman who starts from the bottom and moves up through the ranks with wisdom and courage.

A negative example is "Ruyi's royal love in the palace". The show still gets a lot of negative criticism in China today (yes, that's happening in 2024) - for its slut-shaming and superiority theories. The lower class people must be loyal to the noble people, otherwise they will be severely punished. There are a lot of torture scenes of women, never criticizing the mistakes of the misogynistic system, vilifying all historical figures just to beautify the female protagonists, advocating that women must be loyal to one man throughout their lives or else they are sluts, vilifying and torturing ambitious women, etc.

Oh, I'm sorry I really hate that TV show so I'm talking too much about it, but to get back to the point, it occurred to me that if Jing Yuan were the emperor, he would be very - very infatuated and dedicated. There was an emperor in Chinese history called "Emperor Xiaozong of Ming"(明孝宗) who insisted on living a monogamous life with only one empress. The same is true for Jing Yuan! Jing Yuan has only married you from beginning to end! You are one of his servants. No matter what your personality is, witty and lively/shy and kind, or even arrogant, Jing Yuan finds you really cute🥰💖He is very happy that you entered the palace and were assigned to serve him. He will sometimes sleep on your lap and ask you to feed him. He was like a big sleeping lion. But no one in politics dares to underestimate Jing Yuan because he always predicts everything.

Jing Yuan built a fruit garden in the palace, as well as a place to raise cats and birds. He got to pet cute cats and birds every day. The kittens purred around him. Maybe you were the servant who took care of the cats here. And he discovered you💖You are so suitable to be the mother of cats. And maybe he's hiding his identity and you care about his health and happiness before his status.

Politics and the harem are closely related. Those ministers petitioned Jing Yuan to marry a girl who matched his status, but he would not marry any girl except you. This is his own business! There was an emperor named "Emperor Gaozong of Tang"(唐高宗) in Chinese history. Despite the objections of his ministers, he insisted on marrying his father's concubine (named "Wuzhao"- 武曌) as his queen and sharing power with her. This is a very real love among emperors! After her husband's death, the queen became the only female emperor of China. The expression of the emperor's love for someone is to give them the best at all costs, including power, fame, wealth, and status. Jing Yuan wants to give it to you. He married you. Based on your status as a maid, you start as a concubine but work your way up. And he will also give birth to kitty babies with you. Those little princesses and princes running happily are all of your blood and his.

And he also decided to discuss politics and decide national affairs with you, collectively called "two saints" (based on Wuzhao's history haha), and share power with you. Because he knows how smart and cute you are, able to sharpen your claws and handle government affairs💖He is also ready to build a royal mausoleum, where only the two of you are buried together (it may be a bit scary, but this is how the Chinese emperors express their love haha). Even after Wuzhao became the empress, she didn’t build a mausoleum independently because she loved her husband. No matter what, you are always together, with sweetness and honor forever💖

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tahbhie · 3 days ago

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Effective Ways of Creating Relatable and Realistic Conflicts

As a writer, whether you're a beginner, intermediate, or expert, you've likely heard about the importance of creating "relatable and realistic conflicts." This advice appears in almost every writing guide. Yes, it's crucial.

However, this recurring statement might seem vague. Let's break down what these terms mean. We'll discuss how to create conflicts in your style that work, and what can lead to the opposite results.

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This is a flexible guide, not a strict set of rules. Let's begin.

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First, relatability is different from realism, at least in this context.

Relatability offers an experience that people have gone through before. They can easily identify it as something that happens.

Realism, on the other hand, can be a fresh experience or something entirely fantastical. Here's the catch: it must stay true to your setting and plot. For example, in a fantasy setting, your conflict could be the protagonist's dragon falling sick on the eve of a big race.

In the real world, we have no dragons. But in your setting, your situation with this creature feels real. Now consider an instance where we have intelligent insects with no apparent reason or explanation. This is an example of an unrealistic conflict that doesn't align with its setting. It's either you adjust a few things in the settings or adjust the conflict that stems from their intelligence or is solved by it.

Now that we've established that, let's consider what to keep in mind when writing conflicts.

Conflicts can be resolved instantly or extend further. They can begin your story, occur during it, or happen after a sweet moment.

Before writing a conflict, think about:

1. The Setting:

Where is your world set? This matters a lot! You can use our real-life world but still create your own rules, as long as you make that clear. Your conflict could come off as both realistic and relatable. However, where you have a total no is when your world is the normal world we know, with no changes, and your conflicts are unrealistic and unrelated.

You have such examples in some Bollywood movies. No offense to anyone in love with these movies. This is just a case study for clarification purposes.

Think of the fight scenes. The physical conflicts often stem from a grander conflict. You'll understand where I'm coming from.

2. Duration:

How long will this conflict last in your story? Earlier, I mentioned lasting conflict and fleeting conflict. The former helps create more meaning for your plot. The latter adds excitement that drives the plot forward.

3. Solvability:

Sometimes, the resolution to your conflict can render it meaningless, even after you've nailed the creation. Resolve your conflict in agreement with your plot.

4. Interesting Premise:

Conflict ideas sometimes come naturally as you write your story. I remember when I wrote high school stories, conflicts came to me as I wrote, but this doesn't happen every time. Sometimes, I knew I needed something more exciting and less predictable.

For example, it's common for a new female student to be rivaled by the school's most popular girl. This is usually because of the love interest—the most popular guy in school. But what if they become best friends, and the love interest turns out to be the popular girl's brother?

She mistakes the protagonist's friendship with a different guy as cheating, and the feeling of betrayal turns them against each other. This twist offers a fresh take on the usual antagonizing characters. It could make your story more interesting. This time the antagonist is doing what she feels is in her brother's favour not herself.

5. Character's Involvement:

This is slightly similar to the above. The difference is that it deals directly with the characters themselves, not just the conflict they face. The actions towards the conflict give the situation meaning.

6. Aim and Goals:

What do you aim to achieve with your conflict? Do you wish to entertain, hook the readers, drive the plot forward, or introduce a new object or character? It's best to aim for two at a time. Trying to achieve all in a single conflict could lead to complications.

Which conflict have you read in a book that made you wish you wrote it?

If you love what I do, support my work to enable more content production.

Aiming for a powerful plot? Check out this plot progression planner that helps you plan the aspects you often overlook. You get a free gift!

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victoriadallonfan · 1 year ago

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Having re-watched Alien (1979) and Aliens (1985), I think I've realized what went wrong with the further expanded film universe on a thematic level (this is not accounting for AVP films, which seem to exist within their own continuity atm).

The main issue is that these films made 2 intertwining mistakes:

Making the Xenomorph too animalistic

Removing the mystery of space

For the first part, Alien and Aliens are quite vague about the Xenomorph mind. Alien treats it almost like a serial killer at times, including a particularly interesting moment where it disregards Jones the Cat entirely, despite making a very easy target, and how it will sometimes meander up to the crew as if it knows it's inflicting terror upon them. This Xenomorph even seems to only flee when Parker goes to kill it with a knife and hides within the evac shuttle when it realizes that Ripley was going there as well.

Aliens forgoes this in favor of showing how terrifying their numbers are even in the face of superior (if greatly mislead) fire power, but then pulls the rug under our protagonists by (seemingly) cutting the power and testing the endurance of the auto-turrets. While the drones are not individually as intelligent as the original xenomorph from the first film, this is instead given to the Queen, who understands not only the danger Ripley poses to her Hive but hostage negotiations of the most blunt variety. And, of course, incredible spite and vengeance when Ripley burns her eggs.

Basically, the two films do a good job of making you wonder... how sapient and sentient are the Xenomorphs? Do we take Ash's word and think of them as simply Hostile Weapons or do we see them for the adaptable and complex - if instinct guided - parasites just trying to protect their hive? This is further food for thought when we learn that one of the cut endings would have had the Xenomorph kill Ripley, tentatively use the shuttles control panel, and speak into the intercom with Dallas voice (ala Predator).

Imo, that goes too far into making them human, but we'll circle back to that later. The point is that the Xenomorph is never clearly one thing or another, but rather, something that constantly foils our attempts to understand them completely.

Aliens 3, Alien: Resurrection, Prometheus, and Alien: Covenant fail in that regard, because they take the firm stance that the Xenomorph is... an animal. A very, very, dangerous and hostile animal but an animal nonetheless. It's not some vague horror that we struggle to comprehend and reason with, because all the facts (as they are for now) are laid out: the Xenomorphs are weaponized animals that just kill, reproduce, and kill etc etc.

Nothing is entirely new about the Xenomorphs in these movies (beyond the forms and one part of Covenant, but we'll circle back to that as well), but rather trying to recapture the formula of Alien and Aliens. And even when the film isn't necessarily about the Xenomorphs like Prometheus, it still goes out of its way to copy the play by play of Alien to an almost hilarious degree (except, somehow, having a cast entirely of stupid scientists).

The Xenomorph is used as a toll for the films to talk more about the human threats who would use them, which is fine, except the same message of "Weyland-Yutani wants Xenomorphs, They Failed" over and over again (except I guess for Alien: Resurrection, but that had Walmart as a plot point so...) gets tedious. It's not longer about the folley of mankind, but rather this one company led by a man (or Android?) who keeps fucking up.

Ditto goes for the second part: removing the mystery from space. Alien and Aliens treat the Space Jockey and other (non-Xenomorph) alien life at an arms distance. They are large, grand, ominous, and vaguely defined. We don't know much about WY in either movie, nor how much is them knowing versus independent people within the company (Burke mentions cutting out his own bosses for profit for example, and Bishop the company Android is heroic and horrified at the situation they are all in, a big difference to Ash). The Xenomorphs having a Queen was a huge reveal, because we literally had no idea until then if those were actual eggs or simply pods artificially created.

Aliens 3 tries to add some mystery with the prison colony, but it's also hamfisted and given a lot of exposition to explain the situation they are in, but I will give it kudos for making Weyland (???) look like Bishop as a twist. Aliens: Resurrection... yeah, no.

Prometheus and Alien Covenant gave us a plethora of seeming mysteries, but also gives us really super simple answers. Basically, Space Jockeys are just super humans seeding life across the planets and they wanted to bomb Earth into oblivion because we killed Jesus Christ (who was a Space Jockey). And one of our androids then - possibly - goes to their home planet and bombs them to oblivion thus wiping out the human race. And they made Xenomorphs yadda yadda.

Prometheus in particular seems to despise the idea of space being a mystery, with the conversation David has with a scientist being plainly spelled out as the theme of the film: "Sometimes, humans/space jockeys just build shit, and it goes wrong I guess. No gods or mysteries here, just hubris."

Which, if handled well, is still a fascinating idea (I think it's a pretty interesting 'take-that' against the stupidity of Ancient Alien Conspiracy Theorists)... but it's not handled well. At all. And certainly doesn't work well when trying to write Xeno-Horror.

So, what COULD work?

Well, I think we need to look at how Alien and Aliens made the Xenomorphs, Space Jockey's, and Space itself all work.

For the xenomorphs, I think back to one scene I actually thought was interesting in Alien: Covenant; as a chestburster is born from a hapless scientist, it lays its eyes (???) on David and replicates his movements, mimicking the first living thing it witnesses. Nothing is ever done with this (of course), but think about the potential that could be used! Plenty of animals like crows, ravens, dolphins, octopi, killer whales etc etc can use mimicry in voices and actions, and that includes things like tool-use! And of course, the fact that they take on new forms from hosts helps with that.

For the Space Jockey's: scrap them. They had their time, the mystery is basically solved. Show us new and different alien civilizations long past. Were they also victims of the Xenomorphs? From some other threat entirely? Surely, there are extraterrestrial predators out there that don't follow the Xenomorph formula. Why not have them share the splotlight, with just as little explanation?

For space itself: stop with trying to recapture Alien and Aliens. Alien: Isolation is the only successor specifically because of the format of the medium. Alien and Aliens rely heavily on the shock factor of sudden reveals. Remove that, and you are given "bug hunt" games and movies ala discount Starship Trooper. Focus more on making human space feel almost alien and beyond our understanding as well, but just enough that we can recognize the purpose that we would have them for our society.

How I would write an Alien Story:

(This would all be backstory and setup for the actual story)

I would set it within a colony satellite with an explicit task: a skyscraper ecological time-capsule for deep space experimentation of wildlife.

It would have levels, with humans situated at the second uppermost and an AI as the manager at the top level of the satellite, with all the other animals in different levels fit for their habitats (including some non-earth, non-xenomorph aliens). It's a religious sponsored and run organization, offshoots of [Insert Church Here] that is trying to get good press with cutting edge AI and biological research.

The prize is an alien lifeform that looks like a cross between a crocodile and a panther. Usually docile when fed, it has been growing more and more agitated, harming several workers on the job. Most assume it may be some late-stage degenerative disease within it's brain.

Not all things are as it seems, as at the bottom of the station, a location no one but a select few faithful engineers are sent to maintain, a pod is damaged. A young attendant watches in shock and horror as a bloody and maimed chest burster crawls out of the pod, possibly having injured itself to burn through the lock. The creature is mewling in pain, but the young attendant makes a choice: leaving food, water, and blanket for the creature. Watching as the creature watches them, before going to feast. All under the gaze of a camera.

The xenomorph grows and grows, eating more, getting bolder and allowing its "caretaker" to feel more comfortable. Soon it begins to recognize certain sounds as they pray when he feasts, and association occurs. One day, its hiss sounds suspiciously like "Lord".

This is when the young attendant reaches out to higher, but trusted, priests to share this miraculous revelation. The first one is shocked, terrified, but intrigued as the creature mimics words like "Lord" and "Mighty". Barely audible, some would say hallucinatory, but they believe they can here this humanoid creature speak their language.

The second is equally shocked, terrified, but listens and becomes a believer.

The third one does not believe. Rightfully horrified and full of questions. Their arguments in front of the beast escalate into violence and when the young attendant shoves the priest to the ground, it is the Xenomorph that pounces. Blood is shed. the creature rises in front of it's faithful, and the Xenomorph uses the same sounds it heard over the fight. Lord. Mighty. Here-tik.

They can't be delusional or driven by guilt! This is a sign... right? This creature is speaking to them!

The faith grows. Never large. Can't risk word getting out or people noticing too many missing priests. The satellite is just barely large enough that people can excuse going missing for a few days between objectives.

But key individuals are brought in. The creature is worshiped. Animal offerings are delivered. It's changing, slowly. Growing larger (not a Xenomorph Queen, it's too maimed, but adapting to a steady diet).

Things might have escalated, had one of the priests killed not had an estranged sibling/spouse/loved one who had the pull to make a formal investigatory complaint.

The investigator arrives with his repertoire, this supposed garden of eden in deep space, none the wiser to what he would uncover. (Again, this would be the backstory, not revealed except through character investigations and evidence found during that. Defeats the purpose if it's spelled out like this).

It would play with the idea of how sapient/sentient the Xenomorphs are (do they care? do they understand? if not, why act like this? if yes, what does this mean for their continued slaughter), how much one puts into faith versus delusions, and leaves lingering questions: who put the xenomorph on the ship, why is the AI so complicit with the deaths and disappearances, and why is the one non-xenomorph alien acting so dangerously agitated despite being far away from the xenomorph's quarters?

#xenomorph #alien #aliens #alien 1979 #aliens 1986 #facehugger #chestburster #xenomorph drone #xenomorph queen #ridley scott #james cameron

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