tahbhie

[tahbhie]

Been thinking about this a lot lately... It's especially good advice for those of us that are terrible plotters. Just take it one step at a time.

[tahbhie]

Hey! do you have tips to write a phone call? so what the character is doing during this time? i can't just write dialogue, right?

Hey :)

Here are some options for you:

How to write a phone call

Doing something other than talking:

washing dishes (very noisy)

folding laundry

brushing teeths (some people hate to hear that)

lying on their back on the floor or their bed, kicking up their feet, staring at the ceiling

walking up and down

getting distracted

trying on clothes, missing half of the conversation with their head stuck in a hoodie

doing their makeup and hair

drinking or eating

vacuuming (the noisiest)

I hope this helps!

- Jana

[tahbhie]

‼️💜

How do I write a character to be a little mean and surly but with hints of softness, without making them annoying?

Ahaha, hello! When I saw your ask, I immediately jumped on it because it's such a fun question! I present to you...

How to Write a Surly (Yet Soft) Character Who ISN'T Annoying

Mean For a Reason + What Makes Them Appear Mean

One thing that is incredibly important when writing characters with a "worse" personality is considering what shaped their personality. Your character should not be rude just because you want them to. Add some background and context to their attitude. Oftentimes, this rudeness serves as a defense mechanism.

Additionally, consider what makes your character appear mean. Do they bully people? Are they inconsiderate of others? Or perhaps do they simply state the truths that people do not want to hear? A "mean" person can look like many things, but not all of them are stereotypical bullies.

Apologies

One of the best ways to showcase character development (in this case, it might be revealing some softness) for a surly character is through apologies.

Having a character who's normally stuck-up, rude, and/or inconsiderate genuinely apologize and realize their wrongdoings is a HUGE moment. It might not cause a monumental shift in the story, but it demonstrates that they feel guilty, responsible, and that they care enough to overcome their pride to apologize.

Awkward, Not Reluctant

A common thing I see when authors write a poor-tempered character apologizing, for example, is that they often seem very reluctant to do so. While the reluctance does make sense because they're doing something they are unfamiliar with, it becomes one of those things that can get annoying when overdone.

So instead of making your character too reluctant to do something nice to someone else, make them more awkward. Reluctance creates a sense that the character doesn't exactly want to be there but is doing it, nonetheless. Although it can seem charming, you don't want your character to appear to be forced to be kind.

However, if you make them more awkward/nervous when apologizing or helping someone, you demonstrate that they WANT to be there, they're genuinely putting effort into trying, despite it still being something that's out of their comfort zone. And honestly? That looks way better.

Avoid The Irrevocable Point

Before I start this, remember that all of these points are my opinion, and this is definitely one of them. If you disagree, that's alright! You're never obligated to listen to everything I say, and many things depend on context!

When writing a poor-tempered character, it's easy to get carried away. Despite that, I suggest being careful about the actions they take. No matter how rude they are, they should not go past a point that's unredeemable for them. Now, this point depends on many factors, but as the author, hopefully you can tell. It's just generally harder to rebuild their reputation as a character and any attempts to do so later on may seem insincere if done incorrectly.

Subtle Actions

Realistically speaking, it's hard for someone to admit something they're uncomfortable with admitting. This applies to your character: verbal forms of kindness are often more difficult for "mean" characters to express.

Thus, I suggest using small, subtle actions to show that they care. It doesn't have to be saving a child from a building on fire or even helping an old grandma cross the road. It can be something like paying for a friend's meal without asking, leaving a bottle of water on an athlete's bench, or just listening to someone.

Pattern of Softness

A surly character is, by definition, not the nicest person, and they are definitely not going to be nice to everyone, ESPECIALLY in the beginning.

What makes your character feel empathetic/sympathetic towards someone? It could be an event someone went through, a few key traits, or their general personality that makes your mean character turn soft. They will not be soft towards everyone, but they might act nicer to those that fall into those specific categories.

It might help to remember that we tend to feel bad towards people who have experienced something similar to us. If it's not something we can't relate to very well, we'll feel less sorrow on the other's behalf.

Don't Make It Forced

When I say "don't make it forced", I mean it in two ways.

For starters, please don't force your character into being extra rude or being nice. You want it to be as natural as possible; remember that you determine your character!

However, I also mean that you should make your character feel forced to be nice. If they wish to correct past mistakes, then yes, there should be solid motivation, but don't force them into feeling like they have to change.

Remember: the key to all this is genuity. An annoying character, no matter their trope, often appears annoying if they lack sincereness.

I hope this helped!

Happy writing~

3hks <3

[tahbhie]

The 3-Scene Rule to Instantly Level Up Your Plot

Plotting your story but feel like it’s dragging its feet? Don’t sweat it! The 3-Scene Rule is here to save the day—and cut down those long hours of painful brainstorming. Think of these scenes as the ultimate power trio:

1. The Catalyst:

Boom! This is the moment where everything changes. Your characters' boring old lives? Gone. Welcome chaos, adventure, or a problem too juicy to ignore. Let this scene kick off your story with a bang. Ease your readers in with a compelling premise rooted in the main character's life. While keeping some secrets to unfold later, make every breadcrumb just as intriguing as the big reveal to come. Nail this, and your readers will be hooked.

2. The Turning Point:

Uh-oh, didn’t see that coming! That’s the exact goal here. This is where things get spicy—big choices, shocking revelations, or a shift that turns everything upside down. In every turning point, something must change. Whether it’s for better or worse is up to you. Just make sure the tension’s through the roof and the stakes even higher.

3. The Climax:

This is it—the grand finale, the fireworks, the big “OMG!” moment. It’s time to bring out all the juicy drama you’ve been saving. Tie up loose ends, connect every dot, and deliver the answers your readers have been dying for. Make it unforgettable with action, emotion, and twists that pack a punch.

There you have it! These three scenes will supercharge your plot, keeping readers glued to every page. So, what’s stopping you? Go on—start plotting, and own that story!

💜💜💜

Ready to make your story a masterpiece? Say hello to The Ultimate Plot Progression Printable Planner—your best mate for nailing those Catalyst, Turning Point, and Climax moments like a pro!

Packed with tools, tips, and tricks, it’s the cheat code you’ve been waiting for to keep your plot tighter than ever. Oh, and as a little bonus treat, grab your FREE exclusive prompt gift (featuring 40 different prompt ideas to create compelling plot scenes) when you snag the planner. Don’t wait—your next brilliant story is just a click away!

[tahbhie]

Aww, thank you for the tag ❣️

It's definitely going to be a story worth the read. Added!

Chapters: 2/30 Fandom: Les Misérables - All Media Types, Les Misérables - Victor Hugo, Les Misérables - Schönberg/Boublil, Les Misérables (2012) Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Relationships: Javert/Jean Valjean Characters: Jean Valjean, Javert (Les Misérables), Captain Thierry (Les Misérables) Additional Tags: Toulon Era (Les Misérables), Enemies to Lovers, Enemies to Friends to Lovers, Violence, Threats of Violence, Implied/Referenced Suicide, Implied/Referenced Rape/Non-con, Valvert Week 2025, Period-Typical Racism, Romani Javert (Les Misérables), Minor Character Death Summary:

“Entrust your fate to the hands of God and He will deliver you from evil,” they say. “ You only need to have faith.” No. Not in here. Not in this place. This is where fate and faith come to die.

1804. The young guard Javert finds himself tried and convicted for a crime he didn’t commit - and the red string of fate tying him to Jean Valjean becomes a chain.

Chapter 2 is done!! Shoutout to my beautiful betas @caffeinatedjimmie and @xmamamorox and thanks a lot to @tahbhie for her help with a particularly tricky scene.

Also since this gave me the final push, I’m shamelessly using this update for @lesmisshippingshowdown - poll steal, go Valvert, goooo

(exact wordcount of chapter 2: 15187)

[tahbhie]

40 Creative Ways to Describe an Old Wall in Tense and Eerie Settings #002

1. The wall stood like a silent sentinel, its surface cracked and crumbling.

2. An eerie feeling emanated from the wall’s worn bricks.

3. The wall exuded a sense of ancient dread.

4. Shadows danced across the wall's weathered surface.

5. The wall's peeling paint revealed layers of forgotten history.

6. A cold, unsettling aura surrounded the dilapidated wall.

7. The wall seemed to whisper secrets of the past.

8. The wall's uneven texture felt like a haunted relic.

9. Time-worn and mysterious, the wall held untold stories.

10. The wall’s fading graffiti hinted at long-forgotten memories.

11. The wall’s surface was pockmarked with holes and scars.

12. A strange chill emanated from the wall’s cracked mortar.

13. The wall's darkened crevices seemed to hide sinister shadows.

14. The wall's crumbling facade gave off an ominous vibe.

15. The ancient wall looked like it had witnessed countless tragedies.

16. The wall's surface was covered in creeping vines, adding to its eerie aura.

17. The wall’s rough texture felt unsettling to the touch.

See full list...

[tahbhie]

30 Creative Ways to Use Air in Tense Atmospheric Descriptions #001

Descriptive alternatives capturing a tense situation using the element 'AIR'

1. The atmosphere weighed down like a thick blanket.

2. The air was thick with unspoken words.

3. A palpable tension hung in the air.

4. The oppressive air clung to her skin.

5. The air crackled with an electric tension.

6. A heavy stillness filled the room.

7. The air grew unimaginably thick, as if it could be cut with a knife.

8. A stifling pressure built in the atmosphere.

9. The oppressive air pressed down on them.

See full list...

[tahbhie]

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?

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!

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

[tahbhie]

Okay I have a question

This might be a dumb question

But

How do I plot.

I mean the only way I know to plot is like okayy character A does this and then this happens and then it's solved.

how do we come up with the ...STUFF that happens in between the stuff that's suppose to happen. (Maybe all I have to do is sit down and think but I can't seem to do that)

Hey! That’s a really good question!

So, I’ve seen a lot of advice about plotting that basically boils down to “write down the plot of your book” but I’ve always found that to be a bit vague. Plotting really isn’t that intimidating once you figure out a method for it but if you’re starting from scratch, it can definitely be a daunting process.

My method of plotting is broken down into 3 basic processes:

1. Figure out the world you’re writing in.

Now, my personal way of doing this is by making a PowerPoint. I treat it like I’m crafting a presentation for a class. I give lots of historical context to my setting, mention cultural things that might be relevant. Basically, I just make a slideshow that I can refer back to when I’ve lost track of some of my worldbuilding.

Depending on your setting, this process might be more or less extensive. For instance, if you were writing in the present day in whatever setting you live in, you might only need to keep track of the dates and times that your book is taking place in. If you were writing in whatever setting you live in but twenty years ago, it might be a little more extensive, as you would probably want to keep track of things like major events, more local events, what technology was widely available, the cost of things, etc.. This part of plotting is especially useful for any science fiction or fantasy writing, as it can be a great format to keep track of different magic systems and other settings that are useful lore in your setting.

2. Establish your characters.

Coming up with characters is definitely most writers’ favorite part of starting a new story. Not only does it usually come pretty naturally, the characters tend to shape the world around them as you build their personalities and backstories up. Don’t let them run away with your world, though. It can be really easy to justify making worldbuilding things that suit your characters really well, but remember, you’re trying to create a convincing setting as well as interesting people within that setting. There are always going to be aspects of the world that work against your characters interests, as well as parts that they just don’t really care about.

Ultimately, I recommend making a folder for each main character you have. Include vignettes written about them/from their perspective. Add drawings and playlists! Have fun with it! As long as you make some kind of documentation of who they are/where they came from/where you think they want to go/where you think their part in the story will be, you’re going to get the hang of writing ABOUT them, which is the point.

3. Figure out a problem, a cause, and a catalyst.

A lot of what’s difficult about plotting is that you don’t always know what you want the story to be. Even if you do know what you want to happen, you don’t always know how to make it happen. This is why I format this process like a flow chart or in bullet points. You want to find the “problem” at the center of your plot.

Obviously, in your story, things happen. But what things? And why? But more specifically why here? Why now? Why these characters? Why in this place? It’s important to figure out not only what happens in your book but why that is what MUST happen. There has to be some inescapable force driving your plot forward (the desires of a character, the plans of the antagonist, global events, some sort of deadline) or else it will not feel like it is moving forward on its own, rather you will likely find it is very hard to “make” your characters do what you need them to. (Another piece of advice: if you feel like you’re having to force a scene to fit in a certain place in the plot, that’s because it doesn’t have anything that’s pushing it to happen right there and right then.)

This part does take a lot of writing (more journal style writing, rather than writing vignettes) but it is SO helpful when you actually start your first draft.

If you want, I can totally go more in depth about how to organize a flow chart or how I organize my billet points. I just omitted them because this post is already pretty long. I hope this is helpful! Sorry it took me so long to get to this ask.

Good luck and happy writing!

[tahbhie]

20 Alternative Losses Your Protagonist Can Face That Don't Involve the Death of a Person.

In one of my recent posts, I talked about losses as a core principle in driving a plot forward.

It's recommended in almost all guides. But here's the thing: someone doesn't have to actually die to create that emotional rollercoaster.

Here are 20 different losses your protagonist can face without losing someone to the cold hands of death:

1. Loss of a dream job opportunity

2. End of a long-term relationship or marriage

3. Betrayal by a close friend or family member

4. Financial ruin or bankruptcy

5. Loss of a beloved pet (The pet could go missing.)

6. Rejection from a prestigious program or institution

7. Injury or illness leading to the loss of physical abilities

8. Destruction of a childhood home

9. Loss of custody of a child

10. Failure to achieve a lifelong dream or goal

11. Being falsely accused of a crime

12. Natural disaster destroying personal belongings and home

13. Loss of a valuable family heirloom

14. Experiencing discrimination or injustice

15. Being forced to move away from a beloved community

16. Losing a significant competition or contest

17. Loss of memory or cognitive abilities

18. Falling out with a mentor or role model

19. Closure of a cherished local business

20. Loss of one's reputation due to scandal or rumor

Thank you for all of your support. If you love my blog, consider gifting me a rose. Val's here, and I hope your characters are ready to paint the town red.

Check out this printable template that helps you structure the nuanced parts of your plot you normally skip out on.

You also receive a free add-on that enhances your plot. It saves you time and helps you maintain quality.

[tahbhie]

Daily Writing Challenge

Write 5 sentences for your WIP right now. (x)

Imagine a place where you would like to be and write about what you would do there. (x)

What are your OCs pet peeves? (x)

Write a 10 sentence long short story about the object next to you. (x)

Write a summary for a book you would love to read. (x)

Write down 10 words that describe your MC. (x)

Write a micro story about an unusual love. (x)

Explain your MCs motivation in 3 sentences. (x)

Write a poem about an empty house. (x)

Write a 5 sentence long short story from three different perspectives. (x)

What nicknames does your MC have and who gave them to them? (x)

Write a new piece of lore for your WIP. (x)

Write a micro story about someone saying "thank you". (x)

Write about one your OC's tattoos or someone getting one done. (x)

What do you admire about your MC? (x)

Write the dialogue for a scene that's been on your mind. (x)

Write a road trip scene. (x)

Write about your MCs favourite outfit. (x)

Write about something that you can see from your window. (x)

Write about a normal day in your MC's life. (x)

Write 100 words today. It doesn't matter about what. (x)

Write a funny scene. (x)

Write down everything on your mind for five minutes. (x)

Write about your OC's first meeting. (x)

Write a scene in a grocery store. (x)

Write a micro story about an artist and their muse. (x)

Write an end scene, without the beginning. (x)

Write 10 sentences for your WIP right now. (x)

If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰

[tahbhie]

If you're seeing this...

I'm asking you to go write one paragraph, just one to your current writing project. It might seem insignificant now but you're one step closer to being done, everything helps. Sometimes even the smallest string of words can get the inspiration flowing.

[tahbhie]

How Plot Progression Works—Myths and Facts.

Let me start with a myth.

Last week, a writer approached me with their half-finished draft, unsure how to continue. Apparently, they got writer's block in the middle of the work. For about thirty minutes, we discussed the book freely as if it were a finished and published work.

Then I realized the issue.

☞ The problem?

From the conversation, I noticed that the writer's thoughts and ideas, which they voiced for the book, totally contradicted what they had written.

Their book followed a sequence of events. It was well-calculated, and the plot progression was on point but only to a certain level. I noticed robotic recurrences.

Something like this:

Scene 1— a sudden revelation

Scene 2— an unexpected fight

Scene 3— introduction of a new character

Scene 4— a conflict

Scene 5— another sudden revelation

Scene 6— an unexpected fight

Scene 7— introduction of a new character

Scene 8— a conflict

Meanwhile, all these elements didn't tie to each other in the story. They just performed different roles in each scene and were rendered useless in the next and every other scene that followed.

☞ Why did this happen?

Among other reasons, being extremely rigid with writing advice is a main factor.

Writing advice is great, but don't bend your style to suit the rules; bend the rules to suit your style.

Here's a clearer example of what I'm talking about.

Writing advice often says to keep readers on the edge of their seats within the first five pages, but this doesn't mean introducing unrealistic problems that don't fit your story. For example, introducing a sudden and improbable conflict just to add excitement can disrupt the flow and believability of your plot

During our session, I already understood how to assist, and we were setting our comfortable hours when the writer suddenly said, "I was told to include conflict in the middle of the book, then I ran out of ideas when I got there. I could have added one just a few pages in because I believe it would do well there, but again, I was unsure if that would make sense."

Now, who said conflict can't start a book? When you start your book with a conflict, you just have to ensure that you build towards 'the reason' behind the conflict so your readers can understand.

☞ Should I follow every writing advice with a closed mind?

No, you shouldn't. Remember that you are writing that book because you want to, and your idea was great enough to convince you to actually write. You need to enjoy the process and create what you truly want to create. Follow instructions flexibly.

Now that the myth is out of the way, let's talk about things that make a plot.

➜ Basic plot elements.

Initially, your plot should have the following:

✧ Protagonist ✧

Who are readers following in the story? Make that clear in the first few chapters. If you're writing from a first-person point of view and plan on switching between characters, aim for a maximum of two characters. It becomes clear that those two characters are an important part of the story; hence, they get the privilege to narrate the story from their respective views.

✧ Goals and objectives ✧

What is your protagonist after? Here's one thing you should know: your character doesn't have to know what they want at the beginning of the story. They may be as confused about their life as anyone reading, but as the story unfolds, they find a goal worth reaching and discover the needed strength to reach the goal.

✧ Antagonist ✧

What/Who is standing as a threat? A threat is hell-bent on ruining your protagonist and stopping them from achieving their goals. An antagonist could be an object or a human. It all depends on the concept you aim for. Funny enough, the antagonist could be a lie that starts out seemingly small but ends up being harmful. The rom-com movie "Upgraded" is an example of this concept. The lie the art enthusiast told was the greatest trouble she faced.

✧ Conflict ✧

What are the problems the protagonist faces? Problems can start from anywhere over anything, and you can choose to make them mild and solvable at first while building up to something larger.

✧ Resulting consequences ✧

What happens after the protagonist faces the trouble and tries to solve it? Did they lose anything? Hurt someone? Earn support from people they least expect?

✧ Character arc ✧

How has the journey shaped your protagonist? After going through something they probably never saw coming, how has it changed them? For a timid main character at the beginning of the story, do they finally become brave and display a different side of themselves?

All these are important for a well-rounded story as a whole.

Join the Writers' Universe and connect with like-minded writers.

➜ Secondary plot elements

These elements help you shape the above category.

● Setbacks

Let's use movies to illustrate this. There are certain points where we lose hope for the main character, almost convinced they've lost. We see them at their weakest points, hurt that the antagonist got them good. These moments are the setbacks. The protagonist is made vulnerable.

● Loss

What did the setback cost them? The reason I intentionally labeled this as loss is because to move a plot forward, some things need repairing. Since most loose ends were already from the beginning of the story, adding a fresh loss piques the reader's interest. It doesn't have to be the death of someone. It could be the brutal end of an alliance formed on an emotional scale.

● Break of a new dawn

I just wanted to get creative with the title. This point marks the pivotal change of events, and once again, there's hope for the protagonist as they find solutions to their problems. In this stage, they discover hidden abilities within themselves (this isn't limited to fantasy).

And there you have the important sections of plot progression. But keep these few things in mind. To ensure you're not leaving a huge gap in your plot, try to:

┗→ Introduce elements that work for your story:

It's common to believe something works well simply because it did in your favorite book. You might want to reconsider that with a different mindset.

┗→ Tie elements together:

Of course, this doesn't apply to all, but try to create a link between events in your story. If a fight occurred in a scene, link it to a cause in a few scenes ahead. This can lead to another conflict, this time on a larger scale, without having to introduce something entirely different.

And back to the question that birthed this post:

ᴥ Should conflict come early or not?

It depends on your work, but it can come early. That's not taboo.

There was a movie I watched featuring a female lawyer as the protagonist. The movie started with the kidnap of her only child, and the rest of the scenes drove us to the 'cause,’ then more conflicts, setbacks, and finally resolution. We were also able to explore the character’s personality based on the decisions she took in different emotional scenes.

She tried to keep her calm in some scenes while she just flat-out threw a tantrum in others, but overall, she was a strong woman who was broken by the incidents occurring and then rebuilt. I read a book with the same premise: the main character was a tween who misplaced something precious and decided to go on an adventure to search for it, and that was what the story was built upon.

I always tell writers one thing—own your book. The first draft seems to be the toughest one of its pair, but if you don't allow yourself to freely express your thoughts, there will be no first draft or story at all.

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Struggling with any stages of writing? Send me a message, and let's sort it out for a suitable fee.

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Do you want to create characters readers are compelled to start a fandom for?

Check out "My Characters and I" extensive coaching session. Understand the secret behind every attractive character. The slots are limited, and this opportunity closes once capacity is reached. Don't miss it; you never know when you’ll stumble upon these golden gates again.

[tahbhie]

good traits gone bad explained

good traits gone bad - Part III

Ambitiousness - While ambitiousness is generally seen as a positive trait, driving individuals towards achieving their goals and aspirations, there can be a downside if it becomes excessive. An ambitious character can come across as ruthless.

Optimism - Optimism can lead to increased happiness and resilience, but not if it becomes unrealistic. Excessive optimism can lead individuals to underestimate potential risks or challenges, which can result in poor decision-making.

Diligence - Constantly working diligently without proper breaks can lead to burn out. Diligence can also mean that the person is not able to bend strict rules, but rather makes sure to follow them. It can make them resistance to change.

[tahbhie]

I touched on both. Although I see what you mean, I used them interchangeably—when discussing psychopathy, I said psychosis.

In fiction, it’s common for characters labeled as psychopaths to also display symptoms of psychosis for dramatic effect, even though, in reality, these conditions are different.

I'll try to work on your observation in the upcoming posts. Thank you! 💜

The Act of Writing Psychotic Characters 

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychotic characters aren't psychotic based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychotic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychosis

Psychotic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychotic character) are attention psychotics. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychosis.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychosis

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychosis.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychotic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychotic or an intention psychotic?

Inspired by @sothera

Stay tuned for the next part!

۝ Before you go! ۝

My Characters and I is an extensive one-on-one coaching session designed to create characters that leap off the pages and become best friends with your readers.

What's a great story without remarkable characters? Spots are filling up fast, so grab yours now and get ahead of millions of writers out there.

👇👇👇

[tahbhie]

The Act of Writing Psychotic Characters 

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychotic characters aren't psychotic based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychotic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychosis

Psychotic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychotic character) are attention psychotics. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychosis.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychosis

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychosis.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychotic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychotic or an intention psychotic?

Inspired by @sothera

Stay tuned for the next part!

۝ Before you go! ۝

My Characters and I is an extensive one-on-one coaching session designed to create characters that leap off the pages and become best friends with your readers.

What's a great story without remarkable characters? Spots are filling up fast, so grab yours now and get ahead of millions of writers out there.

👇👇👇

[tahbhie]

Struggling with descriptors? Here are some synonyms to make your scene more interesting!

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Afraid

=========

Apprehensive

Dread

Foreboding

Frightened

Mistrustful

Panicked

Petrified

Scared

Suspicious

Terrified

Wary

Worried

=========

Annoyed

=========

Aggravated

Dismayed

Disgruntled

Displeased

Exasperated

Frustrated

Impatient

Irritated

Irked

=========

Angry

=========

Enraged

Furious

Incensed

Indignant

Irate

Livid

Outraged

Resentful

=========

Aversion

=========

Animosity

Appalled

Contempt

Disgusted

Dislike

Hate

Horrified

Hostile

Repulsed

=========

Confused

=========

Ambivalent

Baffled

Bewildered

Dazed

Hesitant

Lost

Mystified

Perplexed

Puzzled

Torn

=========

Disconnected

=========

Alienated

Aloof

Apathetic

Bored

Cold

Detached

Distant

Distracted

Indifferent

Numb

Removed

Uninterested

Withdrawn

=========

Disquiet

=========

Agitated

Alarmed

Discombobulated

Disconcerted

Disturbed

Perturbed

Rattled

Restless

Shocked

Startled

Surprised

Troubled

Turbulent

Turmoil

Uncomfortable

Uneasy

Unnerved

Unsettled

Upset

=========

Embarrassed

=========

Ashamed

Chagrined

Flustered

Guilty

Mortified

Self-conscious

=========

Fatigue

=========

Beat

Burnt out

Depleted

Exhausted

Lethargic

Listless

Sleepy

Tired

Weary

Worn out

=========

Pain

=========

Agony

Anguished

Bereaved

Devastated

Grief

Heartbroken

Hurt

Lonely

Miserable

Regretful

Remorseful

=========

Sad

=========

Depressed

Dejected

Despair

Despondent

Disappointed

Discouraged

Disheartened

Forlorn

Gloomy

Heavy hearted

Hopeless

Melancholy

Unhappy

Wretched

=========

Tense

=========

Anxious

Cranky

Distressed

Distraught

Edgy

Fidgety

Frazzled

Irritable

Jittery

Nervous

Overwhelmed

Restless

Stressed out

=========

Vulnerable

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Fragile

Helpless

Insecure

Leery

Reserved

Sensitive

Shaky

=========

Yearning

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Envious

Jealous

Longing

Nostalgic

Pining

Wistful

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