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Write better multifaceted characters
Sad plot ideas besides killing characters
Need sad story ideas that arenât character deaths? Iâve got you covered! Here's 14 sad plot ideas that don't require character deaths!
Having to give up an item of huge emotional importance A leader being abandoned by their own people
Redemption arc that comes just a little too late Making a mistake thatâs too big to be forgiven for
Unrequited love with a childhood best friend Betrayal by a sibling, parent or child
Realizing who they truly love when itâs too late Not being believed by those closest to them when it really matters
A character whoâs completely at peace with their tragic destiny Relapsing on an addiction after doing so well
Making an honest mistake that leads to horrible consequences and endangers people they love Trying so hard time and time again, and still not achieving any results
Having to watch a friend or family get tortured without being able to stop it Realizing someone they love is in danger, but theyâre the ones who sent them into it
AlsoâŚ
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10 ideas for character personalities
Creating unique and interesting characters is essential to any good story. Here are some ideas for character personalities to help you develop your own characters:
The Rebel: A character who defies authority and rules, often causing conflict but also inspiring change. Stubborn, working for a greater cause, but often ignores those closest to them.
The Optimist: A character who always sees the bright side of things, even in the darkest of situations. They might be the comic relief, and theyâll tend to be naive in dangerous situations and often put themselves at risk of heartbreak because they see the best in people.
The Pessimist: A character who always expects the worst, often bringing down the mood of those around them. They might be very sarcastic, witty, and grumpy, and they can only be handled well by certain characters - they match well with softer, laidback personalities.
The Perfectionist: A character who strives for perfection in everything they do, often to the point of obsession. Theyâll never really be satisfied with anything they achieve, no matter how good it is, and they have trouble with friendships and relationships.
The Joker: A character who uses humor to cope with difficult situations, but may also use it to mask their true feelings. They often feel a lot worse than they let on, and they put others ahead of themselves.
The Loner: A quiet character who prefers solitude and may struggle with forming connections with others, though they tend to be quite emotionally smart and observant.
The Leader: A character who takes charge and inspires others to follow them, but they can get carried away with the power in their hands. Theyâre confident and they know it, and they often end up hurting people with their behavior.
The Follower: A character who prefers to take direction from others and may struggle with making decisions on their own. These are often very passive characters who rely on help from others - typically from one specific protector.
The Nurturer: A character who is caring and compassionate, often putting others' needs before their own, and making sure that everybody else is happy. They have people-pleasing tendencies and will hide their own opinions if they find it might upset others.
The Adventurer: A character who is always seeking out new experiences and challenges. They may be impulsive and thrill-seeking, but also courageous and resourceful.
These are just a few ideas to get you started. Remember, the key to creating memorable characters is to make them unique and multi-dimensional, beyond the archetype of personality that they fit into!
The Character Bible and my two other Writerâs Toolboox are dropping in just 8 days! Theyâll have masses of resources, materials, character theory and even customizable character sheets.
30 âI love Youâ Alternatives and prompts
âWe are meant to be.â
âIâd do anything to make you smile.â
âMy heart calls out for you.â
âI am always here for you.â
âIâm yours.â
âYouâre mine.â
âI canât believe youâre mine.â
âYou are the best thing that has ever happened to me.â
âYou complete me.â
âIâd do anything to make you smile.â
âWe fit together like puzzle pieces.â
âYou are my soulmate.â
âIâm crazy about you.â
âI would never leave you.â
âIâve got feelings for you.â
âIâm head over heels for you.â
âI adore you.â
âYouâre my other half.â
âYouâre the love of my life.â
âIâve got a crush on you.â
âIâm lost without you.â
âYou mean so much to me.â
âI love every part of you. The good and the bad.â
âIâm thankful for you.â
âI want a lifetime with you.â
âI need you by my side.â
âYou are my most precious treasure.â
âIâm devoted to you.â
âYou are my world.â
âI think⌠no, Iâm sure you are the one.â
How to Write an Action Scene
Happy Thursday everyone! I decided to work on a different post today and take a break from posting literally essential devices.
Today this post will be all about action scenes and how to write them.
Let's get to it!
4 Types of Fight Scenes
First we need to learn that there are various types of fighting styles or rather common fighting scenes that we see in the media and in writing.
Fight scenes can take on many iterations, but most fall into one of four categories:
Hand-to-hand combat: These fight scenes focus on the abilities and limitations of the human body. Boxing matches, martial arts battles, and straight up brawls between the good guy and the bad guy all fit this category. While thereâs more to these films than mere fist fights, theyâre nonetheless remembered for the fighting styles they showcase.
Fights with weapons: Weapon-based fights date all the way back to classical theater. For instance, Shakespeare concludes Hamlet with a fatal sword fight between Prince Hamlet and the aggrieved Laertes. Contemporary fights often involve guns, and indeed nearly every action movie of the past several decades seems to involve a shootout of some sort.
Fights on the run: Many of the best fight scenes pass through multiple locations before reaching a climax. Think of Indiana Jones battling villains on a train or James Bond dispatching villains using all manners of cars, boats, and helicopters.
Fights involving superpowers: Many a great fight scene has functioned as a showcase for charactersâ superpowersâfrom the superhuman strength of a main character to the shapeshifting menace of a supervillain. These fights can thrill audiences as they push the boundaries of possibility, but writers should take care to sculpt these scenes carefully and not let them devolve into a checklist of cool stunts.
The Challenges of Writing Action Sequences
The art of writing fight scenes involves two main challenges.
Technical writing style. Whether youâre writing descriptive paragraphs in a novel or stage directions in a script or screenplay, you must be able to articulate the fight you envision in your head without wearing down your reader with technical drivel. Balancing specific details of your action sequences with a propulsive story isnât easy to do. Sometimes a great fight sequence doesnât come together in a first draft, so focus your revisions on clarifying each action and providing vivid detail without besieging your reader with dull technical terms.
 Storytelling during fight scenes. Your fight scene has to be part of your overall narrative, not a diversion from it. The key elements of a good storyâcharacter development, rising conflict, and detailed worldbuildingâmust not be abandoned just because a fight is happening. A great fight scene will flow seamlessly from the story that comes before it into the story that comes after it.
Remember the actual actions of fighting are quick and sudden movements and it is often best to portray that in your writing with quick, short sentences. Unless you feel the need to write lengthy sentences that is!
Tips on How to Write a Fight Scene
Plan fight scenes to logically fit with your overall story. Some amateur writers use fight scenes as irrelevant set piecesâfixed moments in a book or script that other plot elements center around. In the best writing, however, fight scenes serve the overall narrative, not the other way around. When evaluating a brawl or a battle showdown in your narrative, ask yourself: Does it move my story forward? Does its inclusion align with my main characterâs motivations? Does the story naturally flow into and out of this brawl?
 Include some technical details, but not too many. When youâre putting a fight scene into a script, youâll likely want to indicate some degree of choreography so that directors and actors can envision what you have in mind. Likewise, in a novel or short story, youâll want your fight scenes to have specific detail so they stand out from the pack. At the same time, recognize that the way to a readerâs heart isnât through minutia. Itâs through long arcs in character and story. Bogging down a fight scene in technical details will distract from those arcs and disengage a reader.
 Write in first person to try something different. Most fight scenes are told in the third person by an omniscient narrator who can describe every detail from every characterâs perspective. Omniscient narrators can be great for worldbuilding, but theyâre standard issue when it comes to action scenes. By contrast, a first person narrator provides a visceral perspective on a fight. Which is more unique: a narrator telling you that a boxer gained the upper hand in a fight, or the boxer himself describing the sudden shift from imminent to defeat to looming victory? First person narration connects your story to real life and can promote a deeper level of investment from your reader.
Things to Consider When Writing Action Scenes
hand to hand combat are often quick sudden movements and can cause the characters to tire out faster, unless they have good training such as boxers, who know how to use their space, distance and energy wisely.
things can get messy! There will be blood and sweat. Remember these can get in the eyes and cause irritation ad prohibit the fighter from being at their best.
Contrary to beliefs, adrenaline will not always give you the boost you need. Sometimes it will inhibit you from moving or causing damage to your opponent. It can make the fighter shake, throw inaccurate punches, jabs, weapons, sorcery, etc. Sometimes the nerves get the best and prohibit the character from expelling spells from their hands/fingertips, wants or magic object.
Weapons can and will break. What will the characters do then?
If the character isn't the best at fighting, will they use objects around them to protect themselves? Will they fight or run (flight).
There you have it! Something different from what I have been posting.
Like, reblog and follow if you find these helpful!
5 of the worst character mistakes
Hopefully youâre not making any of these mistakes in your novel, and if you are - maybe this post will help in how you can resolve it! â¨.
đ Here are 5 of the most important ones to be aware of:
⨠No internal goals
A character will inevitably fall flat if they donât have an internal goal. Achieve an internal goal by giving them something to learn, or a flaw to overcome.
⨠Black & white traits
Unless youâre writing a fairytale, your characters should have both good and bad qualities. Donât make them too good to make a mistake, and donât make them so flawed they become annoying.
⨠Fitting character into plot
Never under any circumstance should you force your character into fitting your plot. The plot should be built around your character instead.Â
â¨Everyone is smart & witty
It can get very exhausting if you have a specific character type you love writing, and then the vast majority of your characters share the same traits - like being smart, snappy, and sarcastic. In order to create good relationship dynamics, you need contrast.
⨠Same-purpose characters
If you have an overload of characters in your story, itâs very likely that a few of them share the exact same purpose. Are they both necessary? Can they be merged into one character?
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20 questions you must ask your character
20 questions you must ask your character! Use these questions to fully flesh out your character and understand their motivations, fears, and dreams.
What is their biggest fear?
What is their biggest regret?
What is their dream?
What is their misbelief?
Where does the misbelief originate from?
How do they behave in a situation of danger?
What is their first instinct when someone attacks them?
What is the one object they would run into the fire for?
What is a flaw theyâve carried since childhood that hinders their growth?
What do they believe will make them happy?
Who was their biggest influence growing up?
How did that shape who they are today?
What is their proudest accomplishment?
How do they deal with failure?
What is their relationship with their family like?
Have they ever been in love? If so, what happened?
What is their biggest secret?
Do they have any hobbies or interests they donât tell anyone about?
What motivates them to keep going during tough times?
What is their relationship with authority figures like?
Were you able to answer all of there? Donât worry if not â
The Character Bible and my two other Writerâs Toolboox are dropping in just 3 days! Theyâll have masses of resources, materials, character theory and even customizable character sheets to help you craft fully fleshed characters.
Iâve actually got a character questionnaire for you in the Character Bible. Itâs a small product (with a lot of content inside!) thatâs dropping in 3 days, packed with:
character theory
vocabulary resources
namebanks
motivation ideas
personality archetypes
and FULLY customizable character sheets (with 3 original designs!)
Save the date: March 10!
Showing when writing: Emotions [part 2]
Fear
open mouth
shaking
wide eyes
pounding/accelerated heart rate
backing away
sweating
shivering
crying
mounting panic
panic attacks
fake smiles
jittery
trembling
hugging themselves
goosebumps
hands stuffed under armpits
freezing
disturbed sleep patterns
difficulty concentrating
dragged breaths
shrill/pitched voice
trembling lips and/or chin
difficulty swallowing
rocking
dizziness
hair lifting (such as by the neck)
hunched shoulders
shrinking away
shrinking into themselves
leg muscles tightening
gripping things
whispering
stuttering
clinging to someone
flinching at nothing/small sounds
muttering to themselves
Attraction/love
love is a combination of intimacy, passion, and commitment. Counting on the combination of these three, you will feel a different type of love.
Passion = Infatuated Love
Commitment = Empty Love
Intimacy + Passion = Romantic Love
Intimacy + Commitment = Companionate love
Passion + Commitment = Fatuous Love
Intimacy + Commitment + passion = Full/complete love
Note: there is a lot more to love than this. These are more focused on love with a partner. It's very basic to help with writing.
winking
looking up through lashes
crossing and uncrossing legs
stretching
flustered
lingering hugs
eye contact
leaning forward
unconscious touches
tilting head back
blushing
parted lips
licking lips
smiling
laughing
constantly looking for/at their interest
turning to face the interest while in a group
stuttered and stammers,
awkward laughter
Stress
racing thoughts
biting nails
headaches
nausea
flu
anger/angry outbursts
can't concentrate
irregular sleep patterns
jittery
sweating
lip biting
eating problems/ loss of appetite
overwhelmed
un-social
low sex drive
forgetfulness
procrastinating
weight gain
constricted/harsh breathing
hasty choices
sleeps a lot or not enough
clumsy
Which emotions do you want in part three?
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The Emotion Thesaurus: Agitation
Hi everyone and happy Wednesday! Post Two of new series!
This section comes from The Emotional Thesaurus by Ackerman and Puglisi.
Definition: feeling upset or disturbed, a state of unrest
Physical Signs:
reddening of the face
a sheen of sweat on the cheeks, chin, and forehead
hands moving in jerks
rubbing back of the neck
patting pockets or digging in the purse, looking for something lost
clumsiness due to rushing (knocking things over, bumping tables)
a gaze that bounces from place to place
an inability to stay still
jamming or cramming things away without care
abrupt movement (causing a chair to tip or scuff the floor loudly)
flapping hands
becoming accident prone (bashing one's hip on a desk corner)
dragging hands through hair repeatedly
forgetting words, being unable to articulate thoughts
backtracking to try and undo something said in haste
adjusting one's clothing
avoiding eye contact
a wavering voice
not knowing where to look or go
guarding one's personal space
taking too long to answer a question or response
throat clearing
overusing ums, ahs, and other verbal hesitations
turning away from others
a bobbing Adam's apple
pacing
making odd noises in throat
rapid lip movement as one tries to find the right things to say
flinching if touched
minimizing another's compliments
fanning self
unbuttoning a top shirt
tugging at a tie, collar, or scarf
Internal Sensations:
excessive saliva
feeling overheated
stiffening air on the nape of the neck
light-headedness
short, fast breaths
sweating
tingling skin as sweat forms
Mental Responses:
mounting frustration that causes thoughts to blank
compounding mistakes
a tendency to lie to cover up or excuse
anger at oneself for freezing up
trying to pinpoint the source of discomfort
mentally ordering oneself to calm down, relax
Cues of Acute or Long-Term Agitation:
flight response (looking for an escape of fleeing room)
snapping at others, or adopting a defensive tone
scattering papers and files in a frantic search
May Escalate To :
Annoyance
Frustration
Anxiety
Anger
Cues of Suppressed Agitation:
changing the subject
making excuses
joking to lighten the mood
staying busy with tasks to avoid dealing with the source of emotion
shifting attention to others, putting them in the spotlight
Like, follow and reblog for more!
Motivations for villains
Here are some motivation ideas specifically designed for your villains! Can you recognize any of these in your own antagonists?
Keeping a secret from their past
Keeping âpeaceâ in society
Avenging a loved one
Finding a person who wronged them
Discovering truth about their identity
Making the world in their image
Making a political point
Progressing in their career
Having a specific image for society
Wanting to get something they were deprived of
Lead a community
Win a war
Start a revolution in their image
Keep themselves in power
Conceal their past or their roots
Raise a new generation in their image
Running away from their past or a particular person
Burying themselves in work as distraction
Finding someone they lost
Bringing someone they lost back from the dead
Concealing their mistakes or sins to save their skin
Get someoneâs attention
Ruin a life because they had their ruined the same way
Prove their worth
Protect the only person they care about
Find the answer to a mystery thatâs been following them
Beating a disease
Curing someone they love
Having a child, but theyâre infertile
Haunting someone as revenge
Have you heard of my group coaching program for writers? It launches Feb 11th!
Here's what the class schedule looks like!
Would you like to learn more about crafting realistic characters who lead the plot FOR you? đ¤Ż
You might want to give my 6-month group coaching program a go! It's designed specifically to help overcome this issue and teach you how to plot and write ANY story with ease. It uses a mix of writing their classes, with group coaching sessions to work specifically on YOUR project.
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How to write a gripping fight scene
By Writerthreads on Instagram
Context
Provide the readers with preliminary details about the basics:
When is the fight? Where is the fight? Who are the characters involved in it?
Before you write the scene, it would be helpful to pre-plan the events and know the basic "itinerary" of the fight. This could be how it was initiated, which characters fight each other and how, and the way the fight ends.
Identify the backstory
The key to how to write a fight scene or battle scene is Goal, Motivation and Conflict (GMC).Â
Ask yourself:
Why is this fight or battle taking place? (This supplies motivations, what each fighter or army has to gain or lose)
What each party wants (the goals). Goals may differ for the same conflict. One soldier may want to prove themselves worthy of promotion, for example. Another may just want to survive to see family or a lover back home. In a battle scene, what does the unit want, versus the individual?
What are the potential conflicts in the scene? For example, an argument might break out within ranks, or a sadistic leader might find themselves without aid at the peak of battle because their troops secretly despise them. A single, larger conflict could have smaller, breakaway conflicts that add further, lesser tensions to an already dramatic scene.
(From NowNovel)
Use characterisation in action
A fight scene can seem long and boring. To spice things up, you can provide readers with a bit more insight to the character as they fight.
Why does the character make the choices that they make in the fight?
How does each choice reinforce their characterization?
How does each choice impact their internal and/ or external goals?
Is this conflict getting the character closer or further away from their goals? How?
What are the stakes for each character? What do they stand to win? What will they lose?
What type of fighter is the character? What are their physical or mental abilities? (Remember that not every protagonist will be a trained assassin, so theyâre prone to make sloppy mistakes during a fight.)
Use the fight scene to reveal necessary information about the characters. Be sure to give the reader a glimpse into the characterâs soul and not just into their fighting skills.
(From NYBookEditors)
Use all the senses
To make the scene truly gripping, you have to make it visceral. Hit the readers with all the senses other than just sight. Sounds and textiles are particularly helpful and make the scene much more memorable.
So, next time you want to write one person's sword hitting another, you can describe the clang of the two steel pieces hitting each other, the smell of fresh blood in the air, and how heavy the sword welder's arm feels after parrying for ages.
Know the limits of each weapon and magic (if applicable)
Before you start writing, do some research about the "code of conduct" fighters in your time period had and how the weapons work. If you're very dedicated, you could try some classes in martial arts or fencing to get a rough idea of what the specific fight scene should feel like.
The ending
Let the readers know what the results of the fight are. Did one side clearly win? Were the results unclear (not in the sense of bad writing but of a draw-like scenario), or was it a Pyrrhic victory that incurred so much loss that it wasn't worth it?
One pet peeve of mine is a fight that ends when a Super Boss Weapon is revealed and ends the fight immediately. It's a quick way to finish the scene with no hassle, but in my opinion, it seems lazy and makes me wonder why the Super Boss Weapon wasn't used in the beginning. Unless it's justified, eg. the Super Boss Weapon had to be charged up, I get very mad when it happens. (But this opinion is very personal and you can obviously ignore it!)
Conclusion and disclaimer
Hopefully these tips will help you pen the perfect fight scene! I have minimal experience in fight scenes and all the fighting I do in real life is fencing (badly).
And as always, our tips are just tips and not rules -- you obviously don't need to follow them since they're just a guide to make your writing better! Good luck in writing your fight scene! :)
Sources: NowNovel, NYBookEditors
How to Use Paragraph Transitions to Strengthen Your Writing
A post dedicated to an inbox submission. Here you go!
An important part of essay writing is learning how to effectively employ paragraph transitionsâshifting from one paragraph or idea to the next. Learning to effectively use the different types of transitions will help you write more cohesive pieces and improve the clarity of your writing.
What Is a Paragraph Transition?
A paragraph transition is a sentence or unique paragraph that helps the reader move from one paragraph to the next, or from one idea to another. A transition is the first sentence of a new paragraph. Occasionally, the last sentence of the prior paragraph acts as the transition. When a writer wants to transition link two substantial paragraphs, they can use a standalone transitional paragraph.
4 Reasons Paragraph Transitions Are Important
Paragraph transitions serve a variety of purposes, and understanding how they function within the context of a larger piece of writing is essential to clear writing. Usually transitions are full sentences that link paragraphs, but occasionally simple phrases or single words can effectively transition between two shorter paragraphs. Here are a few reasons why paragraph transitions are important and should be included in your writing:
Paragraph transitions link ideas. First and foremost, paragraph transitions serve to link two ideas. A body paragraph is generally devoted to a main idea or concept that fits into the larger piece and explores a facet of the primary thesis statement. A transition sentence links your first paragraph to your second paragraph and so forth.
Paragraph transitions give your writing momentum. Paragraph transitions are incredibly helpful when it comes to building momentum in your writing. Effective transitions propel your essay forward and keep your readers engaged. This is particularly important in academic writing or professional writing that can otherwise feel dry or static.
Paragraph transitions improve readability. Transition words can help your readers track your ideas and understand how they relate to each other. Thoughtful transitions clue readers in to the progression of your ideas and your overall train of thought.
Paragraph transitions set the stage for new ideas. While effective transitions should tie up loose ends for material in the previous paragraph, itâs sometimes more important that they set the stage for the new ideas to come in the next paragraph. A written piece should have forward momentum, and transitions serve to prepare the reader for new information to come.
How to Transition Between Paragraphs in Your Writing
Understanding why we use paragraph transitions in the first place is obviously important, but learning how to effectively employ good transitions in your writing can sometimes come only through practice. That said, here are some tips that can help you get started as you begin to use transitions in your writing.
Outline your piece. Using an outline is vital to improving your writing process and should generally come before you start writing your piece. Outlining is important when you are working on transitional expressions and transition sentences because outlines give you a macro view of your piece as a whole, with signposts indicating the main ideas of each paragraph. Referring back to your outline can help you brainstorm types of transitions that set the stage for whatâs to come and help your ideas flow.
Identify the subject of each paragraph. Once youâve consulted your outline, itâs time to hone in on the main ideas of the paragraphs on either side of your transition. A good transition will have something to say about both the preceding paragraph and the new paragraph.
Track the overall arc of your piece. Transitions link two specific paragraphs, but make sure you have an eye on the overall arc of your essay. If you have a good sense of the bigger picture you can use your transitions to set up information that is still to come, beyond the next paragraph.
Brainstorm good transitional words. Transitional phrases often have similar word choice and style. Linking words and conjunctive adverbs are often used in paragraph transitions because they help establish the relationship between two separate ideas. Words like âtherefore,â ânevertheless,â âalthough,â and ânamelyâ quickly sum up how one idea relates to the next. Effective transition words keep your reader hooked into your piece.
Consider cause and effect. Itâs not enough to simply link two subjects; transitional sentences should also effectively demonstrate how these ideas build on each other. This is especially true in academic writing or persuasive essay writing. Itâs your job to convince your reader that you have built a coherent argument for your main thesis statement. Transition sentences can help show readers how your ideas build on each other and conceptually link one entire paragraph to the paragraph that follows.
Pay attention to style. The way that you transition between paragraphs and the types of transitions you use will depend on what type of piece you are writing. If youâre writing a high school- or college-level academic essay, youâll probably want to avoid overly colloquial transitions. If youâre writing a personal essay or lighthearted humor piece, you should choose transitions that complement the voice of the piece.
Review your transition sentences separate from your piece. Once youâve finished your piece, itâs useful to take a look at all your transitions out of context to make sure that you havenât overused certain constructions or repeated word choice. Looking at a list of your transitions can also give you a good roadmap for the overall shape of your essay and can help you decide if youâve built a cohesive piece of writing.
Examples of Transitions:
Writing Body Pain: Headaches
There are two types of headaches: primary and secondary.Â
Primary headaches have no underlying cause. You may be able to figure out what is making it happen or get worse, but thereâs no definitive answer as to why itâs happening, or why now. Meaning, it is the main medical issue. While there are hundreds of different types of headaches, here are the most common:
Tension headache: usually felt as a band around your head. Or can follow typical muscles trigger point patterns (as discussed in previous post). Often felt as a dull aching pain and is often accompanied by muscle soreness or stiffness.
A list of useful synonyms
Argument: altercation, squabble
Chaos: disorder, confusion, pandemonium
Collect: assemble, cumulate, stock
Difficult: arduous, strenuous
Easy: effortless, painless
Effort: elbow grease, expenditure, labor
Happiness: contentement, cheerfulness, joy
Help: assist, aid, succor
Love: fondness, tenderness, adoration
Money: capital, finances, currency
Pain: affliction, agony, suffering
Power: ability, potential
Pleasure: delight, satisfaction, fulfilment
Prejudice: preconception
Pride: self-esteem, dignity, honour
Purpose: motive, cause, impetus
Reason: aim, objective, incentive
Rich: affluent, moneyed, wealthy
Strong: powerful, brawny, strapping
Useful: handy, nifty, convenient
Understand: comprehend, perceive
How To Avoid Plot Armor
Plot armor is when important characters seem to survive each and every treacherous obstacle that is thrown their way just for the sake of the plot. The readers know that your protagonist is important and wonât meet their demise because who else will defeat the bad guy in the end? This can result in underwhelming battle scenes, loss of suspense and an overall boring experience.
Here are some ways to avoid having your readers notice the plot armor (because letâs be honest, itâs there whether we like or not) or at least make it more realistic:
1) Injure your characters. Let it be known that no one is safe. During the heat of battle, the prized soldier loses his sword arm. The invincible superhero receives PTSD after witnessing a terrible event. Raise the stakes!
2) If they escape, make it believable. Did they sacrifice something to escape? Did a past experience give them the wits and knowledge to outsmart the danger? Justify your protagonistâs escape. Donât make it an easy get away just because you need them out of the situation.Â
3) There are consequences. Every action sparks a reaction. Have there be realistic push back. Your character shouldnât be immune to the rules and laws of your world.
4) Detailed Explanations. So, your character needs their limbs, their sanity and anything else you could strip them of. How do you make it seem like theyâre not immune to everything then? Equip them with what they need (knowledge, weapon, confidence, etc) and really sell it to your reader on how they survived.Â
Thereâs no way a teenaged girl stakes a 400 year old vampire just by picking up a branch and defending herself. Equip her with some knowledge of vampires (fanfics to the rescue?), an ancient relic that she unknowingly wears around her neck and an insane amount of adrenaline⌠and maybe Iâll believe it.
5) Kill off other characters. Have their deaths affect the protagonist.
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Tension vs. Conflict: Whatâs the Difference?
Good morning everyone! Itâs my birthday today and because itâs my birthday I thought Iâd post today (thatâs kind of an obscure reference to Star Wars Guy and his girlfriend lol)!
Conflict and tension in literature help build drama and keep readers engaged through the end of the book. Learning the distinctions between conflict and tension will help elevate your writing and make your storylines more engaging.
What Is Tension in Writing?
Tension in a literary context is the sense that something ominous is right around the corner. Building a large amount of tension as a writer keeps your readers engaged up until the end of the story. Mystery novels are full of tension and foreboding, and they generally feature tense scenes from beginning to end. Working within the genre of mystery writing is a great way to learn how to layer tension into your narrative arc. Good use of tension makes a story worth reading and keeps readers guessing.
3 Tips for Using Tension in Your Writing
Learning to build tension is no easy task. Even the most seasoned professional writers have trouble maintaining tension from beginning to end. Here are a few tips for using tension successfully in your writing:
Foreshadowing: An important part of building tension is using foreshadowing to build dramatic tension and keep readers on the edges of their seats. In Harry Potter, author J.K. Rowling uses flashbacks and backstory to foreshadow the eventual major conflict that will unfold between Harry Potter and the villainous Voldemort.
Inner conflict: Sometimes inner conflict and self-doubt can be layered in through character development and used to build levels of tension. In William Shakespeareâs Hamlet, the main character wants to avenge his fatherâs death but is beset by self-doubt, paralyzing indecision, and mental strain. As an audience, there is a sense of tension in every scene as we wait to see if Hamlet will act on his inner desire for retribution or remain stuck in a place of indecision.
A time limit: One great way to build tension in your story is to place a time limit on an action your character has to undertake. By adding the element of a ticking clock, you build tension and increase stakes. This is a common technique used in thriller novels and films as well as action and adventure stories.
What Are the Differences Between Conflict and Tension?
While tension simmers under the surface, conflict is generally out in the openâit's tension realized. Tension might be present an unspoken rivalry between the protagonist and antagonist or in the audienceâs awareness of an impending disaster.
Conflict, on the other hand, involves an active clash; maybe the protagonist and the antagonist engage in a firefight or a heated debate, or maybe a character fights off a pack of animals or works to prevent climate catastrophe. Even if the conflict is interiorâa character battling low self-worth, perhapsâit still involves opposing forces struggling for supremacy.
What Is Conflict in Writing?
Conflict can come in many forms. Conflict in a story can be a physical fistfight or a passive-aggressive war of words. All that is required for conflict is a manifestation of disagreement or incompatibility between a character and something else. Characters can be in conflict with other characters, with natural forces, or with society at large.
Another type of conflict is internal conflict. Conflict is one of the fundamental principles of narrative and creative writing. In order to write a story worth reading, you need characters whose point of view is in some way challenged and to whom bad things happen. Without conflict, you wonât have a narrative or any meaningful character arc.
4 Types of Conflict and Tips for Using Them in Your Writing
The kind of conflict you use depends on what your plot and subplots are centered around and what your main character wants and needs. New plot points generally introduce conflict or advance existing conflict. Here are some types of conflict to employ in your writing and a few tips about when and how you migh
Person vs. self: An internal conflict is a kind of conflict that only manifests within a characterâs head. Though we may see this conflict dramatized through narration or dialogue, or play out in the protagonistâs actions, it is an internal struggle within a character.
Person vs. person: The simplest and most common form of external conflict is when two characters are in conflict with each other. The first stories we are told as kids generally have a clear good guy and bad guy. These stories are early introductions to person vs. person conflict. Person vs. person conflicts are very common, and itâs rare to find a narrative without an interpersonal conflict present at some point in the story.
Person vs. nature: Conflict between a person and forces of nature is a good example of external struggle that can raise the stakes in a story. Some notable stories that included conflict between a person and a natural force include The Old Man and The Sea by Ernest Hemingway and Robinson Crusoe by Daniel Defoe. Consider using person vs. nature conflict if youâre interested in writing a story with one main character and few, if any, supporting characters.
Person vs. society: Conflict between a person and society at large is a type of conflict often found in science fiction. Some notable examples of this type of conflict are found in The Handmaidâs Tale and The Hunger Games series. In The Hunger Games, Katniss Everdeen finds herself contending with a dystopian and oppressive United States government that pits citizen against citizen in order to keep dissent down and quell rebellion. If youâre interested in science fiction or narratives about social justice, you might want to consider exploring conflicts that pit an individual character against society at large.