knights of guinevere
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knights of guinevere
knights of guinevere
Okay so one thing I love about Knights of Guinevere is the lack of cynicism about Guinevere herself. Despite the fact that she's an android and not human, despite the fact that she seems stuck in a pre-programmed fantasy world, despite the fact that she is the face of a marketing empire, Guinevere herself is not evil.
She's everything we were told as kids that princesses are meant to be. Friendly, graceful, wanting to be there for and protect children. She is a princess in need of rescue who tries over and over again to rescue herself while waiting for her knights. She is just as abused under the corrupt system in place, if not more so. Yet she still fights to protect the people who are trying to save her when she is broken. The surveillance system used by the corporation over it's citizens is something she uses to fondly remember the children she befriends.
I just love that despite how scathingly and rightfully this show criticizes Disney as a company, it never points the finger at the audience for loving princesses and wanting to indulge in fantasy, and the creativity that brought these fantasies to life were done so out of genuine love.
And anyways, that's why I'm crying over an animatronic park princess from cyberpunk horror cartoon on a Saturday morning, have a good weekend everyone.
10 Ways to INTENSIFY your stories Plot
Add a second problem that wonât stay in its lane. While the main conflict grows, introduce another issue that keeps interfering and making choices harder.
Give every victory a cost. Let each solution create a new complication instead of clean relief.
Turn side characters into sources of pressure. Their needs, secrets, or mistakes should actively affect the main plot, not sit politely in the background.
Reveal information at the worst possible time. Timing alone can make a simple twist feel devastating.
Force the protagonist to choose between two things they want. The plot thickens when thereâs no option that feels âright.â
Let past actions come back ugly. Consequences that arrive late hit harder and deepen the storyâs layers.
Complicate the antagonist. Give them leverage, allies, or a point that almost makes sense.
Change the stakes midway. What the story is about shifts, even though the conflict stays connected.
Introduce a secret that reframes earlier scenes. Not a random twistâone that makes the reader rethink what they already know.
Let the characterâs inner conflict sabotage the plot. Their flaws should actively make things worse.
KEEP READING!
Good vs. Bad Dialogue
Bad dialogue explains everything. Good dialogue trusts the reader to pick things up between the lines.
Bad dialogue sounds the same for every character. Good dialogue reflects personality, background, mood, and power dynamics.
Bad dialogue says exactly what the character feels. Good dialogue circles around the feeling, avoids it, or contradicts it.
Bad dialogue exists only to deliver information. Good dialogue reveals character while moving the plot forward.
Bad dialogue feels too polished or âperfect.â Good dialogue has interruptions, unfinished thoughts, and subtext.
Bad dialogue answers every question immediately. Good dialogue creates new tension, confusion, or curiosity.
Bad dialogue tells us relationships directly. Good dialogue shows relationships through tone, silence, and word choice.
Bad dialogue ignores conflict. Good dialogue lets characters want different things in the same conversation.
Bad dialogue sounds like a script being read. Good dialogue feels like people talking with something to lose.
Bad dialogue stays on the surface. Good dialogue is about whatâs not being said.
Writing villains people actually fear (and remember)
Itâs not about darkness. Itâs about a precise use of habits and small things, their behaviour both when acting the villain and not.
1. Give them a contradiction.
Villains are scariest when theyâre almost human. It's alot harder to harm, or even kill, when you can the part of them that is kind.
âHe always apologised before hurting someone.â
2. Let them think theyâre right.
No moustache twirling ('mustache twirling villain' is often used as a pejorative to describe poor antagonists/bad guys, usually they in comedy) â just conviction. Their ideals and values should stem from something important to them. Doesn't have to be important or make to others, just them.
âIâm not saving the world. Iâm correcting it.â
3. Give them a normal habit that becomes unsettling.
âą humming off-key
âą straightening objects mid-argument
âą collecting peopleâs abandoned pens (this was something I got from primary school where I watched someone collect them and i thought it was evil they were stealing pensđ)
4. Make their kindness selective.
Kind to dogs. Cruel to friends.
Kind to children. Absent to their own.
This really adds to their character and backstory, even if you don't elaborate or tell it.
5. Make their presence change a room.
Not with theatrics â with tone.
âThe laughter thinned when he stepped inside.â
Making antagonists who arenât evil (but still hurt you emotionally)
Some of the best antagonists are just⊠people.
1. Give them the same goal as the hero â different methods.
Hero wants peace.
Antagonist wants peace.
Hero uses unity; antagonist uses control.
2. Let the antagonist be right sometimes.
That stings.
3. Make the hero almost agree with them.
âYouâre not wrong,â she admitted. âBut youâre not right either.â
4. Show glimpses of softness.
âHe tucked the childâs drawing into his coat.â
5. Let them break their own rules.
Instant complexity, villains change the rules to fit their momentary desires and whims.
(Edit: ive written this up from a book that ive been filling with writing tips and tricks from classes, im putting here a few pages from it
So I get it, I need to change how I format things đ)
Ive also read "Read This If You Want to Be a Great Writer" a book by Ross Raisin
Writing Description Notes:
Updated 19th October 2025 More writing tips, review tips & writing description notes
Dialogue Tags
Facial Expressions
Masking Emotions
Smiles/Smirks/Grins
Eye Contact/Eye Movements
Blushing
Voice/Tone
Body Language/Idle Movement
Thoughts/Thinking/Focusing/Distracted
Silence
Memories
Happy/Content/Comforted
Love/Romance
Sadness/Crying/Hurt
Confidence/Determination/Hopeful
Surprised/Shocked
Guilt/Regret
Disgusted/Jealous
Uncertain/Doubtful/Worried
Anger/Rage
Laughter
Confused
Speechless/Tongue Tied
Fear/Terrified
Mental Pain
Physical Pain
Tired/Drowsy/Exhausted
Eating
Drinking
Warm/Hot
Cold/Freezing
Liontari and daffodils!
A birthday gift for my awesome friend @jesterium
Art by its_damngel on IG and Tiktok Reposted with permission
Quick tips for writing kisses
â° the pause. THE PAUSE. like âare we doing this? oh god weâre doing this.â
â° looking at each otherâs mouths like itâs a life-or-death decision
â° someone whispering âcan I?â or âjust onceâ before going for it and RUINING ME EMOTIONALLY
â° hands. gripping shirts. cupping faces. hovering like âdo I touch?? I WANNA TOUCHâ
â° breath hitching?? yes. shakiness?? absolutely.
â° that stupid moment where one of them pulls back a few inches like âwait are you sureâ and the other just goes for it again
â° kissing like theyâre scared itâll be the last time
â° kissing like theyâve been waiting ten goddamn years
â° teeth clashing awkwardly and both laughing about it but STILL FEELING IT
Ⱐone of them freezing for a second mid-kiss because the feelings just hit
â° the post-kiss moment of âuh. so. yeah.â where neither knows what the hell just happened
â° OR the post-kiss forehead touch. destroy me.
How to Make Your Characters Almost Cry
Tears are powerful, but do you know what's more impactful? The struggle to hold them back. This post is for all your hard-hearted stoic characters who'd never shed a tear before another, and aims to help you make them breakdown realistically.
The Physical Signs of Holding Back Tears
Heavy Eyelids, Heavy Heart Your character's eyelids feel weighted, as if the tears themselves are dragging them down. Their vision blursânot quite enough to spill over, but enough to remind them of the dam threatening to break.
The Involuntary Sniffle They sniffle, not because their nose is running, but because their body is desperately trying to regulate itself, to suppress the wave of emotion threatening to take over.
Burning Eyes Their eyes sting from the effort of restraint, from the battle between pride and vulnerability. If they try too hard to hold back, the whites of their eyes start turning red, a telltale sign of the tears they've refused to let go.
The Trembling Lips Like a child struggling not to cry, their lips quiver. The shame of it fuels their determination to stay composed, leading them to clench their fists, grip their sleeves, or dig their nails into the nearest surfaceâanything to regain control.
The Fear of Blinking Closing their eyes means surrender. The second their lashes meet, the memories, the pain, the heartbreak will surge forward, and the tears will follow. So they force themselves to keep staringâat the floor, at a blank wall, at anything that wonât remind them of why theyâre breaking.
The Coping Mechanisms: Pretending Itâs Fine
A Steady Gaze & A Deep Breath To mask the turmoil, they focus on a neutral object, inhale slowly, and steel themselves. If they can get through this one breath, they can get through the next.
Turning Away to Swipe at Their Eyes When they do need to wipe their eyes, they do it quickly, casually, as if brushing off a speck of dust rather than wiping away the proof of their emotions.
Masking the Pain with a Different Emotion Anger, sarcasm, even laughterâany strong emotion can serve as a shield. A snappy response, a bitter chuckle, a sharp inhaleâeach is a carefully chosen defence against vulnerability.
Why This Matters
Letting your character fight their tears instead of immediately breaking down makes the scene hit harder. It shows their internal struggle, their resistance, and their need to stay composed even when theyâre crumbling.
This is written based off of personal experience as someone who goes through this cycle a lot (emotional vulnerability who?) and some inspo from other books/articles
how to write monsters that actually scare and not sparkle
⊠first rule: donât over-explain. once you give me the monsterâs exact height, weight, claw count, and dental record, itâs not scary anymore. itâs a pokĂ©mon. mystery is the muscle. a shadow that almost looks human will always hit harder than a full description of a swamp beast. leave gaps. let the readerâs brain fill them in with their own worst fear.
⊠physics should not apply. horror monsters are terrifying when they break the rules of the world we think we understand. a body folding in ways it shouldnât. joints bending the wrong direction. silence in a place that should echo. footsteps that sound like theyâre coming from the ceiling instead of the floor. once you warp reality, the reader doesnât feel safe in their own.
⊠chasing is fine. but waiting is worse. scarier than claws, scarier than snarlingâtry a monster that just stands in the corner and watches. even scarier? it smiles. because predators donât smile unless they know something you donât.
⊠let it act like it knows you. a growl is scary, sure, but a whisper of your name in the dark is worse. a hiss of your birthday. a laugh in your motherâs voice. monsters are no longer âotherâ once they feel personal. theyâre invasive. theyâre inside your head.
⊠bonus tip: give them wrong appetites. a monster that eats flesh is clichĂ©. a monster that eats wallpaper? horrifying. one that eats memories, so a character wakes up without knowing their own name? disgusting. one that eats reflections from mirrors so you donât see yourself anymore? revolting.
Emotional Walls Your Character Has Built (And What Might Finally Break Them)
(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.
â¶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) â¶ Hyper-independence. (Break it with someone who shows up even when theyâre told not to.) â¶ Stoicism. (Break it with a safe space to fall apart.) â¶ Flirting to avoid intimacy. (Break it with real vulnerability they didnât see coming.) â¶ Ghosting everyone. (Break it with someone who wonât take silence as an answer.) â¶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) â¶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) â¶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) â¶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) â¶ Pretending not to care. (Break it with a loss they canât fake their way through.) â¶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) â¶ Turning every conversation into a joke. (Break it with someone who doesnât laugh.) â¶ Being everyoneâs helper. (Break it when someone asks what they need, and waits for an answer.) â¶ Constantly saying âIâm fine.â (Break it when they finally scream that theyâre not.) â¶ Running. Always running. (Break it with someone who doesnât chase, but doesnât leave, either.) â¶ Intellectualizing every feeling. (Break it with raw, messy emotion they canât logic away.) â¶ Trying to be the strong one. (Break it when someone sees the weight theyâre carrying, and offers to help.) â¶ Hiding behind success. (Break it when they succeed and still feel empty.) â¶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) â¶ Focusing on everyone elseâs healing but their own. (Break it when they hit emotional burnout.)
How to Fix Underwriting
1. Slow down at emotionally important moments.
Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.
2. Add reactions, not explanations.
Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.
3. Ground every scene in the senses.
If a scene feels thin, add one or two sensory detailsâsound, texture, smell, or temperatureâto make the moment feel lived-in.
4. Let thoughts interrupt action.
A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.
5. Expand consequences, not events.
You donât need more things to happenâyou need to show what matters. Focus on how events change relationships, decisions, or self-perception.
6. Strengthen setting where emotion peaks.
The environment should echo or contrast the emotion of the scene. Setting is not decorationâitâs emotional reinforcement.
7. Add specific details instead of general ones.
Underwriting often relies on vague language. Swap âthey arguedâ for one sharp line of dialogue or a specific breaking point.
8. Let dialogue breathe.
Short dialogue exchanges without pauses can feel flat. Add beatsâsilence, gestures, interruptionsâto give the conversation weight.
9. Show transitions between scenes.
If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.
10. Clarify stakes early in the scene.
If readers donât know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.
11. Use the âwhat are they feeling right now?â check.
After each major beat, ask what emotion is dominant in that moment. If itâs missing on the page, the scene is likely underwritten.
12. Expand scenes that feel âtoo clean.â
If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.
I canât believe that I just lost another tumblr account!! Ahhh!!