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@helga-leakadia
Mental Health Problem
I'm going through a huge mental health challenge right now. It's a huge struggle. I keep getting ideas for stories though. Dark stories but still, stories. I can see them being therapeutic. But the problem is I don't know which one to focus on!
Plot Holes and How to Fill Them (Or, The Hidden Potential in Your Mistakes)
“But why didn’t they just do that earlier!”
“You can time travel – so time travel!”
“Doesn’t X have Y spell? Why aren’t they using it to escape?”
“You. Have. Telekinesis! How are you this stupid?”
Plot holes! The bane of every writer’s existence. You think you’ve polished your beautiful manuscript, you have it all sent out for the masses to consume and praise and shower with compliments and adoration… and then they start tugging at a thread that may or may not begin to unravel your entire story. You’ve read this thing top to bottom, forwards and backwards and upside down, so many times the letters are burned into your brain. You mumble your monologues in your sleep — how did you not see this? How do you fix this?
See this post about beginning the writing process that might help you avoid opening a plot hole entirely with a solid enough script and outline.
Types of Plot Holes
Your magic system’s established rules have just been broken for TeNSioN
Your Deus Ex Machina really did come out of nowhere and is quite out of character
Why doesn't Character just run away from a fight they can't win?
Characters forgetting they have superpowers, extreme intelligence, handy tools or weapons, survival skills, common sense, or crucial information to escape and/or solve a situation
Characters dying for the above mistakes when said death could have been avoided
The entire story could have been avoided had Character A just told Character B the truth
Character X should have known ___ all along given their profession/backstory/friend circle/education/personality
And variations of the above, I’m sure I’m missing a couple. Fixing plot holes generally come in two camps: Those you can fix by rewriting the existing manuscript that contains the hole, or those you have to work around from a previous manuscript that’s already been published.
Why Plot Holes Happen
Plot holes happen in reality. Expecting your first, second, or 15th draft to be completely foolproof is utter nonsense. Real people forget stuff they’re supposed to know all the time, tools that would be useful are left behind, GroupThink makes very bad decisions.
The difference is: You are writing fiction. Your goal is to be entertaining, not necessarily realistic. A character simply *forgetting* Macguffin X at the climax of the story does not make for an entertaining read, no matter how likely it might be to happen in the real world.
You’re making this entire world up as you go and that alone is an impressive feat millions of others can only dream about – cut yourself some slack, okay? Everything is fixable.
Plot holes also happen because we’re so engrossed in our own story that we forget it’s all made up. You’re 22 chapters into a 24 chapter novel and you’ve just realized your psychic hero would never have been caught unawares like this. “But that’s just how he is!”
No. Stop. That’s not just how he is. That’s just how you wrote him – and you can go back and un-write him. Any excuse you can dream up you can un-write, and unfortunately, you’ll likely have to do a fair bit of it if you still have the opportunity.
Plot holes generally open long after the inciting incident that causes them. If you’re going to fix it, duct-taping together a solution in that very same scene isn’t the way to do it. You have to figure out why it’s a hole at all, then go back and fix its foundations.
Finding Your Own Plot Holes
Sometimes you’re lucky enough to stumble upon them before it’s too late. A fair bit of the time, though, your audience has to tell you. Finding your own plot holes requires stepping back from your work and looking at it like you’re just a reader, not the author.
Read your plot out loud to yourself and keep asking questions like:
Does this make sense for the scene?
Does this only exist to look cool at the cost of logic?
Are these rules I wrote too easy to break or contradictory in any way?
Is there any other way for this character to escape this situation?
Is the only solution here too contrived?
That, and having an army of beta readers who should show you flaws you’ve overlooked. Even then, some things just aren’t obvious at all until someone too smart for their own good points out something no one else considered before.
It’s okay. It’s not the end of the world.
Filling Plot Holes
Fix your broken magic system
A “magic system” broadly describes any type of powers/abilities/supernatural entities that function in your world. They can be in high fantasy, urban fantasy, sci-fi, or any genre really. The Force is a magic system, as much as is bending in Last Airbender even if no one calls it “magic”.
For example: Force users are telekinetic… and yet don’t simply repeatedly spam the “chuck my enemies into a wall/off a cliff/anywhere that is away from me” button. It’s what you’d call a “soft” magic system, it doesn’t have explicit rules on how and when it can and should be used. It just *is*.
Fixing holes in your magic system first demands examining why you wrote it the way you did, why you gave it these specific rules, or why you didn’t, and all the ways characters should otherwise be able to use it when your story demands they get creative.
For soft magic systems — never let the magic system win the day. It invites far too much scrutiny. Gandalf from Lord of the Rings is a Wizard. He can do an undefined number of spells and has an unclear number of abilities and limit to his reach. Gandalf’s magic is never the saving grace of the Fellowship. So asking “why didn’t Gandalf just do X” isn’t ever a question people have because success never depends on Gandalf doing X.
Everyone hates on the time turner in Harry Potter, as they should. Time travel is essential to the plot of Prisoner of Azkaban, without it the heroes fail. And yet, because it is time travel, why it never existed earlier and why they never use it again to solve more massive plot problems is a valid question. As goes with many spells and abilities in the series.
For hard magic systems — remember that you wrote the rules, you can go back and change them at any time before it’s published. Bending in Last Airbender is rarely the focus of any conflict. Yes, two benders will fight each other, but it’s not “who’s the stronger bender,” it’s “who’s smarter with their element”. Who better uses their environment? Which one is racing against a clock before reinforcements arrive and overwhelm them? Which one runs the risk of exposing themselves if they start bending? Whose mental state is crippling their bending today?
These are all character-driven explanations for why certain abilities do or don’t manifest in a given scene… until the finale when it really is just a clash of red and blue aura lasers.
There is never a scene where a character is trapped when they shouldn’t be. Never a “why didn’t you just X” moment, because it’s never about the bending, it’s about the bender.
Turn plot-reasons into character-reasons
This means taking a “why don’t they just do X” and making the reason because one of the protagonists is morally against doing it, not because the hand of the author demands it.
In Last Airbender, Aang is vocally against simply killing the Fire Lord. It would be easier, it would risk far less casualties and carnage, it’s fastest. And yet. Aang doesn’t do it simply because he’s not strong enough or he doesn’t have some magical super weapon, or the stars have aligned and now he’s lost a very convenient ability – Aang doesn’t want to take the easy road because that’s who he is as a person.
He’s been raised as a monk to value the preservation of life above all else (ignoring any accidental casualties over the course of the series). Him being desperate to not simply kill Ozai is central to his character and even when he has the chance in the climax of the fight, he still doesn’t take it.
Now “why didn’t you do that earlier” does, still, concern the “energy bending” established out of nowhere just for the finale so Aang doesn’t have to compromise his morals to win… but the show is so damn good and Ozai’s just desserts so damn sweet it doesn’t really matter.
Making these plot decisions character decisions, so long as they are in-character, gives some juicy potential for schisms within Team Protagonist as fan favorites clash over ideals and morals and whether or not the greater good is worth them sacrificing something so central to their being.
This also applies to characters not sharing crucial information with each other. Make them distrustful of the others, or let them attempt it anyway and have some other consequence for the effort. Anything is better than a character sitting on valuable info simply to maintain the mystery.
Avoid Deus Ex Machinas
The “surprise reinforcement cavalry charge” is one of my favorite deus ex machinas in fantasy. Everybody cheers, it looks amazing, the music is swelling, our heroes on the battlefield realize they haven’t been forsaken by their friends, etc. In Lord of the Rings, yes, Theoden could have arrived 30 minutes earlier and saved even more lives, but we already knew he was on his way moving as fast as he could without exhausting his horses. Theoden’s army also took care of the bulk of the battle so when Aragorn arrives with the second surprise reinforcements, it’s less a decisive blow that comes out of nowhere and more the victory lap.
In “Battle of the Bastards,” Game of Thrones has its third surprise cavalry charge of the series, only this one much more explicitly comes to save the day. The difference between this scene and Theoden’s charge is: Audiences had no idea Littlefinger was on his way, and neither did Jon Snow. Had Sansa told him she had a plan, Jon could have waited. He wasn’t backed against a wall and forced to fight right then and there, he could have stalled an extra hour by just not showing up to the battlefield to wait for his cavalry. With Sansa inexplicably not telling him, she risked his life and the lives of his entire army because the hand of the writers wanted to keep it a surprise. Worst of all, when the battle is over, he compliments her decision, despite all the blood on her hands.
Surprise reinforcements, saviors, powers, and abilities always run the risk of “why didn’t they do that earlier” and you should be asking yourself the same question. If you can’t come up with an explanation other than “because it’ll look cool” go back to the drawing board.
Or, have your very own characters pissed that the savior didn’t just do that earlier. Have your characters ask where this special power was, have it mean something to them and the story at large. Had Jon been angry with Sansa, given their incredibly pyrrhic victory and the potentially avoidable death of their youngest brother, it might’ve made for some interesting character drama.
Give your saving graces deadly costs
“Why didn’t they just do X earlier?”
“Because doing X would have killed Character D, dummy.”
Giving your super special magic, mutant, super, or supernatural powers costs, drawbacks, and limitations forces the characters who use them to not resort to them every single chance they get. Their magic drains their physical stamina, or the demon they made a deal with camping in their brain threatens to overtake their psyche, or the sword is cursed and every time the hero raises it in battle, they lose a little piece of themselves. Or, using this creepy power strains their relationship with their friends or community.
Without risk and consequences, you cannot avoid “why didn’t they do that earlier,” because the only answer you have to give is “because I, the author, said so.” The only time a character is allowed to have selective amnesia about their superpowers is if it’s been established beforehand as a potential problem. Then it’s not “this came out of nowhere.” Then your audience is dreading the entire time waiting for that chekhov’s gun to fire.
Don’t compromise your story for sensationalism
I can complain about ~subverting expectations~ in another post, but what I mean here is this: Are you writing this scene purely for shock value, for the sake of a twist, because a story this grim demands at least one character death, or because it’s going to look epic?
In this post about pacing and this post about how to write tone, I talked about making your scenes pull double duty. You can write a scene for shock and awe, but if it’s at the expense of a character’s integrity or intelligence, come up with another way to make it spectacular.
You want the villain to monologue to give the heroes time to save the world? Then write a villain with an ego and personality that would monologue. You want the hero to be a one-man-army? Then write their personality as the lone wolf type and have it be a flaw of theirs that they keep striking out alone, consequences be damned.
You absolutely need the hero to not take the easy road and fight the bad guy without using their most effective weapon? Give them a reason to stall this fight. Maybe they really do need to simply run out a clock, or they don’t actually want to kill/subdue their opponent, or in doing so, the villain’s death is what causes the Bad Thing to happen.
If I write a character that can kill with just a look, every time I put them in a dangerous situation I need to then justify why they don’t do that over and over again, unless it’s by their own stubborn integrity that they choose not to.
If I write a villainous plan so devious and well thought out, the only thing standing in the way is living protagonists? I need a reason the villain doesn’t just murder the heroes every chance they get. Maybe they’re internally struggling over actually going through with it, or their ego demands the hero doesn’t get a quick or honorless death, or they do actually need a living hero for the plan to work.
Fixing Plot Holes in Sequels
All of the above is advice for issues within the same manuscript. What happens if you’ve already published and have the chance to address a known plot hole in the sequel?
About the worst thing you can do is slap in a throwaway line or hasty explanation to cover your ass. Everyone reading and watching will notice. Saying nothing is better than saying that.
See the duct-tape in Rise of Skywalker when the heroes explained that they couldn't just hypersspace-jump another ship into the enemy fleet because it worked so horribly effectively last time. Doesn't matter that they could have put it on autopilot or sacrificed a droid, or that, at any point in the history of Star Wars, someone else could have and should have done this desperate maneuver. For the sake of "looking cool" it opened an entire sinkhole.
Less a “hole” and more an inconsistency — the pegasus Blackjack in Percy Jackson is explicitly a mare, a female horse, in one book, and then inexplicably male in later books. Why? Well the author made a mistake, simple as that. He did *not* attempt to explain this error away or dig the hole deeper. It just is. Though I’m not sure why Blackjack couldn’t just stay a mare and how he didn’t reference the previous book when writing the sequel is a bit baffling.
If your heroes can no longer use the Deus Ex Machina they used before – have them attempt to use it, and then come up with a solid reason why it’s not possible. Maybe it was one-time use, or the savior simply doesn’t want to, or the cost/risk is too high to attempt it again, or it simply can’t be found and it’s very frustrating.
Have the heroes be morally opposed to doing what they did before, or overconfident, or skeptical that it will even work again only for that choice to bite them in the ass later. Have the magic item all used up, the recipe to recreate it lost to history. There’s a hundred better excuses than the hand of the author simply saying so.
—
If you aren’t going to write a sequel and you accept living with the plot hole unfilled… chances are people are going to love the story despite its flaws. Harry Potter is the poster child of “why didn’t they use X spell to solve the problem” or “they have a spell for X, yet they don’t have a spell for Y?” and how many people love that story?
In the end, a plot hole can be tiny or massive and chances are the story you told is entertaining enough to make up for it. It’s just a story, it’s just fiction. Learn from your mistakes so the next piece you create is even better.
the suffering never ends
This is the real process
Resources for you!
Character Ideas:
Character creation masterpost
Character Alignment Chart
More character alignment descriptions
Muslim Character questions
Characters with magical powers
Building a new character advice
How to create a character for an online or tabletop RPG (also a good guide on creating characters in general)
Royalty/nobility TV Tropes page
Basic character profile
OC masterpost
Random character generators - (1), (2), (3), (4)
D&D Character Building Tool
Character Design Ideas:
How clothing affects a character’s personality
Character Design Inspiration blog
Concept art, fan art, cool art to be inspired by
Character design references and inspiration
Sources for POC character design ideas and models
Create your own character model using HeroForge
For horned characters
Body and hair types guide
Random outfit generator
Naming Help:
Amazing site with an endless amount of naming resources
General advice on avoiding naming appropriation
Hispanic Surnames
Gothic Victorian names
Huge master list for character things in general
Masterlist of names of all types - including but not limited to ancient/old world names, Celtic, African, Northern European, Southern and Central American Native names, Japanese, Chinese, Mongolian, Polynesian, and more
Another name masterlist
How to pick a character name guide
Yet another names masterlist
Creating Background/backstory:
Character Sheet/Development Sheet
Another character development list
In-depth character personality, motivations and traits sheet
320 talents and passions for characters
On writing likes and dislikes that aren’t frivolous
Why you should write non-human characters non-conforming to the gender binary
Stereotypes, tropes, and archetypes
Random backstory generator
Assassin and thief character tropes to avoid
Character Interactions and putting your character into your world/story:
Comparing character height/height references
Characters who are scientists and writing about them doing science
Describing what different voices sound like
Describing skin tones
Writing friendship interactions that are platonic
Why having one character knock their friend unconscious to prevent them from doing something is a bad idea
Advice on shipping OCs with canon characters and what to avoid doing
Sweet Polly Oliver and Sweet on Polly Oliver situations (think of Disney’s Mulan for an example)
How to write multiple viewpoints/juggling a main cast of more than 4 to 6 characters
How to make readers care about your morally gray hero/anti-hero
On platonic OC and canon character relationships
How to avoid Godmodding in RPs
When it’s cheap to kill off a character
Writing dialogue
Things you shouldn’t do to canon characters
Avoiding purple prose in writing and RPs
Slang resources
Dialogue tips
Websites to chart your story/plot/character relationships
Bonus art masterlist!
BLESS EVERYONE IN THIS POST.
I was just thinking about the head cannons I have for characters I’m writing and then I realized. I’m the writer. Those are cannon. I can just make them cannon.
Do you ever think about the episode Ghostfacers, in which Sam and Dean swear profusely and come across as more dangerous and intense and even more unhinged than they usually do? The outsider PoV emphasizing how they move like predators and the anger and violence that casually radiates from them?
And the obvious implication of course is that this is them in actuality, without the network-TV filter applied, a meta-message to the audience.
Do you ever think about how when Chuck talked to Sam in season 4, how he said he hadn’t written the blood drinking into the books because it would make Sam look unsympathetic? The little curiosity this instills because we as the audience have only actually (finally) seen that two episodes prior, with the intervening episode being the angels’ little alternate universe office au.
And the implication of course being that Chuck has known all along, but hasn’t disclosed it in the books, the way the writers of the show have known all season but hadn’t disclosed it to the audience for so long.
Do you ever think about how Kripke was grabbing us by the shoulders and telling us that the version of Sam and Dean that we see is the network’s sanitized for the censors version, is Chuck’s sympathetic version (not unlike the self-aggrandizing bullshit Metatron later calls him out for writing), and that we actually should question the unreliable narration?
Do you ever think about how truly unhinged Sam and Dean must be and are, once the censors are pulled back and the hero-filter is scrubbed away?
this post is getting notes (freaking love that it resonates with so many folks) but so much of the discussion on it is about #hboSPN and i just wanted to say that as much as i love hboSPN and its vibes, that’s not at all what i had in mind when i wrote this.
this post isn’t about the (absolutely sexy) vibes of dean with knuckleduster enochian tattoos or sam snorting coke in rest stop bathrooms after 30 hours of no sleep. it’s not even about wincest (though to be clear i do ship that, yes).
it’s about what we see on the hit CW show supernatural and what we can infer about it -
someone (Elsi? V?) mentioned that supernatural is all the better for how unhinged it is and how that’s a counterpoint to the pseudo-normal lens with which we see the brothers and that’s exactly it.
this post is about knowing that yes, sam and dean definitely swear, but also that they are terrifyingly physically powerful. that dean lifts a locker in Ghostfacers and Ed or Harry stammers about how strong he is and dean is passably annoyed and little else. it’s about sam drinking goddamn demon blood and the narrative literally telling us it didn’t want to make him look unsympathetic but holy hell, that boy was literally drinking demon blood! and some people (who i adore keep on being unhinged my friends) still say “that was the right thing for him to do” as if it didn’t turn him into an actual demon and as if he didn’t murder an innocent woman tied up in a trunk!
it’s about dean murdering the kitsune who happened to be the first girl his brother ever kissed and about the fact that we as the audience see dean as this heroic figure but moments like that drop the veneer, let something else slip through the cracks, and outsiders are right to be terrified and horrified and disgusted by these monstrous brothers who will savage and kill with a sneer on their face and claim its for the greater good.
outsider pov is everything when it comes to the winchesters because even other hunters are leery around them. they are unsocialized but manage to get trauma victims to open up about grievous crimes and manage to effectively impersonate child psychologists and manage to woo all manner of women into their beds and it means they can turn on a dime, flip the switch from unfeeling violence to charming and harmless sweetheart and that! is! terrifying! dean knew something was wrong with soulless sam but even he was halfway convinced at times because that serial killer smile is part of who they are!
it’s like this: the narrator of supernatural loves sam and dean and wants to paint them in a sympathetic light, wants the audience to love them as the narrator does, but knows it would be wrong to outright lie. so the narrator is obfuscating just a bit, making sure we experience and understand sam and dean’s points of view, but when we push just a smidge on that narrative voice, the cracks are intensely apparent.
anyway thank you for coming to my ted talk tl;dr the winchesters don’t need to be on hbo to be unhinged, we see exactly what they are already.
Always reblog.
I’ll never say I don’t love an unreliable narrator or unhinged fucked up characters. And this gives me both
the feminine urge to write fanfiction about my characters that literally do not exist yet in any public form of media
How to write a strong redemption arc
Here are my best tips to writing realistic strong redemption arcs for the characters in your novel!
Figure out their pivotal moment The first thing you’ll need is a powerful moment that acts as a wake-up call that they can no longer keep going this way. Does someone they care about get hurt? Do they make a grave mistake that they can’t take back? What the moment, it should be the biggest baddest thing that’s ever happened as a direct result of their actions.
What is their reason behind the redemption? This is where you ask yourself - why? Why do they want to redeem themselves? Is it because they lost someone’s trust? Is it because they were reminded of a past where they were different?
What are the stakes? Now that you know why they want to redeem themselves, think about what happens if they don’t. What do they lose?
Let them make mistakes Even if they’ve now decided to flip the switch, it’s incredibly difficult for a person to immediately make the right choices, especially if they were used to doing things differently so far. Let them have a few slip-ups before they adjust.
Let them learn from it What sets apart a character worth of redemption is whether they keep trying, even if they fail to redeem themselves the first time. Persistence is key!
Let it be for them A character’s initial reason for redemption can most certainly be to prove themselves to another person, or to do it for a larger cause. But the only way it’s actually going to stick is if they come to realize they must do it for themselves, despite whatever else happens. Despite what they may lose in the process.
Some thoughts on Sam & Dean’s handgun preferences
Or: why Sam has more guns, but Dean is the better shot
So I can’t find much proper meta about the weapons (and even the SPN wiki was making mistakes.) But I think there’s a goldmine of good character stuff here. Ryan Steacy has been the SPN armorer since the beginning of the show, and he’s put some really nice thought into the boys. Respect, love, appreciation for him.
So… I’ll just jump right in, shall I?
Dean’s M1911A1
Dean carries the baddass American pistol. It’s very macho, very MURICA. The 1911 was the service gun during WWI & WWII, right up through the Korean war. So it gets (and deserves) a lot of love. They have a reputation for needing more maintenance than some modern pistols, but considering how often Dean’s just sitting there, casually cleaning while chatting with Sam, he probably sees this as more a feature than a bug. He’s a natural mechanic. Firearm maintenance is probably relaxing and zen for him.
(I do think that for Sam it’s more a stressed-based compulsion. He tends to do it when he’s feeling helpless or scared. In “Hello, Cruel World” Dean interprets Sam’s gun-cleaning as sign that he’s in a bad headspace.
BOBBY: Well, at least he’s not curled up under the sink. DEAN: Yeah, no, he’s just sitting there silently field stripping his weapon.
And Hallucination!Lucifer sees it as evidence that Sam’s suicidal. Sam goes for a more traditionally low-maintenance pistol, and I kinda think Dean may clean it for him a lot of the time.)
But anyway. Dean’s 1911 holds large .45 caliber Colt ACP rounds - which means it can only fire seven shots before he has to reload. (Sam’s pistol, by the way, can fire seventeen shots in a row.)
And people who like the 1911 say this is fine. The bullets are so big and the gun is so powerful that seven shots is all you need. (You hear the phrase “stopping power” or “knock-down power” a lot.) But there are also the people who think that the 1911 is just over-powerful, and it isn’t worth it to sacrifice carrying capacity and accuracy for pure force.
Because yeah, it is harder to be a really good shot when you’re using .45 ACP rounds. Target shooting teachers will probably start you off with baby .22mm bullets, then slowly move you up to something bigger (bigger bullets = slower bullets = less accurate bullets. Also more recoil, which makes everything harder.) This guy is kind of intense, but puts it well when he says “every step up the caliber ladder means another round of very serious training.”
But hey, Dean is a better shot than Sam
Like, I don’t think it’s ever explicitly stated, but of course he is?
Their entire childhood, it would have been Sam going back to the motel room early to study or do his homework, while Dean dutifully puts in another three hours shooting coke cans off fenceposts.
This also helps explain his choice of handgun. Dean uses a less accurate pistol with a smaller carrying capacity because he can. He knows he’s going to hit the thing the first time. And if he’s going to be fighting literal wendigos, I guess he wants the holes he pokes in them to be as big as possible.
(plus all this classic Americana does kind of go with the Impala)
Sams’ Taurus PT92AFS
Sam spends the first season borrowing Dean’s Smith & Wesson 5906. It’s very clearly Dean’s - it fires .45 ACP rounds (Dean’s preference) and Dean sometimes actually loads it before handing it over to Sam. Since Sam doesn’t actually want to be a hunter though most of S1, this makes perfect sense.
Then in S2, Sam gets his Taurus PT92AFS – basically, a budget version of the Beretta M92. In a lot of ways, the Taurus is the souped-up Honda civic you get when you can’t afford a Ferrari. (and in both cases, you’ll totally get people saying they’re being smart by not paying extra for the brand name.)
A Taurus PT92AFS is a practical and cautious choice. It’s not the least bit flashy. It’s light and accurate, it carries a lot of rounds, and they’re little .99mm rounds, which are more budget conscious and accurate than .45 ACP rounds.
Partway into S2, Sam’s Taurus gets nickel plating and pearl grip. Possibly Sam did this so his gun would match Dean’s. Or possibly Dean customized Sam’s pistol as a gift. (it’s the firearm equivalent of painting racing stripes on your car.) Either way, it’s a pretty darn cute touch.
Sam’s Taurus Judge (his “witch killer”)
“For an unknown reason, Sam appears to prefer using this gun for firing witch-killing bullets rather than loading his regular pistol with them. In contrast, Dean uses his Colt M1911A1 for witch-killing bullets rather than employing a similar practice.”
@supernaturalwiki, it’s because the witch-killing bullets Sam makes are .45 ACP, not .99mm. They wouldn’t fit in Sam’s normal Taurus PT92AFS. He makes them for Dean, so of course he makes them in a caliber that Dean prefers.
Sam’s Taurus Judge is a close-quarters backup piece that fires five shots. This is just in case Dean (the better shot) isn’t able to take out the main threat. Hilariously, the Judge is a revolver that chambers both .45 ACP rounds and shotgun shells. This means Sam can load it up with rock-salt shells or witch-killing bullets or silver bullets. So you know. Whatever’s on the menu that day.
Soulless!Sam’s Heckler & Koch Mk23
Sam switches over to this when he loses his soul, then switches back to his Taurus products when he gets his soul back. When Soulless!Sam and Sam!Sam fight in their vision quest, they fight Heckler & Koch vs Taurus.
The Heckler & Koch Mk23 is designed to have the power of Dean’s 1911 and the carrying capacity of Sam’s .99mm handgun. So it’s huge, and very intimidating. It’s waterproof, crazy durable. It’s made by a fancy schmancy German defense contractor known for their precision engineering and their popularity with the special forces. H&K weapons are also known for being crazy expensive. This pistol would have set Sam back at least $2,000 (and for reference, you can get a Taurus PT92AFS for $500, easy.) So, either Soulless!Sam killed someone with a Mk23 and looted it, or somehow raised 2K very quickly. And I’m not even sure which option is more terrifying.
But the Mk23 still has that vibe of practicality and caution that Sam seems drawn too. (’Over-prepared’ is a good word to describe it.) It’s still an in-character choice. Just, Soulless!Sam is more brusque and intimidating when he’s dealing with persons of interest, as opposed to Sam!Sam’s softer, more approachable manner. And I think those two attitudes are pretty well represented by the H&K Mk23 and the Taurus PT92AFS respectively.
Interestingly, the H&K Mk23 does not fire Sam’s normal .99mm bullets. It fires the larger .45 ACP caliber rounds. And Soulless!Sam can get away with this because - I’m pretty sure Soulless!Sam is a much better shot than Sam!Sam.
SAM: Ever since I came back, I am a better hunter than I’ve ever been! Nothing scares me anymore. ‘Cause I can’t feel it.
Like again, why wouldn’t he be? Soulless!Sam is ice cold, steady heartbeat in a crisis. Marksmanship is a mental thing as much as it’s practice, and Soulless!Sam’s hands aren’t shaking. And that’s why he eventually switches back to his Taurus PT92AFS. It doesn’t matter if your shots are more powerful, if they don’t hit anything.
(he still does have that H&K Mk23, though. He cleans it when he’s in a bad mental place. It’s not like he borrowed it from the Campbells or anything.)
tl;dr
Dean uses big slow American bullets, because he’s a good enough shot to compensate. Sam uses little, accurate European bullets, and he uses a lot of them (because he’s cautious, and not quite as good as shot as his brother.) The witch-killing bullets Sam makes are a larger caliber, because he makes them for Dean. He’s got a little revolver that can take them, but he’d prefer it if he didn’t have to use it so much.
Soulless!Sam is both a better shot, and not adverse to giant expensive German handguns acquired though less-than-legal means. So he switches over to a pistol that shoots giant bullets, and lots of them.
(Also, disclaimer: I do not pretend to be a firearm expert. I’m just here to have fun.)
Writing bromance
A good bromance can set your story way ahead. Here’s how to do it
Give each bro their own issues & personality It’s super powerful when two bros are bros despite having a largely different personality and set of issues, goals, and struggles.
They anticipate the other bro’s reactions to things Basically - the bros know everything there is to know about each other, and they’ll be able to tell exactly what their bro will think of a certain event, or how they will act and feel in a certain situation.
Their bro is the first to know Whatever happens in their life that’s exciting or interesting, their bro is the very first person they’ll tell. And secrets? They don’t exist.
They won’t be toxic about their bromance This is a huge thing to consider that will set your bromance apart. They’re physical with each other, they joke around, they’re comfortable around the other and would never turn up their nose at being “mistaken” for a couple.
When they fight, it hits deep Because they’re likely each other’s person, if they ever fall out, it could hurt more than a breakup, and they’ll likely be moody and regret their actions.
A bro is a bro even when they’re not a bro What’s really going to tug at your readers’ emotions is if even during a fallout, your bros still remain loyal and respectful to each other’s wishes and secrets.
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I'm a fiction writing coach with a special focus on the power of outlining, and I'm here to help you go from an idea to a polished manuscrip
A recipe for finding your story's plot:
Ingredients:
2 cups of Things that must be in the story (this can be characters, specific scenes, settings, subplots etc.)
1 cup of Vague plot ideas I may not use
1 tbsp of Central Themes
1 tsp of Ending (either happy, tragic, or bitter-sweet)
1 tsp of Protagonist's Primary Motivation
2 lbs of Brick Wall
Time, as needed
Instructions:
In a large bowl, mix Things that must be in the story. Set aside.
In a separate bowl, sift together Vague plot ideas I may not use. Discard the excess and set aside.
Add Themes, Ending, and Motivation to a small jar. Screw lid on tight and shake until mixture becomes Conflict.
Pour Conflict and Vague plot ideas into Things that must be in the story. Blend on medium until Plot Points form.
Taste.
If it is still missing something, smash head against 1 lbs of Brick Wall for one to six hours.
Let marinate for one to 365 days. Add more Things and Vague plot ideas as desired.
Smash head against the rest of the Brick Wall for one to six hours.
Scream.
Repeat steps 5 through 9 as needed.
After sufficient marination, the mixture will form an idea. This will tell you what specific action must happen in order to resolve your story's conflict. Write this down and make appropriate sacrifices to thank whichever deity took pity on you.
Now you have your conflict, climax, and resolution. You just have to figure out how to get there. Good luck with the damn middle section dork!!
Quick guide to “Show not tell”
We’re always told to do more showing and less telling in our work, but rarely told what that means. What exactly should you show and what should you tell? Really, the rule is simple - show us things that are important to your story, and tell us those that aren’t pivotal.
Telling isn’t always the worst thing you could possibly do, but you should know when to do it. Sometimes, trying to show absolutely everything in your story can get exhausting to the reader, and you might be in danger of losing the point you were trying to get across.
Make sure when you show us something, it’s of importance to your overall story!
how to write relatable characters
writing relatable characters may seem like an easy task, especially when you’re constructing your protagonist. but what if you want to make your antagonist likeable? what if you want people to hate your protagonist but still root for them? all of this and more requires that your characters be relatable. they need to feel real, so how do you do that? here’s how:
- flaws: this is probably obvious. everyone has flaws, so we should give our characters flaws, too. this applies even if your character is non-human; they cannot escape the personification that we as writers or readers project onto them. we are humans reading, so we expect to see human qualities everywhere we look. if you’re having trouble of identifying your character’s flaws, here are some prompts for ways to think about flaws beyond a list:
what skills do they lack? what do they struggle with?
can their strengths be turned against them as a weakness?
what makes them react emotionally or impulsively?
are they aware of their flaws? if so, do they want to improve them or change them?
- quirks: these are what make your character unique or special, and no, i don’t mean purple eyes or unique physical traits. i mean: what makes your character authentically themselves? what traits define them that few others have? some ways to think about this are:
how do they react when nervous? do they have a tell? similarly, how do they react on behalf of any emotion?
what skills do they have that hardly anyone else has?
what obscure thing are they obsessed with?
do they have a unique outlook on life compared to their peers?
- values: these come from life experiences: where we were raised, our family and friends, our community, religious affiliations, etc. i suggest identifying eight to ten values that define your character and then narrowing that list down to five values that mark their core or essence. think about how these values influence their choices, decisions, and ultimately, the plot of the novel. here are some more prompts to think about values:
how do they react when their values are challenged? are they one to speak up or do they sit back in the shadows?
what, if anything, will change or shatter their values?
are their actual values misaligned with their believed values?
- stakes: what is at risk for your character? what is motivating them? stakes don’t need to be over the top or life or death; they can be as simple as maintaining a relationship or reaching a goal. unless there’s an outside influence (ie. percy’s mother being kidnapped in The Lightning Thief), most stakes—especially those relatable—tie back to values. even those influenced by outside factors can tie back to values: the only reason percy is motivated to get his mother back is because he cares for her and she is the one person who has always advocated for him and cared for him. he values family and riordan uses his family to motivate him and incite the plot. generally, there will be one overarching stake for your character, but throughout your novel, there should be several smaller stakes. these may not service the plot but should elaborate on your character nonetheless. some ways to think about stakes include:
how can i use internal or external factors to create convincing, relatable stakes that tie back to basic values?
why does the overarching stake matter to my character? why do they care?
how can i raise the stakes or introduce new ones that are relevant to my character and illustrate them as a relatable being?
- connection: even if your character is an introvert, they will still be connected to someone, something, or even an idea. we, as humans, look to certain people, pets, objects, and ideas to maintain our sense of reality whether we realize it or not. if your character prides themselves in having no attachments, think about the ideas or themes that mark the cornerstones of their reality. most human beings strive for some form of connection, so here are more prompts for thinking about your characters and connection:
what does connection mean to my character? how do they show how they value their connections or relationships?
how does my character’s behavior change when around different connections?
what connections define my character and their reality? how will these connections influence my character and/or the plot?
how will removing or challenging a connection change, influence, or motivate my character?
a good rule of thumb is to treat a character as a human, not a plot device. there is a time or place in which a character must act as a plot device, but if you’re wanting your readers to be compelled by your narration and the characters within them, you should strive to write your characters as human (aka as relatable). one of the greatest pleasures i find in writing is when other’s identify themselves in my writing.
you’re not just here to tell a story, you’re here to connect with others through the illustration of your characters. let the reader navigate your prose as a detective, to search for and identify the evidence provided by you. that is to say, show us how these things manifest in your character. don’t tell us.
happy writing! hopefully this post gave you some ways to start thinking about how to show the relatability of your character. if you have any questions about implementing these tools or about writing characters, our ask box is always open.
How to write morally grey characters
By WriteAway on Servicescape
Morally ambiguous characters are those that are not simply heroes or villains. They fall somewhere in between, and as such, add a layer of depth and complexity to your story. The truth is that most humans in real life are not pure angels or simply bad people, but rather hold elements of both. Morally ambiguous characters can drive the plot in interesting ways, allow for great character growth, and sometimes end up being some of the most memorable characters in a book.
Morally ambiguous characters can start off with good intentions and then be driven to evil by others or by society, or they can start off evil and come to redeem themselves. Alternatively, they can remain ambiguous and complex throughout the whole narrative, and leave the reader to make up their own mind about them. Either way, these characters certainly make us think about the nature of good and evil and the complexity of the human psyche.
Give them a backstory
Understanding where they came from is important for any character, but it's particularly crucial when your characters are morally ambiguous. Often, the struggles the character went through in the past go some way to explaining their negative character traits now, or at least make us empathise with them a little.
The backstory is important for character development, and it is a great place to explore ideas of personal responsibility vs critiques of society and the results of terrible experiences. Whether your character was bullied as a child, pushed to the margins of society, or something else entirely, give them a rich background that helps us understand why they act the way they do.
Understand their motives
All characters should have needs and desires, and reasons they do the things they do. Often, when it comes to morally ambiguous characters, their motive is exactly what causes them to slip up and do morally questionable, cruel, or destructive things. This can be true whether or not the motive is itself a good one or not.
A morally ambiguous character can be a wonderful opportunity to explore the idea that the ends justify the means, and the corrupting force of power. Whether your character's motives are good but lead them to terrible actions, or whether it is precisely the selfishness of the motives that lead to your character's downfall, give them goals and desires that force them (and the reader) to grapple with choices and dilemmas. And the motives don't have to be as dramatic as the ones mentioned – as with Jay Gatsby in The Great Gatsby, it can be something as simple as a desire to win back a lover that leads a character into moral ambiguity.
Give them a weakness
Going all the way back to ancient Greek tragedies, the idea of the hero with a fatal flaw has lived on in literature for thousands of years. A morally ambiguous character may be fundamentally good, but marred by a particular weakness, such as cowardice, vanity, shame, or anger. The characters in F. Scott Fitzgerald's The Great Gatsby are full of fatal flaws. For Daisy Buchanan it is her vanity and desire for wealth and admiration. For Jay Gatsby it is his love for Daisy, as well as his shame surrounding his background.
Your character's weakness doesn't have to be the ultimate cause of their downfall or even their central character trait. The main point is that they have certain elements in their nature that challenge them, tempt them, or cause them to struggle. It doesn't matter what they are, but weaknesses make morally ambiguous characters more believable, layered, and human.
Give them redeeming qualities
This goes without saying, but you can't have a morally ambiguous character without giving them some redeeming qualities. Whether they are primarily good but are driven or tempted to wicked acts, or whether they are basically villains with good motives or elements of kindness, there needs to be some level of balance.
Severus Snape is often cruel and sometimes corrupt, but he ultimately makes the right choices where it matters. The Artful Dodger is a thief and ultimately betrays Oliver in Charles Dickens' Oliver Twist, but he also helps Oliver and displays feelings of sympathy towards him. Moreover, his actions can be understood in light of his circumstances and experiences.
In the end, it doesn't matter where your character falls on the scale of morality. The important thing is that they have a believable and interesting combination of motives, flaws, and redeeming qualities. If you can get these elements right, you will have yourself a really fascinating, morally ambiguous character.
Let them grow and change
Character arcs are essential to good storytelling. No character should be exactly the same at the end of a book as they were at the beginning. The mechanics of plot are important but are ultimately meaningless if they don't cause development on the part of the characters. However, when it comes to morally gray characters, the way they change throughout the narrative is particularly important.
George R. R. Martin is a master of the character arc. Both of the Lannister brothers are not presented as particularly praiseworthy at the beginning of the series. Tyrion, while harmless, is shown to be philandering, selfish, and lazy. Jaime Lannister, on the other hand, is an outright villain, as he pushes a young boy out of a high window just to protect the reputation of him and his sister. Both go through redeeming character arcs, with Tyrion becoming a paragon of thoughtful justice with a commitment to seeing good prevail. Jaime has perhaps the most striking redemptive arc of the series, but his love for his sister is the fatal flaw that spells disaster in the end.
Many supervillains and other characters experience the opposite type of character arc. In the recent Joker movie, we observe the Joker not as a simple villain, but as someone who was pushed to evil from his experiences and the cruelty he suffered at the hands of society. He begins as a sympathetic character, but by the end he is without question a villain. However, it need not be as black and white as this. Jay Gatsby's weaknesses certainly lead to his downfall, but it is up to your interpretation whether he is ultimately a tragic character or someone who has received his comeuppance.
As we can see, a character arc need not be simple or go only in one direction. Your character can struggle continuously with moral questions, leaving the reader unsure up until the finale what side they will end up on. You can end your book and leave it ambiguous whether the character was ultimately good or evil, or perhaps a very human combination of the too. The main point is that the experiences they have and the actions they undertake throughout the novel must affect them in some way, so that they develop as a character.
Keep the readers guessing
The previous point touches on this, but one way you can keep readers fascinated throughout the whole book is to keep them guessing about the true moral nature of the character and what they will do next. Severus Snape is a prime example of this. We as readers are left unsure right up until the end of the series whether his loyalties lie with the Death Eaters or with the Order of the Phoenix and those fighting Voldemort. In fact, people still argue about whether Snape really redeemed himself enough to be the namesake of one of Harry's sons or not. If your character causes arguments, you have done something right!
There are multiple literary devices you could use to keep your readers guessing. You could pepper little hints throughout the narrative that show the possibility of redemption or allude to potential disaster. Instead of revealing what the character is thinking, you could merely show us their actions, leaving us to interpret them. Alternatively, you could be explicit about the mental struggles the character is going through when making moral decisions. Whatever your method is, leaving things uncertain and keeping various possibilities open is what makes the audience want to keep reading.
Give them difficult choices
Choices often drive plot and character development, and difficult decisions are a central way in which authors can allow ambiguous characters to struggle with moral questions and keep readers guessing. The choices that these characters make can redeem them or be the catalyst for their downfall. Snape's decisions to join the Death Eaters and later to leave and join the fight against them, is the cornerstone of his character development and much of the plot of the Harry Potter series. Jay Gatsby's initial decision to lie to Daisy about his background is the key choice that leads to his life of dishonesty and unhappiness.
In many cases, the choices that characters make are key events that determine the shape of a book. They are also great opportunities to explore difficult moral questions and dilemmas. Maybe your character has to choose between the greater good and personal desires. Perhaps they are faced with a decision that hinges on loyalty to loved ones versus making the moral choice. They could be tempted by greed, vanity, cowardice, or anger. There are so many difficult choices you can force upon your characters.
Not only can such decisions drive the narrative of a book, but they can also make readers think about very real dilemmas they face in their own lives, and broader questions about the nature of "right" and "wrong." A really good book doesn't just entertain us, but makes us think and forces us to come to our own conclusions. It makes us consider things we may not have before and leads us to apply ideas to the real world, no matter how magical the setting of the book is.
Focus on relationships
Often, the decisions that a character has to make and the experiences they go through are closely linked to other characters. In the case of Frankenstein, the central relationship is between the monster and the scientist who created him. It's not a relationship that involves much contact, but it is what the narrative revolves around. Relationships can redeem, such as Snape's love for Harry's mother Lily. Alternatively, they can cause a character's downfall, such as Jaime Lannister's incestuous relationship with Cersei or Gatsby's obsession with Daisy Buchanan. Relationships are a great motivating factor for morally ambiguous characters, whether they lead to temptation, redemption, or other moral challenges.
In addition to that, it's important to consider the conflicting motives and forces informing all of your characters. Although not all your characters need to be morally ambiguous, they should all be complex. Even the most heroic character can struggle with temptation and can make the wrong choice from time to time. Even the evilest villains should have elements that we can empathise with or moments of kindness. Otherwise, they are nothing more than a caricature. That does not mean that you cannot have people who are essentially good and those who are essentially evil. However, inserting a little ambiguity into all of your characters makes them more authentic and human. Each character should be well-rounded, believable, and multifaceted. Writing explicitly morally ambiguous characters can help you make better characters all round.
ways you can further develop your main character
give them a misbelief
no characters have a personality when the plot starts. all of them have backstories, a past, and a mindset that they grew up with!
basically, a misbelief is the wrong mindset that they grew up with, and is also a belief that will be restructured by the end of your novel.
this not only shows character growth and development as their mind is "restructured" or they learn their life lesson, but also drives the internal plot of your story, which differs from the external (or action) plot that most people seem to read.
+ this gives readers a deeper insight to your character!
give them a goal
every character has a goal, or something they want in their lives. having them strive for it would essentially drive your plot, and may also help you dig deeper into your character's motivations!
this goal doesn't always need to be achieved, or may be impossible to (for example, someone wanting to meet a loved one who turns out to be dead; they may have not reached their goal, but it took them on a journey)
this goal should also be concrete if possible! vague ones like "they want to be happy," isn't very helpful. what do they think will make them happy?
(side note: wanting everything to be the way that it is can also be a goal, cause they're striving to make things go back to the way they were!)
more notes / explanations here! most of these notes in this post are taken from story genius by lisa cron, and i thought they might help. please take all this information with a grain of salt, and maybe use it in a way that'll work best for you! <3
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how to write convincing dialogue
did you know that show, not tell applies to dialogue, too? while dialogue can be used to further your narrative, it can also be used to showcase your characters. here's how:
-what is your character hiding? most people don't say things at face value. they hide what they mean within their words and tone, but in writing, you can't verbally hear the character's tone. ways to convey non-verbal tone include: contradictions between words and actions, context behind the words (ie. the scenario, character's actions and feelings), syntax (ie. fragments, repetition, awkward phrasing). also consider who the character is hiding information from: is it the reader? the characters? both?
-favorite words or phrases. does your character use a certain phrase or word a lot? do they often put their prepositions at the beginning or the end of the sentence? these are questions to ask when you're arranging the syntax of the dialogue. everyone has a specific way of talking. make sure you give each character a distinguishable voice.
-personality. this is how you can create a distinguishable voice. is your character confident? are they shy or hesitant? do they repeat the phases of others because they have nothing to add to the conversation? are they confrontational or do they beat around the bush? ask questions like these. if your character is confident, they may make bold statements and appear sure of themselves unlike shy characters who use words such as "maybe" or "should" or "think." to boil it down, think active wordage versus passive.
-observe others. don't look solely at television or other books. sit at your local coffee shop and listen in on conversations, then try and break it down. are they hiding anything? do they frequently use any words or phrases? how would you describe their personality? the better you get at breaking down conversations, the better you can create convincing ones, whether shallow, deep, or as a narrative device, because even if you use your dialogue to move your narrative along, it should still be compulsively convincing.
one way to tell if you've ticked all these boxes is if you can tell who is speaking without any tags.
happy writing! if you have any questions about how to implement any of these tips, our ask box is always open.
Non-writing activities that actually help your writing
To get better at writing, you have to write. Yes… But what about the times when you genuinely don’t feel like it?
First of all, it’s alright! It’s not the end of the world! You’re not a failed writer if you have a down day. But if you really feel like doing something that pushes your writing along, but isn’t actually writing, here are some things you can do! →
📚 Planning out your next chapter When in doubt, plot it out. Sometimes you might simply be stuck because you don’t have a clear path forward. A simple outline of all the major beats in your next chapter can really put things into perspective.
📚 Writing an impromptu scene Every writer goes off and fantasizes about a scene in their novel that isn’t actually part of the plan. Treat it as if it was a fanfic of your own novel and give it a shot! Writing it as fanfiction takes the pressure off, and might just get your creative juices flowing again.
📚Reading a similar book for research This is a super helpful and fun way of doing research for your book. Dig out similar books in the genre and get reading. A great way to get book recommendations is to speak to some bookish people and tell them a little bit about the story you’re writing. Often, they can have great recommendations of a similar book vibe that could help you along.
📚 Actually research For whatever type of book you’re writing, you’re going to have to do some research. Whether it’s describing architecture in a fantasy world, or making sure your facts are correct in a historical setting, research is a crucial part of writing. Perhaps if your creative side of the brain isn’t feeling up to it right now, your logical one might be of us and help you gather some facts to make your writing more authentic.
📚 Edit or rewrite previous chapters If you have the need to work on your project, but can't bring yourself to write some more, work with what’s already there. It’s inevitable that some of the chapters you wrote, you aren’t entirely happy with. This might be the time to try something new - open that chapter side by side with a fresh document and rewrite it by changing one integral part of it.
📚 Think on it Yes, we all fantasize about our projects and our characters. But how often do you actually stop and truly think about your story as a whole? How often do you try to figure out that plothole before saying you’ll leave it for later? It might help to meditate for a bit, clear your head of distracting thoughts and focus on the problem in your writing that you need to solve.
Writing your Protagonist [Pt. 1]
Here are some things to consider when writing your protagonist!
1) Know where they’re going. Even if you’re the type who likes to write freely with no outlines, it’s important to know (at least roughly) where your character will end up.
2) Give them a long-term goal (and smaller goals). Every protagonist should have one main goal that they complete (or fail at) by the end of the story. Sprinkling in smaller goals will help navigate your protagonist through the chapters.
Katniss’s main goal is to survive the Hunger Games and to protect her family and Prim. However, she has smaller goals she must complete during the Games (getting food, weapons, taking out threats, making alliances, etc.).
3) Give them thoughts/inner monologues. Let the reader see into their thought process. Are they holding secrets or doubts that only we hear through their inner monologues?
4) Give them a misbelief. A misconception they have about the world or themselves that by the end of the story they realize was totally wrong. A spy genuinely believes that every organization besides their own is corrupt. Later on, they realize it’s the other way around.
5) Don’t forget about side characters. Have your protagonist interact and talk with side characters. There is a great opportunity for subplots and added details/drama by doing so.
6) What unique flaws do they have and how do those flaws impact their story? Giving your protagonist some kind of flaw is important. Making it unique and vital to their story is a huge plus.
An archer whose hand always shakes when he shoots. This could impact the story later by him missing a very important shot.
7) How can you take their darkest hour and make it even worse? Most character journeys have a darkest hour (nearing the end right before they gain the courage to win). Think about how you can make your protagonist’s darkest hour TWICE as bad.
A hero falls into a pit of snakes. A hero falls into a pit of snakes that just devoured two characters before him. But let’s also give him a deathly fear of snakes.
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