“3,090 degrees Fahrenheit is the temperature at which sand becomes glass, in a process known as the Pilkington Process. This is not the temperature of burning; this is the temperature of becoming something.”
How you end a story can make or break it, so it's REALLY important to end it in a way you find fitting! If you're looking for some ideas on this topic, you've come to the right place! Not only will I list the different types, but I'll detail them, break them down, and hopefully, include some that you've never thought/heard of before!
CIRCLE ENDING
Yes, I know, this is a pretty basic one; most people have heard of this ending before. However, that doesn't mean it's not a good way to end your novel!
As its name suggests, this is when the story circles back to the beginning, or at least references it, for an ending. It sounds basic, but there are a few different types of this!
I. Repeating the First Sentence
This is where your last sentence is a repeat (with none or few changes) of your very first sentence, which makes it super effective if you have a powerful first sentence!
II. Repeating the First Sentence (But Different)
As you can tell, this is nearly the same as the idea I mentioned above. The first and last sentence are the same, but the meanings of them differ because the readers have read through the whole story. When they re-read what was written, they'll see it through a different perspective.
For example: "He thinks it'd be amazing if he could fly like a bird."
At first, you might think that the character just finds it cool how birds can fly, and he wants that. But after reading, the readers might realize that there's a metaphorical meaning to "bird" or "fly", and they may realize that the character actually longs for freedom, peace, etc.
The point is, that ONE sentence takes on a different meaning despite remaining the same.
III. Returning to the Same Timeline
Unlike the first two, this one does not repeat the first sentence of your story. Instead, it references the beginning as a whole, often returning to the same timeline the narrator began at.
You can see this in works where the narrator is actually reciting the past (so they're speaking from the present), and around the end, they return to the present for final words.
ABRUPT ENDING
This is literally in the name--these next few conclusions are ones that are more abrupt. You'll see what I mean!
I. Cliffhanger
We've ALL heard of this, I'm sure. This is where the story ends at a point with high tension and suspense. While cliffhangers don't always have to be a quick ending, they technically leave the story unfinished, which I why I included this here.
All in all, this is good for maintaining interest and encouraging your readers to continue reading any sequels you might have!
II. Quick Ending
You might be thinking, 'what's the difference between the "quick ending" and the "abrupt ending"? The answer to that question is that the quick ending is the more general subcategory of the latter.
Basically, this is the ending where all--or at least most--loose ends are tied and there is a concrete resolution that satisfies your readers. However, there often is little insight to what your characters' futures may hold, since everything is ended often in a sentence or two.
Still, this is one of my all-time favorite ways to end a story because it can be very empowering if done right!
ALTERNATE PERSPECTIVE ENDINGS
I definitely feel like these are less common because they can get kind of off-track and they're hard to really fit in, but that just makes it more interesting!
I. Different Character's Perspective
I've honestly seen one author do this, and while I can't say it was my favorite conclusion, it was certainly fascinating to me.
This is where the story ends through the eyes of a side character, not the protagonist. Your stories actual resolution could have happened earlier, but the ending is from a different character's POV of a past, present, or future presented in a meaningful way.
II. Time Skip (Epilogue)
Out of these two subcategories, the 'time skip' ending is more popular for sure! If you have a more complex story (by that I mean one with a bigger cast, a lot of plot events, etc.), a time skip ending could be a good choice for you!
Usually, these time skips aren't just a couple of days or weeks, but often years or even decades. This is great if your protagonist has a super ambitious goal, and you want your readers to see what happens years after they reach it!
III. Reflection
This ending typically happens after a long time skip, where the narrator reflects upon their last actions/events that happened. Truthfully, I see this a lot more in stories that have sad or bittersweet endings, which we'll get into next!
IV. Flashback
If you're looking for a different one that ties back to the main character's past, this might be it! Instead of your story ending during the present or the future, in this case, your story ends in a meaningful flashback of a character. This is great if you want to emphasize how much the character changed and grew from their beginning!
EMOTIONAL ENDINGS
Let's talk about emotional endings, real quick!
I. Happy Endings
We all know about happy endings. Typically, the protagonist (and often their close friends/family) achieve their goal(s) and is satisfied with the results of their journey.
This is the most common story ending, emotion-wise, because it provides the readers with a good sense of closure and appeals to them!
II. Bittersweet Endings
This is where the resolution feels both happy and sad. Perhaps the protagonist achieved their goal(s) but lost things they valued along the way, or vice versa.
III. Tragic Endings
This ending can be both happy and sad, but there's definitely a lot more sadness than happiness. It can be like the one above (where they reach their goal but lose stuff/people they care about), or it can be a situation where the main character lost essentially everything.
"NON-CONCRETE" ENDING
I. Open-ended Ending
This is where the ending is up to interpretation! There might be suggestions of what happened, but it's ultimately unconfirmed, allowing the readers to draw their own conclusions.
Personally, I've never attempted this type of resolution (because I have a bad feeling it won't end well if I did), but it's pretty common!
II. New Beginning
This is where the story ends when the main character is starting a new life. Maybe they've moved to a new city, underwent changes as a person, and is escaping from their old life to start fresh.
This is one conclusion I see sometimes in dystopian novels!
III. False Victory
If you've ever watched a movie or read a book about a person whose goal is to make a HUGE impact on the world, you might've experienced this ending.
A "false victory" ending is where it seems like the protagonist has won, but the readers know that the victory itself is empty and/or temporary, with no permanent change.
Although, yes, this is technically a pretty concrete ending, it can leave readers--for lack of a better word--rather unsatisfied. However, that doesn't mean it's a bad choice!
EVOCATIVE ENDINGS
For this next section, I'll be talking about a few endings that I think heavily resonate with the readers--final words that your readers will remember.
I. Wordless Ending
Throughout the last few paragraphs of a resolution, there often is dialogue involved somewhere, and that's not a bad thing! I will never deny that dialogue is powerful, but so is the opposite.
This ending revolves around having no dialogue (and thoughts!). Instead, it focuses on imagery, the characters' actions, the setting, and literary devices to create a more immersive, beautiful ending!
II. Anonymous Hero
This one, in all honesty, this ending type applies to a more specific type of stories.
So basically, this is the situation in which your protagonist achieves their goal, normally a pretty impactful and important one at that, but no one actually knows it's them who accomplished this, resulting in their life returning to--more or less-normal than--their old one.
III. Proverbs, Quotes, Questions
We all know that we can begin a story with any of these options mentioned above (and more), but that doesn't mean we can't end them the same way! Granted, I do prefer the former, but there's undeniable charm in ending your work this way!
By making your last sentence(s) a quote, proverb, question, or even a poem (I like the idea of ending it in a couplet), it reemphasizes the theme of the story while providing resonant, beautiful final words.
CONCLUSION
If you made it all the way here (or skipped here), thank you for reaching the end! Remember that you can shape endings however you want! You don't have to pick only one of these and stick with it--combine them! Actually, I think several of these resolutions overlap each other.
If you have sent me a question/request, I PROMSE I haven't forgot! I'm getting to it (albeit very slowly), so I thank you for your patience; your support means everything to me!
Comment any other endings you can think of! I'd love to see what you guys come up with!
Prompt #1089: “Why did you come back?” “Because I forgot something important.” “Oh, what did you forget?” “You, you idiot.”
Prompt #1070: “Sorry I tried to kill you.” “It’s fine, but next time you should try harder.”
Prompt #1103: “Stop following me.” “Oh, do you want me to walk beside you? Maybe hold hands with you?”
Prompt #1101: “I’m not the right person for you.” “You’re doing a bad job of convincing me of that.”
Prompt #1082: “You’re just as bad as I am.” “Oh believe me, I’m much worse.”
Prompt #1099: “Have I ever given up on you?” “No, never.” “Then don’t force me to do it now.”
Prompt #1073: Sometimes guardian angels don’t have a lovely singing voice and a set of fluffy wings, sometimes they have a deep frown on their face and a very bad attitude.
Prompt #1078: “Why do you think that you need to fix me? Who told you I was broken?”
Prompt #1062: “Don’t look at me like that.” “How am I looking at you?” “Like you love me.”
Prompt #1092: “If I had asked, would you have stayed?” “You didn’t ask. So we’ll never know.”
Goodbye 2024 and hello 2025! I wish you all a wonderful start into the new year!
If you like my blog and want to support me, you can buy me a coffee or become a member! 🥰
• A secret organization erases memories, leaving victims to rediscover their lives. One survivor remembers everything—and they’re the one who betrayed everyone.
2. Strange bargains
• A god grants a dying soldier immortality in exchange for serving them—but the soldier wasn’t told how they’d serve.
3. Forbidden connections
• A guardian angel falls in love with their charge, breaking all celestial laws.
4. Power with a cost
• A character gains the power to heal any wound, but every time they use it, they lose one of their most important memories.
5. Unraveling mysteries
• A village’s water turns black overnight, and drinking it gives people strange visions of the future.
• A character receives letters from someone who knows personal details about them—but claims to be writing from 200 years in the past.
6. Survival against odds
• A group of strangers wakes up in a sealed dome with no exits and an unfamiliar night sky. One of them disappears each night.
7. Love and tension
• Two astronauts are stranded on a desolate planet, forced to work together to survive while grappling with growing feelings for each other.
8. Twisting morality
• A rebellion leader discovers their closest ally has been secretly sabotaging the cause—for reasons they might actually agree with.
9. Uncharted worlds
• A city floats above a sea of clouds, but no one knows what lies below. A expedition seeks to uncover the truth.
I have been asked to do this post for quite a long while and I finally got around to it. This guide is a basic guide, you may need to do further research into specific armies across the world. Armies are a necessary part to any world building, so what do we need to know about them?
(PS I had planned to include air force and navy but I am just one person and I cut myself, and the read more link, some slack)
Ranks
Field Marshal
(FM) The Field Marshal is the highest rank of within the Army. The rank of Field Marshal was often granted in times of war (a general must have committed an act of valour, i.e. a victory). The rank can sometimes be used as a divisional command rank or brigade command. The UK, Austria-Hungary, Afghanistan, Germany, India, and Pakistan use the rank as a reward for achievement. Spain and Mexico use it for divisional command while countries such as Portugal, France and Brazil for use it for brigade command. The rank of Field Marshal is a "five star" position. The rank does not exist in the US army. They are addressed as Field Marshal Surname. Their insignia is two crossed batons surrounded by yellow leaves set under a crown.
General
(Gen.) A General is the commanding officer of an army or army corps. It is currently the highest rank granted in most armies today, it is a 4 star position. A General is in charge of commanding large units, they are in charge of making strategic decisions for the army, oversee major military operations, manage the needs of the army. They are addressed as General Surname. Their insignia is four stars (US, France, Germany, Russia) and a sword and baton crossed under a crown and a star (UK).
Lieutenant General
(Lt.Gen) Lieutenant General commands an army corps or a division (tens of thousands of soldiers). They are also involved in strategic planning. They also hold positions within the Ministry of Defence/Equivalents. They would often serve as advisers to the government and aid Generals. It is a 3 star position and they addressed as Lieutenant General Surname. Their insignia is three stars (US, Germany, France, Russia) and a crossed sword and baton under a crown (UK)
Major General
(Maj.Gen) Major General is a general officer in the army, responsible for leading and operational roles. They would command divisions of tens of thousands of soldiers. They support the officers above them, helping with strategy, executing the strategy, oversee the training of their units. They are addressed as Major General Surname. They are a 2 star position. Their insignia is a crossed sword and baton with a star (UK) and two stars (US, Germany, Russia, France).
Brigadier General
(Brig.Gen) Brigadier General is a one-star general officer in the army. They command brigades (3,000 to 5,000 soldiers), assisting Major Generals in tactical planning and coordination of operations. They are addressed as Brigadier General Surname. Their insignia is one star (Russia, Germany, US,), two silver stars (France) and s crown and three stars (for the UK, stars are known as pips).
Colonel
(Col) Colonels command brigades of about (3,000 to 5,000 soldiers), they are senior staff officers who both provide leadership to their units which are sometimes specialised agencies, such as task forces. Colonels are addressed as Colonel Surname. A silver eagle (US), a pair of diamond pips under a crown (UK), three silver pips upon shoulder braid with silver braid (Germany), three gold pips on a shoulder board with golden braid (France and Russia).
Major
(Maj) Majors command units of around 120 officers. They are in charge of the training and welfare of their soldiers, administrative duties within the barracks and within their unit. They are the primary staff officer in brigades. They assist superior officers in planning and executing missions and tactical plans. The Major is referred to as Major Surname. Their insignia is 2 gold stars on a shoulder board with golden braid (Russia, France) 2 silver pips on a shoulder board with silver braid (Germany), a crown (UK), a golden oak leaf (US)
Captain
(Cpt) Captains lead companies usually around 50-200 soldiers. They are often the second officer in a company working alongside a superior officer. They are responsible for operations in the field such as ensuring equipment is kept up to date and in good condition, offering logistic support, and managing their troops. Captains are addressed as Captain Surname. Their insignia is two silver bars (US), three pips (UK), three silver pips on a shoulder board with silver braid (Germany), three golden pips on a shoulder board with gold braid (France, Russia)
Lieutenant
(Lt) Lieutenants command a platoon (about 30 odd soldiers). They are in charge of overseeing the training and discipline of their soldiers along with ensuring their welfare. They will participate in missions under the command of a superior. Lieutenants are addressed as Lieutenant Surname. Their insignia is two golden stars on a shoulder board with gold braid (Russia, France), two silver pips on a shoulder board with silver braid (Germany), two pips (UK), one silver bar (US)
Second Lieutenant
(2/Lt) The Second Lieutenant leads smaller units, working with enlisted soldiers. They are crucial in the training of soldiers, they maintaining personnel records and manage the resources needed for a mission or the units welfare. They would be addressed in conversation as Lieutenant but referred to as Second Lieutenant in dispatches and in correspondence. Their insignia is one gold bar (US), one pip (UK), one silver pip on a shoulder board with silver braid (Germany), one gold pip on a shoulder board with gold braid (Russia, France)
Enlisted Men
Warrant Officer 1st Class
(1/WO)This is the most senior non-commissioned rank. They focus on discipline, prisoners, ammunition supplies and various technical and non-combatant services. In the UK, they often hold the rank of Regimental Sergeant Majors (RSMs) and are appointed by the Secretary of State Defence while in the US, the Secretary of the Army appoints them. They are addressed as Mr/Ms/Mrs Surname or Chief. Their insignia is one silver bar and a black square (US), the royal coat of arms (UK), four silver pips on a shoulder board with silver braid (Germany), three gold chevrons and a gold star (France), two gold stars on a shoulder board with golden braid (Russia)
Warrant Officer 2nd Class
(2/WO) The Warrant Officer Second Class would do similar jobs as the WO1, but they handle the below regimental section. Warrant Officer Class 1 (WO1). WO2s can be referred to as Company Sergeant Majors (CSMs) or Squadron Sergeant Majors (SSMs) (depending on their unit). They take roles within training, discipline and aiding the Warrant Officer Class 1 (WO1). Addressed as CSMs/SSMs and as Mr./Mrs/Ms. Their insignia is one gold star on a shoulder board with gold braid (Russia), Three golden chevrons (France), three silver pips on a shoulder board with silver braid (Germany), crown (UK), silver bar with two squares (US).
Sergeant
(Sgt)The Sergeant are responsible for the soldiers under their command. They oversee their team, acting as mentors and supervisors to their soldiers. Sergeants are over a squad of 10 soldiers. They are responsible them, from performance, prepare them for combat and their needs. They are addressed as Sergeant Surname. Their insignia is three chevrons (US, UK), two silver pips on a shoulder board with silver pips (Germany), two golden chevrons (France) and three golden chevrons (Russia).
Corporal
(Cpl)Corporals lead small squads of soldiers, no more than . Corporals are in charge of the training of their soldiers and ensuring that they are up to standard. They handle all the paperwork for their squad such as records. Corporals will accompany their soldiers on missions, leading patrols and overseeing their soldiers in the field. They are usually responsible for large pieces of equipment. They are addressed as Corporal Surname. Their insignia two chevrons (US, UK), one silver pips with shoulder board with a silver braid (Germany), two gold chevron (France, Russia).
Lance Corporal
(L.Cpl)Lance Corporals help Corporals lead their teams, acting as their second in command. They are in charge of disciplining, mentoring and leading their squads. They are also in charge of large weapons. They are addressed as Lance Corporal Surname. Their insignia one golden chevron (Russia, France), none/one silver pip (Germany), one chevron (UK) and one chevron with crossed rifles (US)
Private
(Pte)Privates are the lowest rank in the army. They will have just come out of training with the basic skills of a soldier. Privates are given tasks by superior officers, must obey the orders given and are usually given the more hands-on tasks, such as maintenance of weapons and their camp. They are addressed as Private Surname. Their insignia is one chevron/none (US), no insignia (UK, France, Russia, Germany).
Non-Commissioned Officers vs Commissioned Officers
You may have often heard the term "non-commissioned officer" if you have ever watched any war media. The difference is that Commissioned Officers receive their rank via a formal document signed by a high-ranking official, such as the monarch or a political leader. The Commissioned Officers are usually Lieutenants, Colonels, Generals, Captains, Majors. They are responsible for giving orders and making decisions. Non-Commissioned Officers are promoted from the enlisted ranks, gaining their promotion on skills alone. They are in charge of discipline, training and carrying out orders. They are usually ranked among Corporals and Sergeants.
Jobs within the Army
No army is just made up of officers and their soldiers. An army is like a town on the move, there are hundreds of different tasks that must be undertaken to ensure the army is fed, transported, kept in line and kept equipped.
Medic: Medics are the first responders for wounded soldiers, they administer first aid, medication and medical care to the soldiers in their unit. Medics are usually NCOs.
Chaplain: Is a soldier with some religious or spiritual calling that administers last rites, confession, spiritual guidance and solace for soldiers. They will see to soldiers of all creeds and faiths.
Artillery Crew: The Artillery Crew handle the maintenance and inventory of artillery weapons and related equipment. NCOs with training in the handling of artillery.
Military Police: The Military Police are force within the army that keep soldiers in line, maintain order and arrest any soldier caught doing a crime on the job. Always NCOs.
Intelligence: This is the information post, which involves fact gathering, recording and study of information needed by the army to mobilise.
Quartermaster: The quartermaster manages the distribution and gathering of all the things needed for the army from uniforms to equipment for the soldier's packs. Usually NCOs.
Mess Officer: The Mess Officer oversees the Mess Hall, managing the staff as they cook and prepare the army's meals. The Mess Officer would also be in charge of budgeting, inventory, health and safety and providing meals timely. Usually an officer, Captains and Lieutenants.
Adjutant: Is an officer who acts as an assistance to a superior officer taking on secretarial duties such as paperwork and arranging their diary. Usually a Captain or a Major.
Combat Engineer: The Combat Engineer is in charge of maintaining and building fortifications. NCOs with specialised skills in the field.
Logistics: Logistic Specialists handle the supplies, equipment and arranging transportation. NCOs.
Armourer: The armourer is in charge of weapons and ammunition. They handle any repairs needed and see to the safe storing of these valuable items. NCOs.
Communications Specialist: These Specialists handle communications, the communication equipment and its maintenance. NCOs usually with previous experience or training.
Mechanics: Mechanics are in charge of the maintenance of vehicles and machinery. They handle repairs, do check ups, offer support in the field and ensure everything is in good shape. NCOs with training and skills in the area.
Equipment
The soldiers will not be going into any situation without equipment - at least, not at first. Equipment is like gold dust in the field, especially if a unit is within enemy territory or the supply chain cannot be relied upon. Soldiers may often turn to thievery in order to resupply themselves with ammunition, weapons, supplies and even boots. In WWII, the newly formed company the Special Air Service - the SAS - actually raided their allies for supplies.
The soldier would carry essential supplies when they are first deployed. These would include (may vary):
Flasks/Canteen: Or some sort of drinking container. A soldier will need to hydrate if they don't wish to die-dydrate on a long march. They may also carry water purification chemicals such as iodine.
First Aid Kits: All soldiers will carry the basics of a first aid kit. This would include bandages, gauze, burn ointment, tourniquet, pain relief (not the good stuff), scissors and tweezers.
Knife: It is always handy to have something to cut things with.
Gun Cleaning Tools: Soldiers will have the equipment to care for their weapons. An uncared for weapon is an invitation for death.
Ammunition: A soldier would carry ammunition with them.
Entrenching Equipment: Something to dig with, usually a collapsible shovel.
Rations: Soldiers may often carry some sort of food with them, usually of the preserved kind.
Some form of shelter: Soldiers may carry something to shelter themselves such as a sleeping bag, a tent, a blanket.
Signal Mirror: Soldiers carry signal mirrors to send visual signals to communicate with others.
Toiletries: Basic hygiene items.
Weaponry
Soldiers will not only just need equipment to survive on the field. Soldiers will carry all sorts of weapons on them. It was up to the soldier to care for the weapon and ensure it is up to scratch. Ammunition, of course, doesn’t grow on trees and nor do weapons. Weapons and ammunition like supply I mentioned above could often be “liberated” from the enemy or even unwitting allies. Every soldier will carry:
A rifle: This is the long-range weapon carried by almost all soldiers. They will use this in combat, especially if fighting from a fixed position.
A handgun or a pistol: Most soldiers will carry a secondary gun. These guns are useful in tight spaces or close combat.
Bayonet: A knife or blade that is attached to the rifle. This allows a soldier to stab the enemy with their rifle.
Combat Knife: A knife used in combat.
Mortar: This is a short-barrelled artillery piece. It is used to fire shells at steep angles.
Hand Grenades: These are handheld explosives carried by soldiers. They have a delayed fuse, meaning that they are useful as both a long-range weapon and as a close-range weapon – one could leave one behind as a present. They are typically activated by pulling the pin, flinging it away from the body, toward the enemy and denoted.
Uniforms
Above in rankings, we went through the insignia which is the symbols on one's uniform that denotes your rank and place in the hierarchy of things. Soldiers will be inspected every day to ensure their uniforms are up to standard and will face the wrath of superiors if their uniforms are unkempt and their appearance not up to the mark. Every private learns how to shine their own boots, sort out their own uniforms and are responsible for looking their best. There are different kinds of uniform for a soldier.
Casual Uniform: This uniform is comprised of a more casual uniform, made up of a tunic/shirt, trousers and boots. Certain units will wear caps and berets denoting their unit and rank as well.
Combat Uniform: This is worn on the field. It will often reflect the climate the soldier is going into, so will be light and heavy depending on the weather. A soldier would wear a combat jacket, trousers, wear a helmet, wear their identification tags/dog tags. These would be in mute colours, usually khaki or camouflage.
Service Dress Uniform: This is worn during official duties and formal events. It comprises of a dress shirt, tie, peaked cap/beret, creased trousers and a jacket with their insignia, unit symbols and medals.
Dress Uniform: This is worn during very formal ceremonies. A formal jacket pinned with ribbons, embroidered insignia and the medals of their achievements and commendations, creased trousers, dress shirt and tie, polished shoes and a formal hat cap/beret.
Life of a soldier (On Base and in the Field)
Soldiers on active duty will be expected to manage many tasks, not just firing at the enemy or storming enemy beaches. Soldiers are expected to fulfil maintenance work, defence, offence, administrative duties (if needed), engineering and communications.
On Base: A soldier’s day will be planned right down to the second. They will get up at a certain time, have an allotted time to get ready and tidy up their bunk, report to various drills and participate and have a list of duties to undertake within the day. These duties involve maintenance on base, helping with any office work, guarding and patrolling, doing specialised tasks such as helping in the infirmary. Most privates will do the grunt work, anything hands on or labour intensive while officers will see to training soldiers or paperwork or supply management.
In the Field: The life of a soldier in the field wasn’t as regimented as on base – it can’t be, since most soldiers won’t have the exact same day especially in battle or marching from place to place. But every soldier will have certain duties to undertake. Of course, fighting will be included, some soldiers would take it in shifts to man a fixed position or to engage the enemy or to participate in missions into new or enemy territory. Soldiers would take their place “out on the line”, patrolling the edges of their camp to ensure they can’t be crept up on. Soldiers will erect camp every night they aren’t marching which includes the putting up of tents, digging of latrine pits, building fortifications. Soldiers not out on the line or engaging the enemy will spend their time at camp either helping in the mess hall, in the infirmary or keeping the camp ship-shape. Soldiers may often be sent out to “forage” (*cough, cough* steal) whatever they need such as food.
The Realities of the Army
Good vs Evil.
Yes, sometimes the army are the heroes. But in reality, war is a grey area. No army in the world is wholly bad or innocent. Every single army on earth has committed war crimes and every army has had to make decisions which some would find morally reprehensible. The point is that painting an army as the good guys or the bad guys in your narrative can’t work because it isn’t realistic. You can of course highlight these issues by the actions of a few soldiers while still retaining the antagonists and the heroes. You can of course pit the ideals of both sides in a war together, to firmly push your reader toward the good guys vs the bad guys. But the reality is a simple one: all armies kill, all armies steal and all armies destroy.
Civilian vs Soldier: The Reality
Civilians suffer at the hands of their own army as well as the enemy. Civilians often had to deal with soldiers taking their crops, livestock and overtaking their homes in searches for food, shelter and resources. Enemy civilians would also put up with pillaging, looting and in some cases death, assault and sexual abuse. It is of course against protocol to harm civilians but things do happen in theatres of war.
The Army vs the Soldier
While the army expects a lot out of the soldier as an induvial, the army can often fall short of their duties to that soldier. This can be unintentional, for example supplies can get lost or stolen. But there are instances where soldiers and their needs are sacrificed for the greater good. They maybe passed over for supplies or reinforcements for another unit. They may be placed in difficult circumstances without any hope of relief. They may not have the equipment needed to fight their battle or stay alive. Sometimes, armies even shot their own soldiers for insubordination, ex. In WW1, many soldiers on all sides were shot by their own for “cowardice” – this may have been the case, but some cases involved soldiers who were suffering from PTSD.
Choice vs Obligation vs Threat
Why do soldiers fight? What makes somebody join the army? Sometimes it is the search of opportunity, of a place, of rank and a purpose. But sometimes, going to war isn’t the choice of the soldier. Drafts and conscription make military service compulsory for certain age groups and genders. In peacetime, soldiers are enlisted voluntarily in most armies while some countries have compulsory service time even in times of peace. In some wars, criminals in prison were offered the chance to serve in the war as penance for their crimes. There are of course instances when one is threatened or forced into an armed force.
The Effects of War on the Soldier
War changes people. The things soldiers see and have to do within war and training will inevitably change them as people. Sometimes, the change is positive, the army has been named by many people as the thing that straightened them out and have them structure. The army sometimes allows soldiers to travel and gain access to opportunities and education that they may never have had access to before. But undeniably, war has negatives effects on soldiers and civilians. Soldiers may suffer from PTSD, depression, suicidal thoughts and feel a disconnect between themselves and their old lives. Soldiers often find it hard to return to their life after the war, especially in radically different settings with people who don’t understand what they have been through. This can lead to substance abuse issues, alcoholism, problems with the law and troubles within relationships among family and romantic partners. Soldiers of course can get injuries while in war or even in training. Loss of limbs, damage to the brain and other organs, broken bones, burns, shrapnel injuries and of course gunshot wounds are all common. Soldiers often get ill while in the field, such illnesses including typhoid, hypothermia, trench foot, dysentery, malaria, pneumonia etc. These are caused by the close living quarters and the often-sub-standard living conditions. Soldiers would often be at risk for pests such as lice and fleas because of their living conditions. Soldiers may often face problems with nutrition, might suffer from dehydration and starvation especially if supplies are scarce.
The Geneva Convention
Your world may not include the Geneva Convention, may pre-date the Geneva Convention or Geneva may not be a place within your WIP, but I include this here so you might have a fair idea about the “rules” of modern warfare. This is just a brief version.
Medical personnel are not to be specifically targeted in operations.
Medical facilities and equipment is not be targeted in operations
Any wounded soldiers or civilians are to be treated, despite allegiance.
Prisoners cannot be tortured or harmed in any way
Prisoners must be fed, well-kept and treated for any injury
Prisoners are not under obligation to tell their captors anything but their name, rank and other personal information – this is so they can be recorded and all information must be recorded and sent to the captured soldier's officers
Prisoners must be allowed to communicate with family and friends.
Prisoners have the right to receive any packages or mail.
Prisoners have the right to access the services of the Red Cross, who cannot be prevented from visiting and inspecting them
Prisoners who are seriously wounded or ill must be released
Any religious figures are to be captured and released as soon as possible
Soldiers cannot take hostages, they cannot pillage, they cannot take slaves.
Soldiers must abstain from humiliating and degrading any captured soldiers or civilians.
Reprisals against civilians and other soldiers are forbidden.
Group punishment is not permitted (Yes, that one teacher did break the Geneva Convention)
Prisoners can be tried by their captors, but they are entitled to a fair trial.
All POWs shall be released at the end of conflict
At sea, hospital ships cannot engage in war.
Any shipwrecked crew on a ship must be rescued despite allegiance.
Children, pregnant women, mothers with very young children, the elderly, the sick and wounded who are imprisoned for a long time, must be released as soon as possible.
Surrendering soldiers, civilians and civilians who participate in acts against an army cannot be harmed and must be taken alive.
The use of weapons to cause suffering, say a non-fatal wound or mutilation is prohibited.
It outlaws indiscriminate attacks on civilian populations and destruction of food, water and other materials needed for survival.
The destruction of resources that could affect the population such as poisoning the water supply is not permitted.
Certain infrastructure cannot be destroyed or targeted. This includes dams and nuclear stations. Cultural landmarks and religious landmarks are also to be spared.
Recruitment of children into the armed forces is prohibited.
The use of certain symbols such as the Red Cross in order to deceive the enemy is prohibited.
Civilians who do not take part in combat are to be treated respectfully. They are protected from violence from soldiers.
Children and vulnerable people are top-priority to be evacuated to safe havens as soon as possible. All efforts will be made to reunite them with family.
The targeting of civilians and anything that sustains their well-being such as food sources is prohibited.
Military Terminology
This is by no means a full list but these are the most commonly used terms.
Boots on the ground – to physically be in a location
Inspection - a superior officer takes formal note of appearance, condition of living area and weapons.
Drill – a practise in various manoeuvres, marches, procedures
Pass - leave to have some free time, sometimes off base.
Off base - away from military barracks
Tour of duty – the period of time which an action is completed in.
Civvies – Civilian clothing
Detail - a specific task undertaken by a unit or soldier
Mess hall - dining facility
Latrine - toilet
Latrine duty - digging a Latrine pit or cleaning the facility
Flanking - Attacking an enemy formation from the sides
Envelopment - surrounding the enemy from multiple sides
Penetration - breaking past the enemy’s front lines
Reconnaissance by Fire - Firing at positions that may be occupied by the enemy to provoke them into returning fire (so you know where they are)
Ambush - Attacking from concealed position
Retreat - go back the way you came (DO NOT COLLECT €200)
Feigned Retreat - Pretending to retreat and then attacking the enemy
Perimeter - boundary of fortified area
No Man's Land - the space between front lines
Contact line - where opposing sides meet to fight
Supply line - the route the supplies get from base to the field.
Front line - the furthest out troops are place on the line, this is where the most intense fighting happens
Barracks - sleeping quarters in base
Foxhole - a dug position in the ground
Combatant: A person actively engaged in fighting.
Non-combatant: A person not engaged in a conflict.
Civilian: Somebody who is not a member of any military unit.
Militia: Civilians who are armed and trained to fight.
Guerrilla: Small, independent units that takes up arms against an armed force. Very effective.
Saboteur: Somebody who deliberately sabotages equipment and supplies.
Spy: Somebody who gathers information about the enemy.
Operative: A soldier who carries out a specific task.
Mercenary: A soldier for hire
Contractor: A person or a group of people who are hired to provide advice, services and additional support to the army and their operations.
Conscription: Compulsory enlistment.
Enlistment: Joining the army.
Exercise: Simulated military practises or manoeuvres for training.
War game: Simulated war fare for training.
Mission: The operation.
Objective/Target: The objective of the mission.
Campaign: Multiple operations.
Down Range – being within the combat zone
In-Country – being within in a war zone
Quarters – can mean one of two things either it is a medic's order to stay in the camp or barracks or military family housing.
Squared away - to fix
Siege: Where one army sits outside a fortified town or position and tries to claim it.
Convoy: A large group of vehicles such as trucks, jeeps and tanks travel together. It is harder to target more than one vehicle.
Escort: More vehicles and soldiers who accompany a convoy.
Strike/Assault: Attacking the enemy.
Counterattack: An attack to respond to a previous attack
Rear: Behind the formation
Front: Before the formation.
Line: The formation.
Column: The formation in a line.
Formation: The arrangement of soldiers
Deployment: Soldiers moving to a position.
Redeployment: Sending soldiers to another position.
Mobilization: Readying soldiers, their supplies and equipment for deployment.
Demobilization: The disbanding of soldiers after an operation.
Reserve: Soldiers and equipment held back. This is usually to conserve soldiers and supplies for emergencies or shortages.
Reinforcement: More soldiers and equipment sent to the soldiers on the line to bulster their efforts.
Casualty: Death, injury, missing.
KIA: Killed in action.
MIA: Missing in action.
Surrender: Yielding to the enemy.
Ceasefire: An agreement to cease hostilities.
Armistice: A temporary stay of fighting.
Battalion: A large unit of soldiers. Usually in the range of 300 upwards to 800 or so soldiers.
Regiment: A unit made up of several battalions.
Division: A military unit (10,000-20,000)
Corps: A unit, (20,000-50,000)
Theatre: The place where military operations are undertaken.
Engagement: A battle or a conflict with the enemy.
Manoeuvre: Planned movement.
Logistics: The planning of moving soldiers and equipment to soldiers.
Ordnance: Supplies.
Artillery: Large-calibre firearms.
Infantry: Soldiers who fight on foot.
Reconnaissance: Gaining information about the enemy and their positions.
Tactical: Planning and implementation the military strategies.
Strategic: Planning and directing strategies.
Operational: The following through of military operations.
Command/Control: The authority to direct military operations.
Communications: The passing of information between units, base and HQ.
HQ: Head Quarters
Intelligence: Information about the enemy
Counterintelligence: Preventing the enemy from gaining information about the army, such as the famous Operation Mincemeat.
Camouflage: The use of material or paint to hide oneself from one’s enemy.
Fortification: Defensive structure
Entrenchment: Digging trenches or foxholes.
Garrison: Military station.
Bivouac: A temporary camp, but this camp is without no cover. This means no tents or shelter.
Dog Tags - Metal identification tags worn by soldiers
Patrol: Soldiers will leave camp or their positions to walk within their boundaries
Raid: Attacking on the enemy’s position.
Zero Dark Thirty - Early as fuck, from 0100 hrs to sunrise.
Copy - I understand
Unit - can mean any organisation in the military
Platoon - a section within a company made up of 30-50 soldiers
Contact - Engaging with the enemy
Tactically Acquired - Stolen
Squad - a smaller faction of a company
CO - Commanding officer
XO - second in command
Hang Fire - wait for the next set of orders
Demilitarized Zone - a place that is no go for military equipment, weapons and soldiers
AWOL - Absent without leave
PT - Physical Training
Skivvies - ones undergarments
Active Duty - Full time duty in active service
As You Were - Go back doing whatever you were doing or standing how you were standing
BOLO - Be on the Lookout
CP - checkpoint
Bunk - Bed
Ruck - backpack
Smoked - physical punishment for an infraction.
Zone of Action - a specific part of the tactical area.
About face - a manoeuvre where a someone or a group turn to face the opposite direction.
POW - Prisoner of War
POW Camp - facility to house POWs
Halt - stop marching/moving
Present Arms - salute, typically by presenting one's weapon or raising the right hand to the forehead
Parade Rest - stand with one's feet shoulder-width apart, hands folded behind their back
Fall out - break formation
Fall in - get into formation
At ease - stand in a more relaxed position
Attention - stand upright, heels together, back straight, shoulders back, arms at the sides.
Books and Media I recommend
Band of Brothers (HBO, Limited Series)
Beyond Band of Brothers by Dick Winters
Band of Brothers by Stephen Ambrose
M*A*S*H
The Unwomanly Face of War by Svetlana Alexievich
Lady Death: The Memoirs of Stalin's Sniper by Lyudmila Pavlichenko
The Six Triple Eight
Some Desperate Glory: The First World War the Poets Knew by Max Egremont
Poems of the Great War 1914-18
Poems of the Great War by Wilfred Owen
Poems of the Great War by Siegfried Sassoon
Poems of the Great War by Robert Graves
Poems of the Great War by Rupert Brooke
Poems of the Great War by David Jones
SAS Rogue Heroes (BBC)
SAS: Rogue Heroes: The Authorised Wartime History by Ben MacIntyre
Saving Private Ryan
All Quiet on the Western Front by Erich Maria Remarque
All Quiet on the Western Front
Private Peaceful by Michael Mupurgo
War Horse by Michael Mupurgo
Road to War by Valerie Wilding
The Trenches by Jim Elderidge
D-Day by Byran Perett
D-Day by Ben MacIntyre
Japan's Pacific War by Peter Williams
Operation Mincemeat by Ben MacIntyre
War Nurse by Sue Reid
Helmet for my Pillow by Robert Leckie
With the Old Breed by Eugene B Sledge
Hacksaw Ridge
D-Day Through German Eyes: How the Wehrmacht Lost France by Jonathan Trigg
Platoon
Britain’s Secret Defences: Civilian saboteurs, spies and assassins during the Second World War by Andrew Chatterton
If You're Reading This...: Last Letters from the Front Line by Sian Price
A Bridge Too Far
Firepower in Limited War by Robert Scales
Storm of Steel by Ernst Jünger
Dunkirk
The Things They Cannot Say: Stories Soldiers Won't Tell You About What They've Seen, Done or Failed to Do in War by Kevin Sites
How would you go about writing someone with mental issues? Conditions like schizofrenia?
There is a lot of awful takes that essentially end up being caricatures while actual people wity the condition are often quite chill. It's difficult to do them justice while also not being able to fully understand how it is
Writing about Mental Health Conditions
Questions to Ask When Reporting on Mental Health
Is mental illness relevant to this story? If not, there is no need to mention it.
What is your source? Don’t rely on hearsay to report that a person has a mental illness. If you are reporting on a specific condition, make sure you are talking to a mental health professional to provide the facts. Mental health organisations like the APA can connect you with experts to discuss a wide range of mental health and substance use disorders, as well as the medications and techniques used to treat them.
What is the most accurate language to use? See below for advice about language that is specific and avoids derogatory terms.
Choose Your Words Carefully
The words you use to write about mental health are very important, and can help reduce stigma around mental illness if carefully chosen.
ONE. Focus on the person, not the condition. The basic concept is that the mental health condition (or physical or other condition) is only one aspect of a person’s life, not the defining characteristic.
Preferred: She is a person with schizophrenia.
Not preferred: She is schizophrenic.
TWO. Be specific. Mental illness is a general condition. Specific disorders are types of mental illness and should be used whenever possible (see below for a brief list and definitions of common disorders).
Preferred: He was diagnosed with bipolar disorder
Not preferred: He was mentally ill
THREE. Avoid derogatory language. Terms such as psycho, crazy and junkie should not be used. In addition, avoid words like “suffering” or “victim” when discussing those who have mental health challenges.
Preferred: She has a mental health illness. She has a substance use disorder.
Not preferred: She suffers from mental illness. She’s a drug abuser.
Common Mental Health Terms
The following are definitions of some of the most common mental health disorders. For more complete descriptions, consult Understanding Mental Disorders: Your Guide to DSM-5 or the Diagnostic and Statistical Manual of Mental Disorders.
Addiction - a chronic brain disease that causes compulsive substance use despite harmful consequences.
Alcohol and Substance Use Disorders - the overuse of alcohol or drugs leading to effects that are detrimental to the individual’s physical and mental health, or the welfare of others.
Autism Spectrum Disorders - a range of complex developmental disorders that can cause problems with thinking, feeling, language and the ability to relate to others.
Bipolar Disorder - (also commonly known as manic depression) is a brain disorder that causes shifts in a person’s mood, energy and ability to function.
Depression - a common and serious medical illness that causes feelings of sadness and/or a loss of interest in activities once enjoyed; it can lead to a variety of emotional and physical problems.
Eating Disorders - illnesses in which people experience severe disturbances in their eating behaviors and related thoughts and emotions; anorexia nervosa, bulimia nervosa and binge eating disorder are the three main types.
Obsessive Compulsive Disorder (OCD) - an anxiety disorder in which people have recurring, unwanted thoughts, ideas or sensations (obsessions) that make them feel driven to do something repetitively (compulsions).
Posttraumatic Stress Disorder (PTSD) - a psychiatric disorder that can occur in people who have experienced or witnessed a traumatic event such as a natural disaster, a serious accident, a terrorist act, war/combat, rape or other violent personal assault.
Schizophrenia - a chronic brain disorder with symptoms that can include delusions, hallucinations, trouble with thinking and concentration, and lack of motivation.
Facts about Mental Illness
Misconceptions and myths about mental health are unfortunately common. The following are a few facts about mental illness in the United States, as well as key resources for the latest statistics on mental health:
In any given year, more than 1 in 5 adults in the U.S. has a diagnosable mental disorder.
One in 20 adults has a serious mental illness.
One in 6 adults has a substance use disorder (including alcohol use disorder).
Half of all chronic mental illness begins by age 14.
Suicide is the 11th leading cause of death for all ages and the second leading for people ages 10 to 34. It is more common than homicide.
Most people with mental illnesses are no more likely to be violent than those without a mental health disorder. In fact, people with a mental health disorder are at significantly higher risk of becoming victims of violence compared to the general population
Excerpted from The Centre for Addiction and Mental Health (CAMH):
Write often about mental health challenges—the greater awareness generated about mental health, the more chance there is of helping people who have problems associated with these illnesses.
Let us know if you are looking for story ideas—we have lots of them and would be more than happy to share these ideas with you (you can find their contact details here).
We are asking for your help in reducing the stigma around mental illness including addiction because stigma is a huge problem for people living with mental illness.
We can accomplish this by dispelling some of the negative stereotypes that follow people who have mental illness such as: people with mental illness including addictions are all potentially violent and dangerous; are somehow responsible for their condition; and have nothing positive to contribute.
Labels matter. Don’t describe a person with a substance use disorder as a “heroin addict,” “drug user,” or “alcoholic.” Defining a person by their disorder makes the disorder become that person’s “master status”—the reader or viewer will only see the person as defined by the illness not by who they really are as an individual.
Help reduce stigma by not leaving the person out when describing an individual. When a person is called a schizophrenic, the reader will only see the disorder and conjure up mental images that are likely negative and stereotypical. The same can be said for a person who is called a “manic-depressive or a "depressed person.” Chances are they could be receiving treatment for these symptoms and are in fact not feeling depressed at all.
Exploring Mental Health in Fiction
As fiction writers, we take normal, everyday conflict and crank it up to a 10 to make our stories compelling.
In a mental health focused novel, it’s the absence of and quest for mental health that’s the meat of the story, the source of the conflict at its heart.
What drives the plot is not what happens in the story, but the interplay between external factors and the hero’s response to them.
There are dos and don’ts to writing about neurodivergence or mental illness that will make your characters and their struggles ring true—not flat and stereotypical.
Origin of Your Character’s Mental Health Issue. This can be rich in terms of your story creation. Even if you only hint at it in the narrative, as an author, you need to understand the root cause of your character’s struggle before you decide what the manifestation will be. Family quirks, trauma, relocation, immigration—all of these can impact mental health.
Your Own Past and Life and Family. The old write-what-you-know adage can prove fertile ground for character development.
Understand the Role Mental Health Will Play in Your Story. Is the story about mental illness? Based on something very familiar that you know well? Is the book set in a psychiatric hospital? Is the condition a side issue, a challenge that makes your protagonist’s life a little more complicated?
Be Accurate and Avoid Stereotypes. If you are not writing something autobiographical, drawing on your own personal experiences, make sure to do your research. Interview people, read articles by and about those with the psychological challenges you intend to feature. Make sure to keep it three-dimensional, even if your book is about being mentally ill. No one is just depressed or just anxious. No character is the sum of their quirks and ticks. Make sure any character with a mental health issue is well-rounded and interesting in other ways.
Don’t Be Afraid to Lean Into the Humor. Par for the course with mental health issues are misadventures, foibles, and overcorrects that can end in comically disastrous results. As long as readers can laugh with rather than at the mix-ups, it’s all good. In fact, if everything we wrote about mental health were tragic, if everything we wrote about trauma were traumatic, the work would be pretty hard to stick with as a reader or as a writer. Whatever story structure you employ—classic three-act, spiral, or what have you—a well-drawn main character is essential. The interplay between the self (Passenger B for example), her circumstances (air turbulence), and others in her life (the frightened son and the maddeningly calm Passenger A) creates conflict, obstacles to resolution. Your hero’s place on the mental health continuum gives her texture and relatability. Her mess-ups, embarrassments, and misunderstandings are what resonate for readers and make your work thrilling, agonizing, and yes—satisfyingly fun!
Characters with Mental Illness. The megalomaniacal CEO. The sociopathic killer. The suicidal teen. The anxious woman self-medicating with booze and pills while caring for her demented mother. As writers, we invite these characters into our stories because they are true-to-life and because their psychological problems invite curiosity and compassion.
To avoid stereotyping and caricature—and to keep your story believable—try these 5 strategies and tips:
Make the character relatable. Although common, mental illness is not the norm, so characters with such disorders, especially psychoses, are imbued with “otherness.” The writer must provide a way for the reader to relate to the character despite the illness and because of it.
Keep the narrative front and center. Stories work best when they are spun around a person and a set of relationships, not an illness. Even “issues books” are successful only when the story focuses on what happens to a particular cast of characters. Mental illness can be debilitating and all-consuming, but it does not define a person. That job still rests with the writer.
Balance internal and overt symptoms and behavior. The internal world of a mentally ill person is fascinating but can readily overwhelm the reader. It doesn’t take pages of suicidal ideation, obsessive thoughts or internal word salad to deliver the message of an altered mental state. Go easy on the subjective "craziness" and opt instead to show how others are reacting (or not) to what is going on inside the ill person’s head. Also, not all mentally ill people have insight; they don’t necessarily know that their behavior and thoughts are abnormal. Obviously, if the person doesn’t realize they are ill, or if they become confused about it, then they might be an unreliable narrator. This can be a powerful tool but it is important to know upfront what relationship your character has with his or her illness, how that affects the interplay of external and internal worlds and the access others have to the character’s problems. It can be as complicated as you wish, but don’t leave the reader behind.
Specify the disorder, at least in your head. Generalized “craziness” does not exist. A mental illness can elude diagnosis, or have a complicated diagnosis, but as a writer, you should try to pinpoint the disorder, even if your character is never properly diagnosed. Why? Disorders are defined by specific behaviors and cognitive flaws, so the more you narrow down the diagnosis, the more you know about how your character might behave, feel and think. For example, mania is evidenced in several disorders, including bipolar disorder, drug-related disorders, and some sub-types of schizophrenia. Knowing the underlying problem has ramifications for your character’s other behavior, their prognosis, treatment, and whether the problem might have a genetic component.
Get the details right. For instance, relief via medication, if it comes, can begin after 2 weeks but the maximum effect can take 8 weeks. Details like this matter not just because they satisfy knowledgeable readers but also because spreading misinformation about mental illness does everyone a disservice. Mental health is a rapidly changing field, so ensure your information is correct for your time period. Terminology, diagnosis, treatment options, and prognosis can be vastly different from one decade to the next.
Fortunately, there are resources at your disposal:
Consult the relevant version of the Diagnostic and Statistical Manual (DSM), the official guide to mental disorders. The American Psychological Association updates it periodically, so use the one corresponding to your setting.
The National Alliance on Mental Illness (NAMI) is also an excellent resource;
Seek out mental health professionals and those who have first-hand experience with the disorder (patients and/or loved ones) to lend authentic details;
Visit online forums, but be discreet, respectful, and appropriately cautious.
As with all research, don’t rely on a single source.
The credibility of your story is worth the extra time it takes to gain a deeper understanding of your mentally ill characters.
Knowledge, profound knowledge, engenders respect and compassion, two traits we all could use more of, both as writers and as people.
Writing about Your Own Mental Health
Writing about mental health is one thing, but making yourself vulnerable and disclosing your own illness, especially a serious one, is another.
First-hand accounts, though, are essential in making this national discourse authentic and true to life.
Writing to explain your experience to someone else can help you understand it better as well, leading to additional closure.
Writing fosters personal sense-making, especially when you learn how to reframe your experience more positively.
Exploring meaning in your traumatic experience through writing can mark a turning point in your recovery.
Your increased awareness and articulation of feelings and thoughts can be beneficial to others who may be going through a similar experience.
Small fantasy worldbuilding elements you might want to think about:
A currency that isn’t gold-standard/having gold be as valuable as tin
A currency that runs entirely on a perishable resource, like cocoa beans
A clock that isn’t 24-hours
More or less than four seasons/seasons other than the ones we know
Fantastical weather patterns like irregular cloud formations, iridescent rain
Multiple moons/no moon
Planetary rings
A northern lights effect, but near the equator
Roads that aren’t brown or grey/black, like San Juan’s blue bricks
Jewelry beyond precious gems and metals
Marriage signifiers other than wedding bands
The husband taking the wife's name / newlyweds inventing a new surname upon marriage
No concept of virginity or bastardry
More than 2 genders/no concept of gender
Monotheism, but not creationism
Gods that don’t look like people
Domesticated pets that aren’t re-skinned dogs and cats
Some normalized supernatural element that has nothing to do with the plot
Magical communication that isn’t Fantasy Zoom
“Books” that aren’t bound or scrolls
A nonverbal means of communicating, like sign language
A race of people who are obligate carnivores/ vegetarians/ vegans/ pescatarians (not religious, biological imperative)
I’ve done about half of these myself in one WIP or another and a little detail here or there goes a long way in reminding the audience that this isn’t Kansas anymore.
because "my parents hit me or force me to be perfect" won't cut it for every character in the cast
-characters who grew up poor. poverty is traumatizing, people. i wanna see characters who never ask for anything, count dollars and coins, freak out when the bill isn't split fairly and immediately suspect bed bugs when someone says they're itchy. and mention the ugly stuff too. smelling bad and having water stains on the walls. ice cream for dinner and not eating breakfast. lights going out and fourteen year olds supporting a family of five.
-characters who were neglected. not physically abused, neglected. who don't understand why people care when they don't show up, or seem kind of down today, or leave a party without saying goodbye. who are too independent for their own good. who can't think of anything to say when asked to describe their parents. who are okay with being lonely. who always feel lonely. who get uncomfortable if you even ask them how their day was. who does that?
-characters who were smothered. who were treated like a toddler well into their teens. who were practically stalked by their own parents, never allowed a moment of privacy. who were constantly belittled and denied their autonomy as the adults in their life made every decision for them. regardless of how loved they truly were, this is abuse. this could go in two diverging directions: end result of a very guarded, mature character feeling a constant need to prove themself, or end result of a passive, immature character who requires attention, praise and constant assistance. both have extremely low self-esteem.
-characters who are fundamentally different from their family. maybe they're queer, or adopted, or disabled, or aren't fully related to the rest of them (bonus points if they aren't the same race as their family). characters who watch like a ghost as everyone else smiles and bonds. and maybe it's their fault that they're like this, or maybe it's their fault for not reaching out to the family themself, but... nobody else had to ask for it.
We often think of dialogue as something that’s just about what characters say, but let’s talk about what they don’t say. Silence can be one of the most powerful tools in your writing toolbox. Here’s why:
1. The Unspoken Tension
When characters leave things unsaid, it adds layers to their interactions. Silence can create a tension that’s so thick you could cut it with a knife. It shows things are happening beneath the surface—the real conversation is happening in what’s left unspoken.
Example:
“So, you’re leaving, huh?” He didn’t look up from the table, his fingers tracing the rim of his glass, slow and deliberate. “Yeah.”
“Guess I should’ve expected this.”
(Silence.)
“You’re not mad?”
“I’m not mad,” she said, but the way her voice broke was louder than anything she'd said all night.
2. Building Anticipation or Drama
Sometimes silence can heighten the drama, creating a pause where the reader feels like something big is about to happen. You don’t always need words to convey that sense of dread or anticipation.
Example:
They stood there, side by side, staring at the door that had just closed behind him. “You should’ve stopped him.”
She didn’t answer.
“You should’ve said something.”
The room felt colder.
“I couldn’t.”
(Silence.)
3. Creating Emotional Impact
Sometimes, saying nothing can have the biggest emotional punch. Silence gives the reader a chance to interpret the scene, to sit with the feelings that aren’t being voiced.
Example:
He opened the letter and read it. And then, without saying a word, he folded it back up and placed it in the drawer. His fingers lingered on the wood for a long time before he closed it slowly, too slowly. “Are you okay?”
He didn’t answer.
TL;DR
Silence isn’t just a pause between dialogue—it’s a powerful tool for deepening emotional tension, building anticipation, and revealing character. Next time you write a scene, ask yourself: what isn’t being said? And how can that silence say more than the words ever could?
Show, Don’t Tell – The golden rule! Instead of flatly stating emotions, reveal them through actions, dialogue, and sensory details. Like, don’t say, “She was angry.” Show her slamming a door or clenching her fists.
Head-hopping – When you switch POVs in the middle of a scene without clear demarcation. It's confusing and jarring, like taking a sudden detour while driving.
Purple Prose – Over-the-top, flowery writing that can come off as trying too hard. A little flair is fine, but don’t smother your reader with excess.
In Medias Res – Starting a story in the middle of the action. No boring build-up, just bang—we’re already in the heat of things.
Foreshadowing – Dropping subtle hints about what’s coming next. A small detail now could be a huge reveal later. It’s like dropping breadcrumbs leading your readers to an epic twist.
Chekhov’s Gun – If you introduce an object or detail, it better serve a purpose later. No random things just hanging around. Everything matters.
Canon vs. Fanon – Canon refers to the original source material, while Fanon is the fan-created version. You can take liberties with Fanon, but Canon needs to stick close to its roots.
Saturation Point – That place in your writing where things become too repetitive, too familiar. You’ve got to find a way to push beyond it to keep your writing fresh and engaging.
Bait and Switch – Leading your reader to expect one thing, then suddenly giving them something unexpected. It’s like pulling the rug out from under them.
Plot Device – Any element (object, event, or person) that drives the plot forward or allows the resolution of the story. It’s the item or moment that has to exist for the plot to make sense.
Vignette – A brief, evocative scene that focuses on one moment or idea, often without a formal plot. It's about capturing a snapshot of a bigger picture. Think of it like a small, poetic portrait within a larger narrative.
Mise-en-Scène – A French term used to describe the setting or visual elements within a scene, especially in film and theater. It refers to how everything is placed or designed to create a specific atmosphere.
Framing Device – A structure or technique used to tell a story within a story. It's like having a character tell their experiences through flashbacks or letters, giving the plot a layered, nested feel.
Endowment Effect – When writers unintentionally overvalue a character or plot point simply because they created it. It’s the I’m so proud of this, it’s got to stay! mindset. Sometimes less is more, so watch out for this.
Conflict (Internal/External) – Internal conflict is the emotional struggle within a character (e.g., wanting something but being afraid of it), while external conflict comes from forces outside of the character (e.g., fighting an enemy or dealing with societal pressures).
Pacing Breathers – Moments in the story where the action slows down to allow the characters to breathe and reflect. These help balance the high-energy scenes and give readers time to process.
Symbolism – Using objects, actions, or settings to represent larger ideas. Think of a wilting flower symbolizing the decay of a relationship. It’s subtle but adds layers to your story.
Subtext – The hidden or underlying meaning in a scene or dialogue. What isn’t said, what’s implied but not directly stated. Like that tension between two characters that’s so obvious but never spoken aloud.
Red Herrings – Misdirection! These are the details or clues that seem significant but lead readers down the wrong path. It’s like planting a fake trail to keep your reader guessing.
Narrative Whiplash – When you suddenly change tones or perspectives, jerking the reader’s expectations. It’s like riding a bike and then suddenly taking a sharp, unexpected turn. Used well, it adds suspense, but too much can feel disorienting.
To those readers who became writers ✍🏻, we instinctively and intuitively know what works and what doesn’t, but just in case I’m putting it out here so writing becomes easier. The more you write, the more these little tricks and tools become second nature. Keep going, trust yourself, and keep honing your craft. ✨
Define Her Allure: Craft her as enigmatic, charming, and intelligent. She should draw people in with her charisma and mystique.
Give Her Depth: Avoid clichés by giving her a unique backstory, motivations, or vulnerabilities that shape her actions.
Choose Her Strengths: Highlight skills like manipulation, resourcefulness, or combat abilities that give her an edge.
2. Shape Her Role in the Plot
Decide Her Purpose: Determine if she’s an ally, antagonist, or morally gray character, and how her actions drive the story.
Design Power Dynamics: Show how she wields control or influence over other characters, often exploiting weaknesses.
Weave Intrigue: Keep her intentions ambiguous to maintain tension and mystery.
3. Build Her Relationships
Contrast With Others: Develop relationships that show how she contrasts with or complements other characters (e.g., a vulnerable hero or a rival villain).
Show Complexity: Explore the layers in her interactions, such as her ability to mix truth with deception.
Reveal Gradually: Unfold her true nature over time, leaving both characters and the audience guessing.
4. Create a Striking Appearance
Use Symbolism: Incorporate elements of her look that reflect her personality, like bold colors, sleek outfits, or unique accessories.
Convey Confidence: Show her self-assuredness in the way she moves, speaks, and holds herself.
Highlight Ambiguity: Blend qualities that make her both alluring and dangerous (e.g., a soft smile hiding sharp intent).
5. Show Her in Action
Establish Power Plays: Showcase her intelligence and cunning through strategic actions, manipulations, or daring risks.
Create High Stakes: Put her in situations where she must outwit others or face consequences.
Balance Strength and Vulnerability: Let her excel in some areas while occasionally exposing a flaw or fear to humanize her.
6. Develop a Satisfying Arc
Choose Her Outcome: Decide if she triumphs, meets her downfall, or remains ambiguous at the story’s end.
Reflect Growth or Decline: Show how her actions shape her destiny—whether she evolves, succumbs, or holds her ground.
Tie Back to Themes: Ensure her arc aligns with the overarching themes of the story, like betrayal, love, or revenge.
Examples of Femme Fatales in Stories
1. Film Examples
Phyllis Dietrichson (Double Indemnity): Uses charm and manipulation to pull others into her schemes, embodying the classic femme fatale archetype.
Mal Cobb (Inception): A tragic yet dangerous figure, her motivations blur the lines between reality and illusion.
Nikita (La Femme Nikita): Balances vulnerability and lethal skill, creating a layered and compelling character.
2. Literature Examples
Catherine Tramell (Basic Instinct): A brilliant, enigmatic writer whose intelligence and seduction make her a master manipulator.
Milady de Winter (The Three Musketeers): A cunning and ruthless antagonist, she uses her wits and charm to outmaneuver the heroes.
Amy Dunne (Gone Girl): Subverts the idea of victimhood with her calculated and chilling actions, redefining the femme fatale for modern audiences.
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