Tips for Writing Rich Kids / Nepo Babies!!
(Characters who say āweāre not that richā while standing in a kitchen with two islands)
ā¹ Rich characters are not all the same kind of rich. Thereās old money, new money, fake-rich, influencer-rich, political-family rich, celebrity-child rich, āmy dad owns half the townā rich, āmy family has buildings named after themā rich, and āwe are in debt but the house still has a gateā rich. The type matters. Old money is often quieter, colder, more coded. New money may be louder, shinier, more defensive. A trust fund kid and a child of a famous actor are both privileged, but the pressure around them is very different.
ā¹ They donāt always know what things cost, and that can be funny or ugly. A rich character might casually suggest ordering food when everyone else is counting money. They might think a ācheap tripā means only one hotel room per person. They might say ājust get a new oneā about something another character saved months to buy. Donāt make them cartoon evil every time. Sometimes theyāre not cruel, just completely untrained in normal consequences.
ā¹ Privilege can look like confidence, but it can also look like cluelessness. Some rich kids walk into rooms like every door has already decided to open for them. They email professors casually. They talk to adults like equals. They negotiate without sweating. They assume problems can be solved because, historically, their problems have been solved. That doesnāt mean theyāre brave. Sometimes it means they have never had to imagine the floor disappearing. NEVER!
ā¹ A rich kid may have everything and still feel like their life was already assigned before they arrived. The right school, the right friends, the right internship, the right partner, the right public image. They may not be allowed to fail privately because every mistake becomes embarrassing for the family. Poor characters often fight for access. Rich characters often fight for selfhood. Different cage, but still a cage.
āĖā”Ā Write the staff situation carefully. I mean IF there are housekeepers, drivers, nannies, assistants, guards, cooks, gardeners, tutors, PLEASE REMEMBER those people ARE NOT FURNITURE! They know everything. They see the family without performance. A rich child might be closer to the nanny than the parent. A driver might know every secret because rich people forget workers can hear. That dynamic can be warm, exploitative, complicated, loyal, resentful, or all of it at once.
ā¹ A nepo baby may be talented and still protected. This is the annoying part, but itās true. The character might actually be good at acting, music, business, politics, whatever. The point is not āthey have no talent.ā The point is they got more chances to prove it. More safety when they failed. Better teachers. Better rooms. Better introductions. A more interesting nepo baby knows they are good and still wonders how much of their success belongs to them.
ā¹ They may be weirdly lonely. Money can buy privacy, but it can also create distance. People may want access, status, favors, invitations, jobs, proximity. A rich character might never know whether someone likes them or likes the life around them. Their birthday party is full, but somehow nobody knows they hate being alone after everyone leaves.
ā¹ Their ānormalā is not normal, and you can use that. Maybe they grew up with security cameras, charity galas, boarding school, ski trips, private doctors, family lawyers, summer houses, tutors, and adults who called them āsirā when they were twelve. They may be totally calm in luxury but panic in ordinary situations. They can handle a formal dinner with ambassadors but not a laundromat. That contrast is PURE GOLD!
ā¹ Class guilt is not the same as class awareness!! A rich character can feel guilty and still benefit from everything. They can say āI hate rich peopleā while living off rich people money. They can donate, volunteer, dress down, date someone broke, reject the family business, and still not fully understand what it means to have no safety net. Mens: guilt can be sincere and useless at the same time.
ā¹ Their friendships can be transactional without anyone saying it. Who gets invited to the lake house? Who gets introduced to the producer? Who gets their internship through whose father? Who disappears when the family loses money?
ā¹ Give them specific habits, not just designer names. They know which fork to use. They pack like hotels will have everything. They donāt check prices on menus. They know how to speak to lawyers. They call adults by first names because they grew up around powerful people. They own luggage that looks more emotionally stable than most characters. Specific behavior sells the class background better than writing āGucciā every five seconds.
ā¹ Let them be funny without making them dumb (Please.) Rich characters can be unintentionally hilarious because their survival skills are so uneven. They might know five languages and not know how to unclog a sink. They might discuss inheritance law calmly but be defeated by public transport. They might say something insane like āwe only had the small yacht that summerā and genuinely not hear it. Comedy works best when they are smart in one world and helpless in another.
ā¹ Losing money should feel like identity collapse. If the family fortune disappears, it is not just ānow they are poor.ā Itās shame, secrecy, social exile, changed friendships, sold houses, unpaid staff, parents panicking, old friends pretending not to notice, and the character realizing how much of their personality was built on always having a backup plan.
ā¹ The best arc is usually NOT ārich person learns poor people exist.ā
Please no. Better arcs: they learn that guilt is not repair. They choose a life not assigned to them. They stop using money as emotional duct tape. They realize kindness without power-sharing is still comfortable for them. They lose the fantasy that being miserable makes their privilege disappear. They become less charming and more honest.
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