Everything.

Rika | 26 | German | Aro-Ace

[luna-azzurra]

When a Character Is Angry but Doesn’t Know Why

Not all rage is loud. Sometimes it simmers. Sometimes it sneaks in. Especially for characters who aren’t used to feeling things or grew up in environments where anger wasn’t safe to express. So when it starts showing up, they don’t even recognize it as anger. They just feel… off. Wrong. Tense.

✧ They get irritated by things that never used to bother them. The way someone chews. A clock ticking. The sound of their name. They can’t explain it, they just feel raw, like their skin doesn’t fit.

✧ They isolate, but don’t call it that. Suddenly, they’re “too tired” to go out. “Too busy” to reply. But really, they don’t trust themselves to be around people without snapping.

✧ They pick fights over things that don’t matter. Because it’s easier to yell about the dishes than admit they feel powerless, unworthy, or invisible.

✧ They can’t sit still. Pacing. Fidgeting. Restlessness that feels like there’s a wasp trapped under their skin and they can’t get it out.

✧ They joke, but it stings. Sarcasm that cuts a little too deep. “Just teasing” that leaves bruises. Humor becomes a weapon they don’t even realize they’re using.

✧ They blame themselves for feeling bad. Instead of thinking something is wrong, they think I’m wrong for feeling this way. The anger turns inward. Self-criticism sharpens.

✧ They can’t cry, and it scares them. They want to break. To feel something clean. But all they feel is the pressure building, and it doesn’t go anywhere.

✧ They eventually explode, and hate themselves for it. One wrong word and suddenly it’s fire. And after? Shame. Guilt. Confusion. Like, What was that? What’s wrong with me?

✧ Their anger isn’t just anger. It’s grief in disguise. That’s the twist. Most of the time, the anger is covering up a heartbreak they haven’t admitted yet.

✧ They’re not “bad” for being angry. They’re human. Write that. Let them be messy and let them feel without always knowing why.

[luna-azzurra]

Subtle Ways a Smart Character Shows They're Smart

✧ They notice what isn’t said. The gap. The silence. The missing piece.

✧ They explain complex things in the simplest words. No ego, just clarity.

✧ They pause before answering, not because they’re unsure, but because they’re calculating what not to say.

✧ They remember names. Tiny details. The kind of stuff people don’t expect anyone to keep.

✧ They don’t correct people when they’re wrong. Unless it matters. Then it’s precise.

✧ They ask smart questions and actually listen to the answers.

✧ They use sarcasm as camouflage, people underestimate snarky geniuses.

[luna-azzurra]

20 Subtle Ways a Character Shows They're Not Okay (But Won’t Say It)

(For the emotionally repressed, the quiet imploders, the “I’m fine” liars.)

✧ Cancels plans they were excited for.

✧ Sleeps too much—or barely at all.

✧ Snaps at tiny things, then immediately regrets it.

✧ Can’t stand silence, suddenly always has noise on.

✧ Dresses in oversized clothes to hide their body.

✧ Laughs too loudly. Smiles too tightly.

✧ Picks at their nails, lips, or skin.

✧ Constantly checks their phone, even though no one is texting.

✧ Stops answering messages altogether.

✧ Forgets to eat—or pretends they already did.

✧ Eyes scan the room like they’re waiting for something bad.

✧ Overcommits. Can’t say no. Burns out quietly.

✧ Stops doing the things they love “just because.”

✧ Apologizes too often.

✧ Avoids mirrors.

✧ Can’t sit still—but won’t go outside.

✧ Says “I’m tired” instead of “I’m hurting.”

✧ Tries to clean everything when their life feels out of control.

✧ Uses sarcasm as armor.

✧ Hugs people just a second too long—and then acts like nothing happened.

[luna-azzurra]

How a Character’s Anger Can Show Up Quietly

Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.

╰ They go still. Not calm... still. Like something is pulling tight inside them.

╰ They smile, but their eyes? Cold. Flat. Done.

╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.

╰ They ask questions they already know the answers to, just to watch someone squirm.

╰ Their words are clipped. Polite. But razor-sharp.

╰ They laugh once. Without humor. You know the one.

╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.

[luna-azzurra]

10 Traits That Make a Character Secretly Dangerous

❥ Disarming Humor. They’re the life of the party. Everyone’s laughing. No one’s noticing how much they aren’tsaying.

❥ Laser-Sharp Observation. They see everything. Who’s nervous. Who’s lying. Who would be easiest to break. And they don’t miss.

❥ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.

❥ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.

❥ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.

❥ Controlling Niceness. The kind of kindness that’s sharp-edged. You feel guilty for not loving them.

❥ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. It’s survival—or manipulation.

❥ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.

❥ History of “Bad Luck”. Ex-friends, ex-lovers, ex-colleagues… they all left under “unfortunate” circumstances. But the pattern says otherwise.

❥ Unshakeable Confidence in Their Morality. They don’t think they’re the villain. That makes them scarier.

[thewriteadviceforwriters]

🧪 Character Arcs 101: what they are, what they aren’t, and how to make them hurt

by rin t. (resident chaos scribe of thewriteadviceforwriters)

Okay so here’s the thing. You can give me all the pretty pinterest moodboards and soft trauma playlists in the world, but if your character doesn’t change, I will send them back to the factory.

Let’s talk about character arcs. Not vibes. Not tragic backstory flavoring. Actual. Arcs. (It hurts but we’ll get through it together.)

─────── ✦ ───────

💡 what a character arc IS:

a transformational journey (keyword: transformation)

the internal response to external pressure (aka plot consequences)

a shift in worldview, behavior, belief, self-concept

the emotional architecture of your story

the reason we care

💥 what a character arc is NOT:

a sad monologue halfway through act 2

a single cool scene where they yell or cry

a moral they magically learn by the end

a “development” label slapped on a flatline

─────── ✦ ───────

✨ THE 3 BASIC FLAVORS OF ARC (and how to emotionally damage your characters accordingly):

Positive Arc They start with a flaw, false belief, or fear that limits them. Through the events of the story (and many Ls), they confront that internal lie, grow, and emerge changed. Hurt factor: Drag them through the mud. Make them fight to believe in themselves. Break their trust, make them doubt. Let them earn their ending.

Negative Arc They begin whole(ish) and devolve. They fail to overcome their flaw or false belief. This arc ends in ruin, corruption, or defeat. Hurt factor: Let them almost have a chance. Build hope. Then show how they sabotage it, or how the world takes it anyway. Twist the knife.

Flat/Static Arc They don’t change, but the world around them does. They hold onto a core truth, and it’s their constancy that drives change in others. Think: mentor, revolutionary, or truth-teller type. Hurt factor: Make the world push back. Make their values cost them something. The tension comes from holding steady in chaos.

─────── ✦ ───────

🎯 how to build an arc that actually HITS (no ✨soft lessons✨, just internal structure):

Lie they believe: What false thing do they think about themselves or the world? (“I’m unlovable.” “Power = safety.” “I’m only valuable if I’m useful.”)

Want vs. need: What do they think they want? What do they actually need to grow?

Wound/backstory scar: What made them like this? You don’t need a tragic past™ but you do need cause and effect.

Turning point: What moment forces them to question their worldview? What event cracks the surface?

Moment of choice: Do they change? Or not? What decision seals their arc?

🧪 Pro tip: this is not a worksheet. This is scaffolding. The arc lives in the story, not just your doc notes. The lie isn’t revealed in a monologue, it’s felt through consequences, relationships, mistakes.

─────── ✦ ───────

🛠️ things to actually do with this:

Write scenes where the character’s flaw messes things up. Like, they lose something. A person. A plan. Their cool. Make the flaw hurt.

Track their beliefs like a timeline. How do they start? What chips away at it? When does the shift stick?

Use relationships as arc mirrors. Who challenges them? Enables them? Forces reflection? Internal change is almost never solo.

Revisit the lie. Circle back to it at least three times in escalating intensity. Reminder > confrontation > transformation.

─────── ✦ ───────

🌊 bonus pain level: REVERSE THE ARC

Wanna make it really hurt? Set them up for one arc, and give them the opposite. They think they’re growing into a better person. But actually, they’re losing themselves. They think they’re spiraling. But they’re really healing. Let them be surprised. Let the reader be surprised.

─────── ✦ ───────

TL;DR: If your plot is a skeleton, your character arc is the nervous system.

The change is the thing. Don’t just dress it up in trauma. Don’t let your character learn nothing. Make them face themselves. And yeah. Make it hurt a little. (Or a lot. I won’t stop you.)

—rin t. // thewriteadviceforwriters // plotting pain professionally since forever

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

5 Opening Pages Mistakes to Stop Making — A Mini eBook for Fiction Writers

✦ A free (and actually helpful) guide to leveling up your first 10 pages ✦If you're unsure whether your opening is ✨doing enough✨ to hook re

[voughtwifeannie]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[rose-0f-winter]

About Growing (Up)

I am not lost, I have just arrived.

Travel-worn, overstimulated, overconfident.

The nest I have built around me feels unfamiliar and wrong.

In the quietude of my life, my mind dreams of potentials unfulfilled, of goals unreached, of paths untravelled.

The person I was before took the only road she could. But I am taller now, and wiser, and the things I once wanted don’t seem so unreachable anymore.

They tell me where I would have fit better, where they would fit me. And the child in me, the dreamer, she longs, and she grieves, and she wishes she would have.

She could. Now. She's more capable now and more sure of herself. She could go and live the dreams her younger self once had.

But she is older now, I am wiser.

And there are other dreams. Dreams of a house in the countryside, a room full of books, a garden. Homecooked meals, a cat, a family, maybe?

These dreams are calmer, safer, lighter.

They are not heavy-handed and thorned, they won't wear me out and I don't have to fight for them.

And I am so tired of fighting, of travelling.

I want to arrive and I have arrived.

That's what I am starting to realize. I have arrived and I don’t need to look any further.

The trips I make are smaller now and always take me back here.

This is my nest, my home, my hub.

I am not lost and I have, finally, grown up.

[luna-azzurra]

Posture & Physical Presence For Writers

(Because how they stand can say more than how they speak.)

Upright and stiff — Formal, tense, or deeply uncomfortable. Slouched shoulders — Insecure, exhausted, or defeated. Relaxed stance — Open, comfortable, confident. Hands in pockets — Guarded, casual, or hiding something. Crossed arms — Defensive, cold, or waiting to be impressed. Leaning forward — Engaged, flirtatious, or impatient. Back straight, chin high — Proud, stubborn, or putting on a show. Shifting weight side to side — Nervous, indecisive, or stalling. Foot tapping — Anxious, impatient, or barely holding it together. Arms loose at sides — Neutral, calm, open to the moment. Fidgeting with sleeves/hair/etc. — Inner turmoil disguised as casual touch. Spine curled inward — Trying to be small, invisible, or unnoticeable. Standing too still — Suppressed emotion, discomfort, or internal freeze. Dominant stance (feet wide, chest forward) — Confidence, aggression, or showmanship. Head tilted slightly — Curiosity, confusion, or playful challenge.

[creativepromptsforwriting]

"I can't..."

"...trust you anymore."

"...believe you sometimes."

"...stop thinking about you."

"...think straight."

"...be with you right now."

"...see where the problem is."

"...go on like this."

"...seem to understand you."

"...figure it out."

"...be who you need."

"...promise you that."

"...love you."

"...win."

"...stay."

"...leave you here."

"...listen to you anymore."

"...see the issue."

"...fail again."

"...explain it."

"...talk right now."

"...imagine myself without you."

"...do this anymore."

"...be with you tight now."

"...lose you again."

"...believe another word you say."

[strange-house-art]

Candle Knight

[writers-potion]

Writing Weapons (5): Improvised Weapons

Using everyday and unpected objects as weapons are especially loved by readers during entertaining fight scenes!

At a desk:

Heavey paperweights and inkpots

Letter opener

Things in Bags and Pockets:

Pen: stabbing, thrusting repeatedly at throat and eyes

Pointed Key: the sharp tip poking out between fingers of a balled fist.

Cologne spray: Spritzed into the attacker's eyes

Water bottle: squeeze into the attacker's eyes for precious few seconds

Small, hard objects to lend power to punches.

Slinging the bag itself (espeically if it's heavy, like a book bag) and slamming it down on his head

Objects Used for Hobbies/Occupations:

Knitting needles for the knitter

Hose pipe, secateurs (pruning clippers), spade for the gardner

Iron frying pan, kettles, spatulas for the cook

A heavy tome for the librarian

Wire brush, hair spray, hot curling iron for the hair stylist

Sharp pointed trowel for the archaeologist

Mop, sopay water, antiseptic for the cleaner

Stethoscope, scalpel for the doctor

Oar for the rower

Stiletto heel for the model

Finger cymbals (for bursting eardrums) for the bellydancer

Pin of a brooch for the jeweller

A handful of coins, unopened roll of pennies for the cashier.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[hayatheauthor]

Hello! 😊 Do you have any advice on word-building? I can imagine multiple scenarios in my head, but I can't seem to put them into words. 🥹

First off hi sorry I took forever to write this blog! I hope it helps you get your ideas onto paper <3

Worldbuilding is the backbone of any compelling story, especially in genres like fantasy, science fiction, and historical fiction. Crafting a believable, immersive world can captivate your readers and provide a solid foundation for your narrative. In this guide, I’ll walk you through the essential steps to create a vivid and engaging world for your story.

Understanding Worldbuilding

Worldbuilding involves creating a complete, fictional universe that serves as the setting for your story. This process includes developing geography, cultures, history, politics, and even the rules of nature and magic (if applicable). The goal is to make your world feel as real and intricate as the characters who inhabit it.

Starting with the Basics

Define the Genre and Tone

Consider the genre of your story. A high-fantasy world will have different requirements than a dystopian future or a historical setting. The tone—whether it's dark and gritty or light and whimsical—will also influence your worldbuilding decisions.

Establish the Setting

Start with the physical world. Sketch out maps, outline the geography, and decide on key locations where your story will unfold. Think about the climate, natural resources, and the flora and fauna that inhabit this world.

Develop a History

Create a backstory for your world. Major events, wars, discoveries, and cultural shifts shape the present-day setting. A rich history can add depth and realism, influencing characters’ beliefs and motivations.

Building Cultures and Societies

Craft Unique Cultures

Think about the various cultures in your world. What are their customs, traditions, and social norms? How do they dress, what languages do they speak, and what religions do they follow? Diverse and well-thought-out cultures can add layers to your narrative.

Political Systems and Power Structures

Define the political landscape. Who holds power, and how is it distributed? Are there monarchies, democracies, or tribal councils? Consider the relationships between different nations or groups and the potential for conflict.

Economics and Resources

Understand the economy of your world. What resources are abundant or scarce? How do people trade, and what currencies do they use? The distribution of resources can drive plot points and character motivations.

Crafting Magic and Technology

Magic Systems

If your world includes magic, establish clear rules and limitations. What are the sources of magic? Who can use it, and how? Consistent magic systems prevent plot holes and maintain suspension of disbelief.

Technology Levels

Consider the technological advancements in your world. Are they using medieval weapons, steampunk machinery, or advanced futuristic gadgets? The level of technology can influence daily life, warfare, and exploration.

Time and Place

Historical Context

Establish the timeline of your world. Is it set in the past, present, or future? Consider historical events that have shaped the current state of the world. How have these events influenced societal development and cultural evolution?

Daily Life and Schedules

Describe the daily routines of your characters. What does a typical day look like for different social classes or cultures? Consider work hours, leisure activities, and societal expectations. The pace of life can vary greatly depending on technological advancements and cultural norms.

Timekeeping and Calendars

Develop a system of timekeeping and calendars. Are there specific seasons, festivals, or holidays that are significant? How do people measure time—by the sun, moon, or a mechanical clock? Unique timekeeping methods can add depth and authenticity to your world.

Clothing and Fashion

Cultural Significance

Explore how clothing reflects cultural identity, status, and occupation. Different regions and social groups might have distinct styles, fabrics, and accessories. What materials are commonly used, and how are garments crafted?

Fashion Trends

Consider the evolution of fashion in your world. What are the current trends, and how do they vary across different societies? Fashion can be influenced by historical events, climate, and interactions with other cultures.

Practicality and Symbolism

Think about the practicality of clothing in your world’s environment. How does the climate affect what people wear? Additionally, consider any symbolic meanings attached to certain garments or accessories. For instance, specific colors or patterns might denote rank or allegiance.

Religion and Beliefs

Pantheon and Deities

Create a pantheon of gods or a single deity, depending on your world’s religious structure. What are their characteristics, domains, and myths? How do they interact with mortals, if at all?

Rituals and Practices

Detail the religious rituals and daily practices of your world’s inhabitants. Consider ceremonies, festivals, and rites of passage. How do these practices influence daily life and societal norms?

Religious Institutions

Define the structure and influence of religious institutions. Are there temples, churches, or shrines? What roles do priests, shamans, or other religious figures play in society? The power dynamics between religious and secular authorities can add layers to your worldbuilding.

Languages and Communication

Linguistic Diversity

Develop the languages spoken in your world. Are there multiple languages or dialects? Consider the history of these languages and how they evolved. Language can be a powerful tool to convey cultural diversity and conflict.

Writing Systems

Design writing systems and scripts used for communication. Are there ancient texts or runes with special significance? How do literacy rates vary among different social classes and regions?

Non-Verbal Communication

Explore other forms of communication, such as body language, sign language, or symbolic gestures. How do people convey messages in situations where spoken language is impractical? These non-verbal methods can add depth and realism to your interactions.

Integrating Worldbuilding into Your Story

Show, Don’t Tell

Instead of dumping information on your readers, reveal your world organically through the narrative. Use dialogue, actions, and descriptions to weave worldbuilding details seamlessly into the story.

Character Perspectives

Different characters will experience and interpret your world in unique ways. Use their perspectives to highlight various aspects of your world, making it richer and more complex.

Consistency and Continuity

Maintain consistency in your world’s rules and details. Keep track of your worldbuilding elements to avoid contradictions and ensure a cohesive narrative.

Worldbuilding Tools and Resources

Maps and Diagrams

Create visual aids like maps, family trees, and diagrams to help you keep track of your world’s layout and relationships. Tools like Inkarnate or Wonderdraft can be helpful for map-making.

Worldbuilding Bibles

Maintain a worldbuilding bible—a document where you compile all your world’s details. This can include notes on geography, history, cultures, and more. It’s a valuable reference as you write and develop your story.

Inspiration from Real World and Fiction

Draw inspiration from real-world cultures, histories, and landscapes. Similarly, reading widely in your genre can provide insights into effective worldbuilding techniques.

Final Thoughts

Worldbuilding is a rewarding yet challenging aspect of storytelling. It requires imagination, attention to detail, and a deep understanding of your narrative’s needs. By following this comprehensive guide, you can create a vibrant, believable world that will captivate your readers and enhance your storytelling.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[writing-for-whoever-listens]

Random Prompts 24

"Well I'm not waiting for Fate to change her mind. She's a stubborn bitch."

"Why do I have to wait for the tables to turn? Can I not just jump across the table and attack you?"

"Patience is a virtue, you know." "Right, and didn't the virtues succumb to sin anyway? I'm just skipping steps."

"How did you get here so fast?" "Shortcut." "You were three days of travel away and you got here in an hour." "Shortcut."

"I would walk through Hell for you." "That's a nice sentiment but please don't."

"Do not make me turn this river around!"

"The amount of people who have said moving mountains is metaphorical until I actually move them is ridiculously high."

"We survived something insane! We should be thanking the gods!" "Uh, you do that. I'll go back to flipping them all off for getting us in that situation in the first place."

"What is in your hand?" "Rock." "Where did you find a rock?" "The ground."

"You can't keep the magic fish, we have to put it back." "But it likes me!"

[coffeetank-deactivated20260122]

Opposing Qualities for your Characters!

I always advocate the concept of Traits and their Inverses when making characters. If you're familiar with my blog, you'll know that in one of my posts, I've told you to use opposing qualities when you make a character to make them real. Here's a link to that post if you haven't come across it yet so you can understand this better: https://www.tumblr.com/coffeetank/747126821111447552/build-characters?source=share ~ List of more opposing qualities to give your characters: persuasive :: manipulative (your character has a way with words and sometimes uses this to get away with things)

humble :: underconfident (your character does not have an ego at all, but they are in actuality always underconfident - show how this can affect their surroundings especially in a situation where others depend on them)

independent :: alienated (your character can do everything on their own and quite literally does not need anyone around, show how this can crossover over with alienation - dig into the emotional background of this supposed crossover)

curious :: invasive (your character has an appetite for knowledge, but they forget boundaries - show how this can get them into trouble)

daring :: reckless (your character has a strong spirit and isn't scared of taking risks, but this can always incline to the bad side and cause them harm - use this to especially add event and conflict in the story)

neutral :: retracted (your character prefers to see both sides before coming to a conclusion and stays neutral 99% of the times, but then when one side needs them more than the other they refuse to acknowledge that need and pull themselves out of that situation - show how this this can affect their relationships with other people especially on a moral ground)

emotional :: irrational (it's always good for your character to have emotional capacity, but it can hinder with their practical side for sure - show how this plays out)

unique :: aberrant (your character has a very solid personality but then some their quirks are too odd to be normal - this is good for revealing an undercover villain/agent/supernatural being later in the story as a twist)

optimistic :: unserious (your character is a positive person, but they take life too lightly sometimes - play with it!)

appealing :: deceptive (your character is absolute delight to be around and wins hearts in an instant - show how they use this power of their to deceive people for their own benefit)

hopeful :: expectant (your character wishes for the bright side - show how this can transverse into having unfulfilled expectations thus making them act out wrongly due to disappointment)

clever :: cunning (as obvious as it sounds, your character uses their intelligence for the wrong - bonus if you mix this with another set of opposing qualities to add depth and layers to your characters)

short-tempered :: violent (easy, simple and impactful; your character loses temper quickly but they damage things around them with every small/big outburst)

Feel free to use these as you'd like! I'll bring you more soon.

-ashlee

[insert-witty-user-name-here]

Random Plot Points

A little about me as a writer, I love daydreaming about adventure stories. I usually know the general set up and larger plot points but oftentimes struggle with the how, how do characters get from point A to point B. 

So, I made a list of random challenges for my characters that I look at when I'm stuck.

Sharing in case helpful to others! (intended for adventure, sci-fi, fantasy stories) 

characters are delayed/blocked/experience a natural disaster (storm, fire, flood, avalanche, earthquake, epidemic, etc) (BONUS and forced to take a detour from the original path)

character(s) is trapped (quick sand, fall through ice, in room filling with poison, on sinking ship, in a trash compactor on the Death Star, etc) (BONUS- fall into hidden room and discover something) 

characters go to a festival/ball/party/political summit (where inevitably it all goes wrong)

character(s) overhears a secret (at bar, at party, from a whispered conversation below them in a stairway, etc) 

characters are attacked by an animal or mysterious force 

characters(s) caught in a mob/riot

character wins/loses something in a bet

character is brainwashed or possessed 

character is stranded/lost

character is poisoned 

character succumbs to injury or illness 

characters are chased/ attacked by antagonists 

character is captured or arrested (and needs to be rescued)

character is kidnapped and kidnappers make a demand for their release (financial ransom, exchange of information, prisoner exchange, etc) 

character(s) go undercover to retrieve information

characters decide to steal something they need for their quest (weapon, magical object, money, information, etc). (BONUS- time for a well-planned heist!) 

characters need to protect/ retrieve/ destroy something 

characters uncover a network of spies (up to you if they're unexpected allies or antagonists)  

characters discover hidden passageway, room, ruins etc that leads to an important clue

characters forced to hide from someone/something

characters need to escape 

characters lured into trap set by villain (BONUS if the villain doesn't even care who wins but only goaded them to learn how a magical object works, the extent of heroes powers, emergency response system of a government, etc) 

characters set trap for villain (BONUS- use someone or something important as bait) (if in Act 2, they fail) 

characters reveal critical information to villain in disguise 

a character is mistaken for someone else (and then is wrongfully arrested, receives information not intended for them, etc) 

characters receive help (hitch a ride, get help hiding from captors, get help escaping somewhere, etc) from an unlikely new ally 

characters forced to team up with an unlikely ally/ morally grey character, etc

characters learn something from simple library research (an oldie but a goodie)

characters just literally just stumble upon or witness something important (secret weapon, secret society etc) 

characters uncover a secret map/ coded message on the back of an old unassuming document (time for a classic treasure hunt!) 

someone escapes from prison (an old villain or an old ally) that changes the quest 

someone is being blackmailed (or otherwise forced to act against the protagonists)

someone is discredited (rumor, disinformation campaign etc) 

something stolen from your characters 

something (document, magical object, money) turns out to be fake

OR, something unassuming turns out to have special powers or meaning  

something is hacked (defense system, infrastructure, bank, private records, etc)

something critical is attacked (important bridge, port, bank/ financial system, safehouse, capitol building, character's familial home, etc.)

a computer virus is unleashed 

a biological weapon is unleashed 

a piece of information the characters believed was true, is false 

an ancient myth turns out to be true 

a secret is made public 

A law is changed or a vote on a critical piece of legislation loses/wins 

a political opponent wins an election/ a political ally loses an election 

character(s) help a passerby (from raiders, local tyrant, beast, mystical force, etc) 

characters "follow the money" and realize someone who was thought to be their ally is actually working for... (crime syndicate, villain, local tyrant etc) 

[writers-potion]

Writing Weapons (2): Knives and Daggers

Dagger vs. Sword

In many situations, daggers might be more plausible than a sword fight.

Dagger are eaiser to carry and conceal, lighter, faster, good for spontaneous action, suicide bids, self-defense and assassination.

Dagger vs. Knife

No clear distinction; terms used interchangeably

Dagger is more for thrusting with 2 sharp edges

Knife is more for cutting (slashing) with 1 sharp edge

Concealment

Carried in a leather sheath on the belt

Can be concealed under a cloak, in a bodice (sheath sewn into the bodice), in a boot, behind hari ornaments

Bodice daggers (popular in the Renaissance) had no cross guards.

Connotations

Beside its combat value, the dagger has lots of emotional and sexual symbolisms.

The closeness need to attack with a dagger creates intense personal connection. They are often used in fights where emotions are running high: gang warfare, hate crime, vengeance.

Due to its shape and the fact that it's usually worn on a belt made it a symbol of virility in many cultures and periods.

Sometimes it was the hilt rather than the blade: like in the case of bollocks daggers with two...balls on either side of the hilt.

Fighting Techniques

Stabbing:-

The dagger with long, thin blades are made to stab a vital organ like the kidneys, liver, bowel, stomach or heart.

Stabbing directly at the chest seldom works, since the blde may glance off the ribs. Position the dagger below the ribcage and drive it upwards, through the diaphragm and into the lungs. If the sword is long enough and your fighter is a professional, you can get to the heart.

If no professional, just keep going for the stomach and you'll get one of the vital organs eventually.

Slashing:-

When describing a slash wound, show a lot of blood streaming, or even spurting.

Slashing dagger fights are bloody - show your MC's hands getting slick with blood, grip on the weapon slipping.

The aim is to cut the opponent's throat or cut tendoms, muscles, or ligaments to disable. Slashing the muscles in the weapon-wielding arm is the most effective; insides of the writst or back of the knee is also critical.

Assassinations:-

Show good knowledge of the humna antatomy

Use a stabbing dagger

A single, determined, calculated and efficient stroke, probably below the ribs.

Self-Defense:-

Disable the attacker by slashing their weapon-wielding hand (elbow or wrist)

Quick, multiple stabs wherever the MC can get the blade to land; the attacker won't give time for careful positioning

If the blade is too short to do any significant damage, maek up for this by stabbing so ast that the pain and blood loss distracts the opponent.

Vegeance and Hatred:-

Someone who is motivated by raging emotions will stab the victim repeatedly, even after he is already dead.

The attacker may stab or salsh the victim's face, disfiguring it.

Contemporary street fights and gang warfare usually involves these.

Duels:-

If both fighters are armed with daggers, include wrestling-type moves as they try to restrict each other's weapon hand.

Show them trying to disable each other by slashing insides of writes, elbows, the back of the knees, etc.

Dagger + Sword

If the character is expecting a fight, they can hold a sword in their right hand, and a dagger in their left to fight with both

Sword + mace combination also common.

Blunders to Avoid:

Direct stabbing at the chest wouldn't work.

Hero cannot cut his bread with a stabbing sword

adapted from <Writer's Craft> by Rayne Hall