Not all rage is loud. Sometimes it simmers. Sometimes it sneaks in. Especially for characters who arenât used to feeling things or grew up in environments where anger wasnât safe to express. So when it starts showing up, they donât even recognize it as anger. They just feel⌠off. Wrong. Tense.
â§Â They get irritated by things that never used to bother them.
The way someone chews. A clock ticking. The sound of their name. They canât explain it, they just feel raw, like their skin doesnât fit.
â§Â They isolate, but donât call it that.
Suddenly, theyâre âtoo tiredâ to go out. âToo busyâ to reply. But really, they donât trust themselves to be around people without snapping.
â§Â They pick fights over things that donât matter.
Because itâs easier to yell about the dishes than admit they feel powerless, unworthy, or invisible.
â§Â They canât sit still.
Pacing. Fidgeting. Restlessness that feels like thereâs a wasp trapped under their skin and they canât get it out.
â§Â They joke, but it stings.
Sarcasm that cuts a little too deep. âJust teasingâ that leaves bruises. Humor becomes a weapon they donât even realize theyâre using.
â§Â They blame themselves for feeling bad.
Instead of thinking something is wrong, they think Iâm wrong for feeling this way. The anger turns inward. Self-criticism sharpens.
â§Â They canât cry, and it scares them.
They want to break. To feel something clean. But all they feel is the pressure building, and it doesnât go anywhere.
â§Â They eventually explode, and hate themselves for it.
One wrong word and suddenly itâs fire. And after? Shame. Guilt. Confusion. Like, What was that? Whatâs wrong with me?
â§Â Their anger isnât just anger. Itâs grief in disguise.
Thatâs the twist. Most of the time, the anger is covering up a heartbreak they havenât admitted yet.
â§Â Theyâre not âbadâ for being angry. Theyâre human.
Write that. Let them be messy and let them feel without always knowing why.
10 Traits That Make a Character Secretly Dangerous
âĽÂ Disarming Humor. Theyâre the life of the party. Everyoneâs laughing. No oneâs noticing how much they arenâtsaying.
âĽÂ Laser-Sharp Observation. They see everything. Whoâs nervous. Whoâs lying. Who would be easiest to break. And they donât miss.
âĽÂ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.
âĽÂ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.
âĽÂ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.
âĽÂ Controlling Niceness. The kind of kindness thatâs sharp-edged. You feel guilty for not loving them.
âĽÂ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. Itâs survivalâor manipulation.
âĽÂ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.
âĽÂ History of âBad Luckâ. Ex-friends, ex-lovers, ex-colleagues⌠they all left under âunfortunateâ circumstances. But the pattern says otherwise.
âĽÂ Unshakeable Confidence in Their Morality. They donât think theyâre the villain. That makes them scarier.
đ§Ş Character Arcs 101: what they are, what they arenât, and how to make them hurt
by rin t. (resident chaos scribe of thewriteadviceforwriters)
Okay so hereâs the thing. You can give me all the pretty pinterest moodboards and soft trauma playlists in the world, but if your character doesnât change, I will send them back to the factory.
Letâs talk about character arcs. Not vibes. Not tragic backstory flavoring. Actual. Arcs. (It hurts but weâll get through it together.)
âââââââ ⌠âââââââ
đĄ 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
đĽ 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 âdevelopmentâ label slapped on a flatline
âââââââ ⌠âââââââ
⨠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 donât change, but the world around them does. They hold onto a core truth, and itâs 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.
âââââââ ⌠âââââââ
đŻ how to build an arc that actually HITS (no â¨soft lessonsâ¨, just internal structure):
Lie they believe: What false thing do they think about themselves or the world? (âIâm unlovable.â âPower = safety.â âIâm only valuable if Iâm useful.â)
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 donât 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?
đ§Ş Pro tip: this is not a worksheet. This is scaffolding. The arc lives in the story, not just your doc notes. The lie isnât revealed in a monologue, itâs felt through consequences, relationships, mistakes.
âââââââ ⌠âââââââ
đ ď¸ things to actually do with this:
Write scenes where the characterâs 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.
âââââââ ⌠âââââââ
đ bonus pain level: REVERSE THE ARC
Wanna make it really hurt? Set them up for one arc, and give them the opposite.
They think theyâre growing into a better person. But actually, theyâre losing themselves.
They think theyâre spiraling. But theyâre really healing. Let them be surprised. Let the reader be surprised.
âââââââ ⌠âââââââ
TL;DR: If your plot is a skeleton, your character arc is the nervous system.
The change is the thing. Donât just dress it up in trauma. Donât let your character learn nothing. Make them face themselves.
And yeah. Make it hurt a little. (Or a lot. I wonât stop you.)
ârin 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 đ you can grab it here for FREE:
⌠A free (and actually helpful) guide to leveling up your first 10 pages âŚIf you're unsure whether your opening is â¨doing enough⨠to hook re
Zoom In, Donât Glaze Over: How to Describe Appearance Without Losing the Plot
Youâve met her before. The girl with âflowing ebony hair,â âemerald eyes,â and âlips like rose petals.â Or him, with âchiseled jawlines,â âstormy gray eyes,â and âshoulders like a Greek statue.â
We donât know them.
Weâve just met their tropes.
Describing physical appearance is one of the trickiest â and most overdone â parts of character writing. Itâs tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone â to feel the charge in the air when they enter a room â we need to stop writing mannequins and start writing people.
So letâs get granular. Hereâs how to write physical appearance in a way thatâs textured, meaningful, and deeply character-driven.
1. Hair: Itâs About Story, Texture, and Care
Hair says a lot â 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: âHer long brown hair framed her face.â
Better: âHer ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.â
You donât 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 doesnât 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, crowâs feet, smudged mascara)
Flat: âHis piercing blue eyes locked on hers.â
Better: âHis gaze was the kind that looked through you â like it had already weighed your worth and moved on.â
Youâre not describing a passport photo. Youâre 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. Theyâre 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: âShe had a delicate face.â
Better: âThere was something unfinished about her face â as if her cheekbones hadnât quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.â
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 â 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: âHe was tall and muscular.â
Better: âHe had the kind of height that made ceilings nervous â but he moved like he was trying not to take up too much space.â
Describing someoneâs body isnât about cataloguing. Itâs about showing how they exist in the world.
5. Let Emotion Tint the Lens
Whoâs doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape whatâs noticed and how itâs 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:
âHe had a habit of adjusting his collar when he lied â always clockwise, always twice.â
âHer nail polish was always chipped, but never accidentally.â
Make the reader feel like theyâre the only one close enough to notice.
Describing appearance isnât just about what your character looks like. Itâs about what their appearance says â 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 clichĂŠs. Let each description carry weight, story, and emotion. Because youâre not building paper dolls. Youâre building people.
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 donât 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 donât need to look any further.
The trips I make are smaller now and always take me back here.
(Because how they stand can say more than how they speak.)
Upright and stiff â Formal, tense, or deeply uncomfortable.
Slouched shoulders â Insecure, exhausted, or defeated.
Relaxed stance â Open, comfortable, confident.
Hands in pockets â Guarded, casual, or hiding something.
Crossed arms â Defensive, cold, or waiting to be impressed.
Leaning forward â Engaged, flirtatious, or impatient.
Back straight, chin high â Proud, stubborn, or putting on a show.
Shifting weight side to side â Nervous, indecisive, or stalling.
Foot tapping â Anxious, impatient, or barely holding it together.
Arms loose at sides â Neutral, calm, open to the moment.
Fidgeting with sleeves/hair/etc. â Inner turmoil disguised as casual touch.
Spine curled inward â Trying to be small, invisible, or unnoticeable.
Standing too still â Suppressed emotion, discomfort, or internal freeze.
Dominant stance (feet wide, chest forward)Â â Confidence, aggression, or showmanship.
Head tilted slightly â Curiosity, confusion, or playful challenge.
Hello! đ 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. đĽš
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, Iâll 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 toneâwhether it's dark and gritty or light and whimsicalâwill 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 charactersâ 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 timeâby 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 worldâs 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 worldâs 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 worldâs 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, Donât 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 worldâs 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 worldâs layout and relationships. Tools like Inkarnate or Wonderdraft can be helpful for map-making.
Worldbuilding Bibles
Maintain a worldbuilding bibleâa document where you compile all your worldâs details. This can include notes on geography, history, cultures, and more. Itâs 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 narrativeâs 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?Â
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 Hayaâs book blog where I post writing and publishing tips for authors every Monday and Thursday! And donât forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!Â
"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!"
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.
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.Â
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)Â
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)Â
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)Â
characters are attacked by an animal or mysterious forceÂ
characters(s) caught in a mob/riot
character wins/loses something in a bet
character is brainwashed or possessedÂ
character is stranded/lost
character is poisonedÂ
character succumbs to injury or illnessÂ
characters are chased/ attacked by antagonistsÂ
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)Â
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!)Â
characters need to protect/ retrieve/ destroy somethingÂ
characters uncover a network of spies (up to you if they're unexpected allies or antagonists)Â Â
characters discover hidden passageway, room, ruins etc that leads to an important clue
characters forced to hide from someone/something
characters need to escapeÂ
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)Â
characters set trap for villain (BONUS- use someone or something important as bait) (if in Act 2, they fail)Â
characters reveal critical information to villain in disguiseÂ
a character is mistaken for someone else (and then is wrongfully arrested, receives information not intended for them, etc)Â
characters receive help (hitch a ride, get help hiding from captors, get help escaping somewhere, etc) from an unlikely new allyÂ
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)Â
characters uncover a secret map/ coded message on the back of an old unassuming document (time for a classic treasure hunt!)Â
someone escapes from prison (an old villain or an old ally) that changes the questÂ
someone is being blackmailed (or otherwise forced to act against the protagonists)
someone is discredited (rumor, disinformation campaign etc)Â
something stolen from your charactersÂ
something (document, magical object, money) turns out to be fake
OR, something unassuming turns out to have special powers or meaning Â
something is hacked (defense system, infrastructure, bank, private records, etc)
a piece of information the characters believed was true, is falseÂ
an ancient myth turns out to be trueÂ
a secret is made publicÂ
A law is changed or a vote on a critical piece of legislation loses/winsÂ
a political opponent wins an election/ a political ally loses an electionÂ
character(s) help a passerby (from raiders, local tyrant, beast, mystical force, etc)Â
characters "follow the money" and realize someone who was thought to be their ally is actually working for... (crime syndicate, villain, local tyrant etc)Â
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
Everything. @motivationsforhyperfixations - Tumblr Blog | Tumgag