Vincent x male!reader who suspects what Vincent does in his downtime and to his competition and just kinda slips him little hints and helps him indirectly
Ooh, interesting. Alrighty I've got some headcanons (plot points?) about this, though lowk it works as gn! reader
CW: talk of death/murder/serial killing
Vincent took over as the lead anchorman due to the murder of the previous one, everyone knew that. At first, it seemed like a once-in-a-lifetime circumstance of tragedy.
But then there was the mysterious death of a talkshow host, which conveniently gave your boyfriend another once-in-a-lifetime chance to take over a popular late-night show. So, you settled with the cloud of death that just seemed to precede Vincent's climbing of the ranks-
That's when you realized how naive you sounded.
Years went by, and eventually his producers were found strangled to death. You knew this wasn't some ungodly coincidence anymore. But the relation... Was Vincent really a murderer? A psychotic serial killer? Adorkable, sweet, obsessive, temperamental, impulsive Vincen-? ....Oh.
You kinda had to test your theory. You had to know if you were in love with a cold-blooded killer. And if so... Did he need any help with his hobby..?
Why, you had no intention of leaving him- Even if this was what it took for you both to live in luxury. So while you were in the middle of dinner in your home, you dangled the topic over him like bait on a hook.
"So, honey, how're your approval ratings?" you asked innocently. Vincent was all too happy to answer. "Happy to report that they're better than last season's. Went up by 5%, actually!" He looked so proud of himself, you almost didn't want to break the fact to him. "Hm," you sighed, "That's nice. But y'know, that cooking show on your same network went up by 9%, Vince. I'm just saying, I hope it's not stealing too many of your... Would-be viewers."
It happened one month later; a horrible accident. Cathy from Cooking with Cathy had literally exploded on camera, after striking a match in a room with a gas leak. And the viewership for your boyfriend's show went up by the dozens, just like that. And you decided that maybe, this was the best way for you to support him; making sure that no other show got away with having more views, or better reviews, than his. You both needed to spend those vacation days somewhere nice, you know?
Lowkey after writing this I'm thinking about writing a partners-in-crime type of x reader 🤪
Why Character Occupations Matter in Mystery Writing
In some genres, a character's occupation might seem like a minor detail, something that simply adds depth to their personality or daily life. However, in mystery writing, a character's profession is crucial because it directly impacts their investigative approach, access to information, and level of influence.
Occupation as a Tool for Investigation
Take, for example, Adebayo Owolabi from The Hidden Diary. Adebayo is a retired lawyer. While I haven't specified what kind of law he practiced, his strong sense of justice suggests he was deeply involved in legal matters. This background gives him a mindset suited for investigation, but also comes with limitations. He knows how to analyze cases, but he no longer has the authority or active resources of a practicing lawyer.
His legal connections become crucial. One of his key allies is Chimoabi Duru, a high-ranking police officer who shares Adebayo's commitment to justice. Chimoabi provides inside access to case files, forensic details, and even helps Adebayo see his daughter's body, which would otherwise be impossible for a civilian. Another ally is his brother, Tunde, a politician with access to influential networks. These connections give Adebayo leverage in different spheres of power, but also introduce complications, as politics and law enforcement each have their own red tape and hidden agendas.
On the ground level, Adebayo relies on Blessing, an informant with deep roots in the streets, to uncover local gossip and underground activities. Each of these characters' professions defines how they contribute to the investigation, highlighting how different jobs shape the flow of a mystery.
What If Adebayo Had a Different Job?
Now, imagine Adebayo was a professor instead of a lawyer. His approach to solving the mystery would be entirely different.
If he taught criminology or law, he might use academic theories and research to piece together clues, relying on past students or university connections in law enforcement. If he were a business professor, his investigative route might involve tracking financial records or understanding the economic ties behind the crime. His access to police files or forensic details would be limited, requiring more external help.
If his wife, a nurse, were still alive, she might have medical connections that could offer insight into forensics or autopsy reports. Each change in occupation shifts the narrative, creating new strengths and weaknesses in the character's ability to navigate the mystery.
Occupation as an Obstacle
A character's job doesn't just aid investigation—it can also create roadblocks. Adebayo's status as a retired lawyer means that while he understands legal procedures, he has no active authority. Some people might dismiss him as just a grieving father with no official standing. If he were a professor, police might see him as an outsider meddling in an investigation.
In mystery writing, a well-chosen occupation not only enriches a character but also determines how they interact with the case. It sets the boundaries of what they can realistically do and what challenges they'll face. Whether they're a journalist, detective, scientist, or artist, their profession shapes the mystery at every turn.
Next week, I'll dive into How to Write an Engaging Investigator. Stay tuned!
Elena Gilbert, or more openly known as Helena Mikaelson, stepped into her apartment in New York City as she switched on the lights, frowning as she saw who was sitting in her living room. She ignored him, heading towards her mini bar, gods know she'll need alcohol in her system if she was to converse with him. The man seemed content with waiting as she poured herself a drink. Elena downed the glass of bourbon, the alcohol burning her throat, she set the glass down with more force than necessary before addressing him, not bothering to turn and face him, "What are you doing here, Elijah?" she asked coldly.
Elijah, unbothered by her reaction -already used to reactions like these from his siblings- spoke in an even tone, "Good evening, Helena. How are you this evening?" he asked sarcastically. She rolled her eyes "Good, before you showed up", she muttered, knowing full well he could hear her.
Snippet 2:
"Stay here", he ordered as he got out of the car. Helena scoffed as she went to open the car door, only for it not to open she looked up at him in disbelief, "You turned on the child safety lock!?" she asked incredulously, shocked that he would do something like that. He smirked at her as he leaned down so they could see each other through the window "I did," he said matter-of-factly "Now be good and stay right here. I'll be back", he said, addressing her one last time before straightening again and walking off.
She crossed her arms as she leaned back against her seat, letting out a frustrated sigh. This is probably the only time she was willing to listen to him, not because he had ordered her to, but because it was better than the other option of running into other issues, such as the Salvatores or even her younger self, 'why did he even bring me along after all those centuries?' she thought as she leaned her head against the window.
Hiii, I just dicovered your acc and i'm loving it 🥰 I have this lil problem where I have in mind and write scenes but without a plot. And I'm very fond to the characters so I can't put them into a plot because I don't want them to suffer or a think if they do suffer it'll we forced and too much. Any tips for that?
How to Plot A Novel If You Only Have Characters & Scenes
So, you have a great cast of characters and some exciting scenes in mind, but you're struggling to put them together into a cohesive plot. Don't worry, you're not alone. Many writers struggle with plotting their novels, especially when they have a strong focus on characters and scenes. I have also been facing difficulties with this recently. But fear not, in this article, I’ll help you explore how you can plot a novel even if you only have characters and scenes to work with.
Why Is Plotting Important?
Before we dive into the how, let's first understand why plotting is important. A well-crafted plot is the backbone of any successful novel. It keeps readers engaged, creates tension and conflict, and ultimately leads to a satisfying resolution. Without a strong plot, your novel may fall flat and fail to capture the attention of readers.
Types of Plots
There are many different types of plots, but they can generally be categorized into three main types: character-driven, plot-driven, and hybrid.
Character-driven plots focus on the internal struggles and growth of the main character. The plot is driven by the character's desires, flaws, and decisions.
Plot-driven plots focus on external events and conflicts that drive the story forward. The characters may still have their own arcs, but the main focus is on the events and how they affect the characters.
Hybrid plots combine elements of both character-driven and plot-driven plots. They have a balance of internal and external conflicts that drive the story forward.
Understanding the type of plot you want to create can help guide your plotting process.
How to Plot A Novel with Only Characters & Scenes
Now that we understand the importance of plotting and the different types of plots, let's explore how you can plot a novel with only characters and scenes.
Start with Your Characters
Since you already have a strong cast of characters, it makes sense to start with them. Take some time to fully develop your characters, including their personalities, motivations, and flaws. This will help you understand how they will react in different situations and what conflicts they may face.
Identify Your Main Conflict
Every novel needs a main conflict that drives the story forward. This could be a physical conflict, such as a battle or a chase, or an emotional conflict, such as a character's internal struggle. Identify what the main conflict in your novel will be and how it will affect your characters.
Create a Story Structure
A story structure is a framework that helps guide the flow of your novel. It typically includes the beginning, middle, and end, and can be broken down further into acts or chapters. Creating a story structure can help you see the bigger picture of your novel and how your characters and scenes fit into it.
Map Out Your Scenes (High Priority) 🚩
Now it's time to map out your scenes. Start by listing all the scenes you have in mind, even if they are not in chronological order. Then, arrange them in a logical order that makes sense for your story. This may require some rearranging and tweaking to ensure a smooth flow of events.
Connect Your Scenes with Conflict (High Priority) 🚩
Once you have your scenes in order, it's time to connect them with conflict. Every scene should have some form of conflict, whether it's internal or external. This will keep readers engaged and drive the story forward. Look at each scene and identify the conflict present, and how it connects to the main conflict of the novel.
Create a Character Arc for Each Character
As your characters go through different conflicts and events, they should also experience growth and change. This is where character arcs come in. A character arc is the journey a character goes through, from their initial state to their final state. Create a character arc for each of your main characters, and make sure their actions and decisions align with their arc.
Add Subplots
Subplots are smaller storylines that run parallel to the main plot. They add depth and complexity to your novel and can help develop your characters further. Look at your characters and see if there are any side stories or relationships that could be explored in a subplot. Just make sure they tie back to the main plot in some way.
Use Plotting Tools
If you're struggling to put all the pieces together, consider using some plotting tools to help you. There are many resources available, such as plot diagrams, beat sheets, and storyboards, that can help you visualize your plot and ensure all the elements are in place. If you need help with scene structure use my new scene workbook here.
Real-World Examples of Plotting with Characters & Scenes
One example of a novel that successfully uses characters and scenes to drive the plot is "To Kill a Mockingbird" by Harper Lee. The main conflict is the trial of Tom Robinson, but it is the characters, particularly Scout and Atticus, and their reactions to the events that drive the story forward.
Another example is "The Hunger Games" by Suzanne Collins. The main conflict is the Hunger Games themselves, but it is Katniss' internal struggle and her relationships with other characters that keep readers engaged and invested in the story.
Final Thoughts
Plotting a novel with only characters and scenes may seem daunting, but with the right approach, it can be done successfully. Start by fully developing your characters, identifying the main conflict, and creating a story structure. Then, map out your scenes, connect them with conflict, and create character arcs. Don't be afraid to use plotting tools to help you along the way. With these tips, you'll be on your way to crafting a compelling plot that will keep readers hooked until the very end.
If you require assistance with developing your scene structure, you can access my Scene Workbook for Writers at no cost.
Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo
I am sorry to the individual who sent me this question. I have a lot of questions in my Tumblr inbox and have only recently come across this nice question. I apologize for the 4-month delay.
Kenny Ortega's directing of Descendants was actually pretty awful.
Some Reasons:
He UNDERDEVELOPED the MAIN COUPLE and MAIN MALE LEAD of the franchise
Example(s): Bal was so poorly written as a couple, it was not even funny. They are torn to shreds by the fandom. Anything that could help develop them is never used! The one bit of development they got was being labelled as a True Love. But not even that helped because it was promptly forgotten about. Poor Ben was trampled on and underused. He is shoved into the 'damsel in distress' role, and he's just...left there. He doesn't get to grow as a character or save Mal once. Even when it was implied with "next time I rescue you, okay?" The 'main male lead' attention was given to Carlos and Harry.
2. He allows the actors to make up 'backstories' for their and other characters. That make NO SENSE and contradict canon/plot points he has already established.
Example(s): Dove and Thomas being allowed to implant the 'Mal and Harry are ex's' backstory was ridiculous. Because as said, it contradicts Mal's already established dating life in D1. Whats more the chemistry with China and the way they played Uma and Harry just makes it unbelievable. Kenny should never have allowed it when they first talked about it!
3. He ESTABLISHES plot points during the movies and then does NOTHING with them in the next:
Example(s): Mal was made out to be a brilliant artist in D1, and then you barely see her do art again over D2 and D3. But even worse than that Bal was given True Love statues in D2. It is not mentioned ONCE in D3. Not in a single line. It was like that point vanished into thin air.
Look guys I loved the High School Musical franchise, and the Cheetah Girls movies are good too. Plus, if nothing else, Kenny did better than the Rise of Red director with actually showing big events. But Kenny's quality as director has certainly slipped since HSM. You have to admit when you think about it Descendants was a bit of a shambles and if it hadn't been Disney probably wouldn't have done half as well as it did.
Questions I want it answered in elain's book and I will add to this as it comes to my mind.
Who built velaris and why
How the high lord system works and why only males
What other secrets daglan have other than the powers beneath the land
Why elain was the one given a fake bond? And why cauldron chose to gift her the seer powers???
Who is the third person on the mountain with fionn when he dipped gwydion to cauldron?
What is the shadow mor saw in acofas?
What is papa archeron's name?(Totally hoping it is fionn)
How the fuck the mask ended up in oorid again after theia took it? Or did she? Bc when she went to cc she only had the harp and the horn so...what happened to mask and crown???????????? Did she ever have them? And if she did...how the fuck did she lose them?
How the fuck fionn got to use cauldron when asteri/daglan was in the control of it to dip the gwydion into it and get powers to it?
Who carved truthteller to truthteller...and why?
Where is bryaxis??
The ramiel stone...I need to learn all of it. And its connection with cauldron bc if we were to put cauldron on top of it...what would happen?
The meteor gwydion and tt were carved from...what the hell happened???
We know the middle was a hunting park for asteri so...why it was left like that after high lords took place and basically why...
So far these are it... Feel free to reblog and add bc Im curious.
Gordon didn’t know what he was going to do. Allow a successor to kill him for the good of his hive or try to redeem himself?.. Both were dreadful and enticing in their own ways, both felt wrong… But he did know there wouldn’t be cowardice, or weakness of any kind, through whichever ordeal took place… He would try. He would try to reach them one last time… The king doesn’t think he has it in him to kill his subjects…
He’s made peace either way… Mainly with his death. And it took icing over, and putting on blinders to the heartbreak that he would leave behind… Halo had insisted on being present, but agreed to be silent. The sentinel follows close behind, head low, as his highness enters his cathedralesque throne room. The site of his people’s worship, the throne, their altar, and he, their idol… The room is also the scene of his greatest failure, and catalyst of his opponents gaining power. The broken pieces were cleared away, but the damage remained. The shattered glass, so thick, so strong, so fortified… Was nothing to an immortal being. Lives. So many. Were still lost. Lost to bring Khazaan in and lost when he escaped. Against his best efforts, the rat king’s heart feels heavier being near it. His throne, empty of consorts or pups, sat in properly, feels too big. It always had. Now more so than maybe ever.
Gordon wasn’t going to draw it out. He just wanted it over with. So he waves to send Halo away from his side to show his majesty’s ‘guests’ in... The monarch’s guardian is the only thing keeping them behaved. Fourty alphas. Weapons and teeth bared, moving to create a half circle as close as Halo would allow them. Gordon recognizes each face. Each name, weapon, title, family, accomplishments and shortcomings, and hobbies… They are, after all, his own people. Different cities and house titles. Ages, qualifications… Most are only here to support a candidate, but at least a dozen are there to make a sincere play for the throne…
Halo slinks back to his place poised beside the king, gore red eyes darting from traitor to traitor… But the king’s order dominates every instinct. He sits quietly… Gordon can already pick out his top three he would want taking his place, top ten even, though he doesn’t say so.
Valor of the Monterro house, though, is at the bottom of the list. Yet here he is, puffed up like an entitled partridge ready to monologue like a scorned revolutionary…
But there was no love. Not for the rats he wanted to lord over, not for his cause. Gordon sees through him like a broken window pane. Yet the others listen, and his highness allows it. He was never the type to care about 'speaking out of turn' or any of that nonsense...
