BIRD IN THE HOUSE?

‘99 | kitty

[lelif]

on survival

-// @aridante // @orivu // @buzzkillgirls // ? // ? // richard siken// @cemeterything // moomin, tove jansson// @disenchanted-killjoy // isn't that enough, shawn mendes// @ prettytheyswag on twitter// @ coletyumuch on twitter// ? // ? // bird by bird, anne lamott// undertale// @strawberrycircuits

[princesssarcastia]

there are some things a character should not be able to tell us about themselves EVEN with a gun to their head. depending on the character that could even expand to include "most" things

[princesssarcastia]

i'm talking "you can lead a horse to water but you can't make them drink" territory. "i've constructed an elaborate rube goldberg machine of plot to force this character to have precisely the realization about themselves that i want them to, and i'm only maybe 60% sure it'll work" territory. "the deity of their choice reveals it to them in a dream and they wake up and say, 'no, that can't be right,' and promptly forget about it" territory.

[wakabawednesday]

everything is subjective but i so rarely find that “Oh.” or “Oh. Oh.” have any practical storytelling use. they have only ever served to break the rhythm of the story. i’m pulled away from my position as observer of experiences, sensations, actions, relegated to the barest inner dialogue alone to piece together the initial reaction. Oh tells me nothing. Seconds pass and I don’t get to watch them play out. Offensively, I have been barred from the story to which I thought I was invited. I have never seen this used with any sense of intentionality. I’m sure it could be. Instead, it often reads like the writer didn’t even think of doing it any other way. It reads lazy.

—

This scene from Matilda is a nice example of describing someone being taken by surprise.

Miss Honey has a series of escalating “oh” moments during this interaction on the first day of class, and her escalating excitement is touched on in a few ways. We feel the nervous and excited tension along with the children while she polishes her glasses, as we don’t get insight into what she’s thinking in that moment. The way she is talking is as though her thoughts are racing. Shortly after there’s a description of her physical feeling, and mention of her thoughts (described with words like “flitting!”). we don’t get any of her inner dialogue directly. then is a rather fast-paced and dialogue heavy interaction; the action here is to support the building pace of the scene. Then the limerick, where for a few moments we are pulled entirely away from observing the world as we process the poem. The tension of the scene has reached its peak. We are drawn into Matilda’s POV as we wait nervously for Miss Honey’s reaction… and it is beautiful. Both her reaction and the paragraph itself read like a flowing unfurling in the sunlight, a slow, warm, radiant stretch that releases the tension of the preceding moments. It is a moment of deep connection and touching kindness to anchor the scene; Matilda has made Miss Honey smile a genuine smile. Miss Honey sees in Matilda a child of not only magnificent intellect but startling sensitivity and gentleness.

—

Miss Honey stared at her. Then she picked up a pencil and quickly worked out the sum on a piece of paper. "What did you say it was?" she said, looking up.

"Two hundred and sixty-six,' Matilda said.

Miss Honey put down her pencil and removed her spectacles and began to polish the lenses with a piece of tissue. The class remained quiet, watching her and waiting for what was coming next. Matilda was still standing up beside her desk. […]

Miss Honey was feeling quite quivery. There was no doubt in her mind that she had met a truly extraordinary mathematical brain, and words like child-genius and prodigy went flitting through her head. She knew that these sorts of wonders do pop up in the world from time to time, but only once or twice in a hundred years. […]

'I know,' Matilda said. “I've tried quite a few times but mine are never any good.'

‘You have, have you?" Miss Honey said, more startled than ever. “Well, Matilda, I would very much like to hear one of these limericks you say you have written. Could you try to remember one for us?'

‘Well,' Matilda said, hesitating, ‘I’ve atually been trying to make up one about you, Miss Honey, while we've been sitting here.'

‘About me!' Miss Honey cried. Well, we've certainly got to hear that one, haven't we?'

‘I don't think I want to say it, Miss Honey.'

'Please tell it,' Miss Honey said. I promise I won't mind.'

‘I think you will, Miss Honey, because I have to use your first name to make things rhyme and that's why I don't want to say it.'

‘How do you know my first name?' Miss Honey asked.

‘I heard another teacher calling you by it just before we came in,' Matilda said. 'She called you Jenny.'

‘I insist upon hearing this limerick,' Miss Honey said, smiling one of her rare smiles. 'Stand up and recite it.’

Reluctantly Matilda stood up and very slowly, very nervously, she recited her limerick:

'The thing we all ask about Jenny Is, "Surely there cannot be many Young girls in the place With so lovely a face?" The answer to that is, "Not any!"’

The whole of Miss Honey's pale and pleasant face blushed a brilliant scarlet. Then once again she smiled. It was a much broader one this time, a smile of pure pleasure.

[flowersandfashion]

I'm Your Man, Mitski /// “you said the lambs were ready,” come the slumberless to the land of nod, Traci Brimhall /// I WILL BE GOOD AS LONG AS YOU WANT ME, @thegirlhoodtheory /// 'the reciprocity of the attack dog and the hand that holds the short leash' (edited), @brutaliakhoa /// Moon Song, Phoebe Bridgers /// Still Life Based on Hunting (detail), c. 1665-1701, David De Koninck /// It Will Come Back, Hozier /// "you’ve always been more of a dog person," @tdaspoetry

[kurlyfrasier]

NEED HELP WRITING? (a masterlist)

I have likely not added many that I've reblogged to this list. Please feel free to roam my blog and/or ask/message me to add something you'd like to see on this list!

Synonym Lists

Look by @writers-potion

Descriptors

Voices by @saraswritingtipps

Show, Don't Tell by @lyralit

Tips & Tricks

5 Tips for Creating Intimidating Antagonists by @writingwithfolklore

How To (Realistically) Make a Habit of Writing by @byoldervine

Let's Talk About Misdirection by @deception-united

Tips to Improve Character Voice by @tanaor

Stephen King's Top 20 Rules for Writers posted by @toocoolformedschool

Fun Things to Add to a Fight Scene (Hand to Hand Edition) by @illarian-rambling

Questions I Ask My Beta Readers by @burntoutdaydreamer

Skip Google for Research by @s-n-arly

Breaking Writing Rules Right: Don't Write Direct Dialogue by @septemberercfawkes

Databases/Resources

International Clothing

Advice/Uplifting

Too Ashamed of Writing To Write by @writingquestionsanswered

"Said" is Beautiful by @blue-eyed-author

[orpheuslament]

i tried the whole normal healthy relationship & it didnt work i want someone to be so obsessed with me they want to kill me

[orpheuslament]

want this basically

[slayingfiction]

Mastering the Art of Dialogue

Dialogue is the lifeline of any narrative. It brings characters to life, propels the plot, and creates depth in the story. However, writing dialogue that feels real and engaging can be challenging. Here are some tips to help you refine your dialogue-writing skills:

1. Listen to Real Conversations

The foundation of great dialogue is authenticity. Spend time listening to how people speak in real life. Notice the flow of conversation, the interruptions, the ums and ahs, and the unfinished thoughts. Real speech is rarely grammatically perfect or fully articulated. Incorporating these nuances can make your dialogue more relatable.

2. Each Character Should Have a Unique Voice

Your characters should be distinguishable by their dialogue alone. A teenager will speak differently from an elderly person; a doctor will use different terminology than a street artist. Think about their background, education, and personality. These factors should influence their speech patterns, vocabulary, and even the rhythm of their dialogue.

3. Use Dialogue to Show, Not Tell

Dialogue is a powerful tool for showing the reader what’s happening without explicitly telling them. Through conversations, you can reveal your characters' thoughts, feelings, and intentions. For example, instead of narrating that a character is nervous, you could show it through their stammering dialogue or their avoidance of direct answers.

4. Keep It Concise

In real conversations, people often meander through their thoughts. In written dialogue, however, it's important to be concise. Every line of dialogue should serve a purpose, whether it’s moving the plot forward, revealing character, or creating tension. If a piece of dialogue doesn’t add value to your story, consider cutting it.

5. Read Your Dialogue Aloud

One of the best ways to test your dialogue is to hear it. Reading your dialogue aloud can help you catch awkward phrasings or unnatural speech patterns. Better yet, have someone else read it to you. This can provide insight into how your dialogue will sound to your readers.

6. Use Subtext to Your Advantage

Not everything needs to be said explicitly. Subtext—the underlying meaning behind the spoken words—can add depth and complexity to your dialogue. Characters might say one thing but mean another, based on their emotions, relationships, or situations. This layering of meaning can make your dialogue more engaging and thought-provoking.

7. Balance Dialogue with Action and Description

While dialogue is critical, it should be balanced with narrative description and action. This balance helps maintain the pacing of your story and ensures that your scenes are visually and emotionally compelling. Action and description can also provide context that enhances the meaning and impact of your dialogue.

Conclusion

Great dialogue can transform a good story into an unforgettable one. By applying these tips, you can craft dialogue that captures the essence of your characters and engages your readers on a deeper level. Remember, writing is a craft that improves with practice. Keep experimenting with your dialogue, and don't be afraid to rewrite until it sounds just right.

Writing dialogue is a skill that can be honed over time. The more you practice and read, the better you'll become at capturing the essence of conversation on the page.

[thepedanticbohemian]

[writers-potion]

MASTERPOST (PT. 2)

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

For romance writing prompts, plotting tips & more, check out: MASTERPOST PT. 1

⭐Dialogue

Writing Dialogue 101

Crying-Yelling Dialogue Prompts

---

⛰️Words to Use Instead Of...

Synonyms for "Walk"

Synonyms for “feeling like”

Words To Use Instead of "Look"

Words to Use Instead Of...(beautiful, interesting, good, awesome, cute, shy)

Said is dead

---

🔠Vocab Lists

Nervous Tension Vocab

Kiss Scene Vocab

Fight Scene Vocab

Haunted House Inspo & Vocab

---

👁️‍🗨️Setting & Description

Common Scenery Description Tips

2012 School Setting Vibes - follower question

Describing Food in Writing

Describing Cuts, Bruises and Scrapes

Using Description and Setting Meaningfully

How Different Types of Death Feel

---

🗡️Weapons & Fighting Series:

Writing Swords

Writing knives and daggers

Writing Weapons (3): Staffs, Spears and Polearms

Writing Weapons (4): Clubs, Maces, Axes, Slings and Arrows

Writing Weapons (5): Improvised Weapons

Writing Weapons (6): Magical Weapons and Warfare

Writing Weapons (7): Unarmed Combat

Writing Female Fighters

Writing Male Fighters

Writing Armour

Writing Group Fights

Writing Battles At Sea

Erotic Tension in Fight Scenes

Pacing for Fight Scenes

Writing a Siege Warfare

Different Genres, Different Fight Scenes.

Making Fight Scenes Sound Nicer

Fight Scenes For Disabled Characters

---

🌎Worldbuilding

Constructing a Fictional Economy

Homosexuality in Historical Fiction

Writing Nine Circles of Hell

Writing Seven Levels of Heaven

Master List of Superpowers

Magic System Ideas 

A Guide to Writing Cozy Fantasy

Dark Fantasy How-To

Dark Fantasy Writing Prompts

Dark, Twisted Fairytale Prompts

Fantasy World Cultural Quirks 

Fantasy Nobel Ranks: A List

---

🌠Symbolism in Writing

Plant Symbolisms 

Weather Symbolisms

Symbols of Death

---

🪄Writing Magic

Writing Magicians - the basics

Writing Magic Systems

Magical Training Options for Your Characters

---

📋Other!

List of Fantasy Subgenres

Beauty is Terror: A List

The Pirate's Glossary

Storyediting Questions to Ask

Writing Multiple WIPs Simultaneously

Idea Generation Exercises for the Writer

Book Title Ideas

Picking the Right Story For You

What If God Dies in Your Story 

International Slang, Slang, Slang!

10 Great Love Opening Lines 

How to Insult Like Shakespeare

Serial Killer Escape Manual

Best Picrew Character Generators for Your Characters!

How to Write Faster

[blue-eyed-author]

Dear fellow writers,

‘Said’ is beautiful. Please use it more. It isn’t anything to be feared of hated. It’s not boring or overused. It makes all the other dialogue tags more special when they’re used on occasion.

‘Said’ makes your writing less cluttered. It can be a simple way of reminding the reader who is talking without bombarding them with synonyms.

“Use it along with action to make it more interesting,” she said, picking up her pencil.

He smirked, and said, “Or with expressions and body language.”

“Or,” she said, “just as a quick reminder of who is talking.”

“And if you know who is talking, a dialogue isn’t always necessary.”

Of course you can use other dialogue tags, but please don’t exclude ‘said’. It’s heartbroken from being ignored.

‘Said’ is beautiful.

[slayingfiction]

Words to use instead of ‘said’

**Using the word ‘said’ is absolutely not a bad choice, and in fact, you will want to use it for at least 40% of all your dialogue tags. Using other words can be great, especially for description and showing emotion, but used in excess can take away or distract from the story.

Neutral: acknowledged, added, affirmed, agreed, announced, answered, appealed, articulated, attested, began, bemused, boasted, called, chimed in, claimed, clarified, commented, conceded, confided, confirmed, contended, continued, corrected, decided, declared, deflected, demurred, disclosed, disputed, emphasized, explained, expressed, finished, gloated, greeted, hinted, imitated, imparted, implied, informed, interjected, insinuated, insisted, instructed, lectured, maintained, mouthed, mused, noted, observed, offered, put forth, reassured, recited, remarked, repeated, requested, replied, revealed, shared, spoke up, stated, suggested, uttered, voiced, volunteered, vowed, went on

Persuasive: advised, appealed, asserted, assured, begged, cajoled, claimed, convinced, directed, encouraged, implored, insisted, pleaded, pressed, probed, prodded, prompted, stressed, suggested, urged

Continuously: babbled, chattered, jabbered, rambled, rattled on

Quietly: admitted, breathed, confessed, croaked, crooned, grumbled, hissed, mumbled, murmured, muttered, purred, sighed, whispered

Loudly: bellowed, blurted, boomed, cried, hollered, howled, piped, roared, screamed, screeched, shouted, shrieked, squawked, thundered, wailed, yelled, yelped

Happily/Lovingly: admired, beamed, cackled, cheered, chirped, comforted, consoled, cooed, empathized, flirted, gushed, hummed, invited, praised, proclaimed, professed, reassured, soothed, squealed, whooped

Humour: bantered, chuckled, giggled, guffawed, jested, joked, joshed

Sad: bawled, begged, bemoaned, blubbered, grieved, lamented, mewled, mourned, pleaded, sniffled, sniveled, sobbed, wailed, wept, whimpered

Frustrated: argued, bickered, chastised, complained, exasperated, groaned, huffed, protested, whinged

Anger: accused, bristled, criticized, condemned, cursed, demanded, denounced, erupted, fumed, growled, lied, nagged, ordered, provoked, raged, ranted remonstrated, retorted, scoffed, scolded, scowled, seethed, shot, snapped, snarled, sneered, spat, stormed, swore, taunted, threatened, warned

Disgust: cringed, gagged, groused, griped, grunted, mocked, rasped, sniffed, snorted

Fear: cautioned, faltered, fretted, gasped, quaked, quavered, shuddered, stammered, stuttered, trembled, warned, whimpered, whined

Excited: beamed, cheered, cried out, crowed, exclaimed, gushed, rejoiced, sang, trumpeted

Surprised: blurted, exclaimed, gasped, marveled, sputtered, yelped

Provoked: bragged, dared, gibed, goaded, insulted, jeered, lied, mimicked, nagged, pestered, provoked, quipped, ribbed, ridiculed, sassed, teased

Uncertainty/Questionned: asked, challenged, coaxed, concluded, countered, debated, doubted, entreated, guessed, hesitated, hinted, implored, inquired, objected, persuaded, petitioned, pleaded, pondered, pressed, probed, proposed, queried, questioned, quizzed, reasoned, reiterated, reported, requested, speculated, supposed, surmised, testified, theorized, verified, wondered

This is by no means a full list, but should be more than enough to get you started!

Any more words you favor? Add them in the comments!

Happy Writing :)

[writing-with-olive]

Outline I like (especially for shorter works)

Note: I learned this in film class (which is why it says "defines the movie" at the top, but I've also had success using it for non-film writing. It's basically a three-act structure, but I find for non-novels it's easier to work with than Save The Cat, for example.

Another note: Unraveling The Map is rarely a whole scene in and of itself in my personal experience - I usually use it to create an opening image that leads into the Launch Point, which I make the first scene

Unraveling The Map - Do you have an opening scene that defines the movie?

The Launch Point - Where are we, and who are we with?

The First Leg - What’s a normal day look like in this world?

Change Course - What sets our characters off on their journey from normalcy?

The Foot of the Mountain - Okay, we’re going on this journey together. (choosing the direction for solving the problem)

Climbing The Side - It starts hard, but you get used to the problems as you go.

Through The Cave - Do you have a B story? Set that story off on its own now too.

Reassess the Problem - You’re at the middle. Is there another way to get it done?

Try and Fail - Things begin to fall apart, can they handle it?

The Fall - The worst thing happens, something so bad you don’t think you can get up.

The Hidden Clue - What do your characters discover about themselves/the problem that they never saw before?

Race To the Finish - They’re up and running no matter what

The Treasure Chest - Did they get what they came for?

Where We Go From Here - Show us the world in a new light, hint what’s next.

[writers-hq]

[she-who-fights-and-writes]

Narrative Botox: Filler Words and Phrases to Look Out For

(For People Looking to Cut Their Word Count!)

If you’re planning on publishing traditionally, chances are you keep a sharp eye on your word count. Literary agents and publishing houses are on the hunt for the best quality stories that they can print for the cheapest price (using the least paper and ink), so you have a higher chance of gaining representation if you can crank your novel out in the least words possible.

However, filler words and phrases aren’t only the enemies of aspiring traditional authors; every writer—fanfic, novelist, journalist, you name it!—can benefit from cutting back on filler from their stories to assure more concise and high-quality writing. Oftentimes, filler contributes to clutter, and without it, your narrative can flow smoother and in a more sophisticated manner. If your writing is dragging or feeling long-winded, filler may be to blame!

But how do you know what’s filler and what’s not? Writing is VERY nuanced, and sometimes filler words can be important for sentence structure and variation.

Therefore, here are some tips on how to Ctrl+F and kick this narrative botox to the curb! I compiled these lists with the help of Infusionmedia, BDR Publishing, and ResetEra !

NOTE: THIS IS MOSTLY AIMED FOR PEOPLE LOOKING TO CUT DOWN THEIR WORD COUNT. DON’T GO HACKING AWAY AT WORDS WILLY-NILLY AND USE YOUR OWN WRITER’S INTUITION! THERE ARE ALWAYS EXCEPTIONS, ESPECIALLY WHEN IT COMES TO DIALOGUE.

(I have to clarify this due to many people who misunderstood the purpose of this post and were less than kind about it)

Filler Words

1. Just

A writer’s worst enemy, and the bane of my manuscripts’ existences. Eliminating all the “just”s can cut down your word count by hundreds. I always struggle parting with “just,” especially in dialogue, so always use your own discretion.

2. “That” as a conjunction

It can be an unnecessary addition to a sentence. Some sentences are more streamlined without it, especially when it comes to dialogue. 

Example: “He said that he wouldn’t do it again.”

Revised: “He said he wouldn’t do it again.”

3. “Now” as an adverb

“Now” is essential if you’re talking about the past and present, but is unecessary when you’re using it to draw attention to a particular statement or point. It can be good as a dialogue device, but if you’re counting your words carefully, it’s good to put it on the chopping block.

Example: “Now, I didn’t think it’d get so out of hand.”

Revised: “I didn’t think it’d get so out of hand.”

4. Redundant adverbs

These adverbs serve no purpose because the verbs they’re describing already imply the way the action is performed.

Whispering softly

Yelling loudly

Crying sadly

Laughing happily

5. “Telling” words

These words are redundant, especially when using first person, because in describing an event, we can already assume that the characters are experiencing it.

Seeing/saw

Feeling/felt

Hearing/heard

Smelling/smelled

6. “Clarifying” words used to portray definiteness or indefiniteness

Although these are meant to help out the readers get their bearings on a situation, they can make your writing drag. If you’re struggling with the pacing of your sentences, these verbs can be the hidden anchors dragging them down! Being concise can bring you a long way.

About

Absolutely

Accordingly

Actually

Almost

Basically

Certainly

Clearly

Completely

Entirely

Even

Exactly

Fairly

Highly

Hopefully

Literally

Maybe

Only

Often

Oftentimes

Perhaps

Possibly

Probably

Quite

Rather

Really

Reasonably

Relatively

Seem

Seriously

Simply

Slightly

Some

Somehow

Sometimes

Totally

Very

Filler Phrases

1.“Let out (vocal noise)”

Use the verb instead!

Example: “He let out a sigh.”

Revised: “He sighed.”

2. Using passive voice

Passive voice inflates your word count by including various “to be” verbs into the prose. Passive voice involves actions happening to a subject rather than the subject performing an action, and as a result can seem clunkier than a phrase in the active voice. 

Still don’t know what I’m talking about? Check out this article from Grammarly.

Example: “The boy was bitten by the dog on his arm.”

Revised: “The dog bit the boy on his arm.”

3. Describing the wrong noun

Many writers will be as specific as possible about what “thing” is affected by the event they’re describing, when it’s much simpler to take a step back and write about something more general.

Example: “The level of water rose.”

Revised: “The water rose.”

4. Phrasal verbs

Phrasal verbs are the combination of two or three words from different grammatical categories—a verb and an adverb or a preposition—to form a single action. Usually, these phrasal verbs can be replaced by a single-word verb. This is a stylistic choice, though, so only cut according to your preferences.

“Ask for” can be replaced with “request”

“Bring down” can be replaced with “reduce”

“Come across” can be replaced with “find”

Etc.

5. Clarifying phrases

Same reason as clarifying words. 

A bit

A little

A lot

In a sense

Kind of

Sort of

6. Remember your contractions!

Even if your story takes place in olden times, I can guarantee that if you never use any contractions ever, your story can get pretty clunky pretty quickly. But sometimes you’re in the moment, consumed by the poetic power of the muses, and forget that this isn’t a soap opera; so make sure you check that you’ve been using your contractions. This is very stylistic, so make your judgements on a case-by-case basis.

It is, it was, it would, she is, would not, should not, is not, does not etc.

7. Inflated phrases

These phrases can be replaced with more concise words. Again, this is a stylistic choice. Use your own discretion. 

Along the lines of (shorten to: like)

As a matter of fact (in fact)

As to whether (whether)

At all times (always)

At the present (now or currently)

At this point in time (now or currently)

Be able to/would(n’t) be able to (could or couldn’t)

Because of the fact that (because)

By means of (by)

Due to the fact that (because)

Even though (though or although)

For the purpose of (for)

For the reason that (because)

Have the ability to (could)

In light of the fact that (because)

In order to (to)

In regards to (on or about)

In spite of the fact that (though or although)

In the event that (if)

In the nature of (like)

In the neighborhood of (about)

On the occasion of (when)

On one/two separate occasions (Once/twice)

The/A majority of (most)

There is no doubt that (No doubt)

Wasn(n’t) capable of (could or couldn’t)

Hope this helped, and happy writing!

[em-dash-press-deactivated202410]

Plot Devices to Complicate Your Story

You're excited to write an upcoming story, but the plot seems pretty simple from start to finish.

How can you make it more complicated to deepen your themes, lengthen the story, or leave your readers with plot twists that make their jaws drop?

Try a few of these devices 👀

Add motivation to your instigating action

When the princess gets kidnapped at the start of your story, your hero will rescue her, but what's the antagonist's motivation for kidnapping her? If they're in love with the hero and take their jealousy to the extreme or secretly know that the princess asked them for an escape plan to avoid marrying your hero, the plot is much more compelling.

You could add this detail anywhere in your plot, even in the first chapter.

Layer a second motivation underneath an action

After the princess is kidnapped, the hero starts their journey to rescue her. The reader finds out in the second chapter that the hero is being blackmailed to retrieve the princess and return her to their kingdom's biggest rival to start a war.

Amplify the original problem

Your protagonist rescues the princess and brings her home, only to find out that she's had a twin brother all this time who has been taken hostage by the antagonist in retaliation for the princess' escape.

Introduce a second, more evil villain

The antagonist has kidnapped the princess for their own motivation, but the reader discovers in the middle of your story that they serve a more evil villain who holds a personal grudge against the princess' father and wants his whole kingdom to suffer as revenge.

Create conflict that brings your protagonist to their rock bottom

The protagonist rescues the princess, almost reaches their home kingdom, but she escapes. The king sends the protagonist to prison for their failure and sentences them to death in three days. The reader will feel the hopelessness along with your protagonist, which is where you can create something that injects new hope into your plot (like a dramatic jailbreak thanks to the protagonist's best friend).

Make a character betray another

The protagonist reaches the princess with the help of their best friend, but the princess stabs the protagonist in the back by trading their best friend for herself through an unbreakable vow

Reveal an unreliable narrator

Your protagonist agrees to rescue the princess for the sake of the kingdom, but the second or third chapter reveals that they are really on a mission to kill the princess for personal revenge against the king.

Reveal that the villain has known everything the whole time

Your protagonist and princess escape, but the villain factored that into their plan to start a war and have their forces waiting outside of her castle when they arrive home

Introduce sudden regret that changes a character's arc

The protagonist has to leave their best friend behind to ensure the princess' escape, but in leaving them, the protagonist realizes they've been in love with their best friend the entire time. Regret motivates them to head back for their best friend and risk their life twice as soon as the princess is home safe.

Temporarily kill a character

The princess kills the villain with some help from your protagonist, so they think they're safe. On their way back home, the villain sets a trap for them in the woods because they actually survived the attack.

Try using Chekov's gun

Before leaving for the princess, your protagonist gets a potion made by a family member. The directions? "Use it in your moment of greatest need." The protagonist uses it later when they're facing the villain or after hitting rock bottom, so the potion becomes a plot device that instigates your second or third act.

Accelerate the plot

Your reader thinks the plot is all about rescuing the princess, but she returns home in the first 100 pages. The real plot begins by choices or actions made during her rescue, which unravel into a much larger story/world event.

You likely won't be able to use all of these plot devices in a single story. You may not even have the first plot for more than one.

Consider what you're writing and what dynamics your characters/plot present to decide if any of these tricks could enhance your writing.

[spooksier]

me when the emotionally repressed character is revealed to have had something happen in their childhood that was completely out of their control but changed them in a way they can never come back from

[loumargi]

Pierre Auguste Cot Ophelia