The Stuff Needed

To Write What Was Never Written Before To Check What Guidelines You Should Follow To Motivate When The Block Is Strong And Your Will Is Weak

[graves-yard]

Just cause here’s some writing tips for starvation I would absolutely enjoy seeing in phm fics based on my personal experiences with starvation.

You are in mind numbing agony at the start. Like curled up, fully can’t think of anything agony. You kinda have a full one track mind that isn’t really saying much besides “oh my god I’m so hungry rn” lmao

That agony??? That agony you were feeling so much of a second ago??? The one that made it so you couldn’t even think??? Yeah that’s gone now. Your stomach got used to the feeling. You aren’t okay, but the pain is just gone now.

I literally can’t remember seeing at that time. I think maybe in some way my mind was totally dissociated from my body, but I truly couldn’t remember where I was the entire time.

When you do get food, you don’t want to eat it. Because it hurts to think about food, so you want to avoid food. Even when you need food so badly.

Your stomach gets used to how much you eat. If you have a period of time when there was barely anything going in, it’ll see that as the level you can handle. If you’re used to eating a small portion of food each day, you will get full much faster with anything bigger than that.

Your body will cling to fat as much as possible once it realizes it is getting more food now, but then it will drop fast once it gets used to the new normal. You still won’t be able to eat much, but you’ll gain and lose weight like crazy.

Getting hunger pains again will be weird and overwhelming. Your brain will block out the pain after a while feeling it, but as you start to heal and get regular meals, the regular ol cramps in your stomach will be shocking.

If your food was controlled (example, not being allowed to eat for whatever reason) your mind remembers it. You start feeling this pull to keep these rules controlling it.

I have tips on other things too. You need help with writing torture and want answers straight from the source??? Hit me up I can give you stuff about dehydration, sleep deprivation, isolation, cruel unusual punishment, the works.

[rainintheevening]

Okay, we got a new one, boys.

[fleshengine]

Close enough welcome back Chekov's gun.

[comma-souptra]

Prev you can’t bury this in your own tags

[luna-azzurra]

FACIAL MICRO EXPRESSIONS FOR WRITERS <3

[burntcopper]

things english speakers know, but don’t know we know.

[windycityteacher-deactivated202]

WOAH WHAT?

[ice-light-red-deactivated201611]

That is profound. I noticed this by accident when asked about adjectives by a Japanese student. She translated something from Japanese like “Brown big cat” and I corrected her. When she asked me why, I bluescreened.

[moved--306389]

What the fuck, English isn’t even my first language and yet I picked up on that. How the fuck. What the fuck.

[exomoon]

Reasoning: It Just Sounds Right

[arkthepieking]

Oooh, don’t like that. Nope, I do not even like that a little bit.  That’s parting the veil and looking at some forbidden fucking knowledge there.

[canthinkofaurl-deactivated20221]

How did I even learn this language wtf

[titaniumelemental]

I had to read “brown big cat” like three times before my brain stopped interpreting it as “big brown cat”

[arjan-de-lumens]

I’m kinda reading “brown big cat” as “brown (big cat)”, that is, a “big cat” - like a tiger or lion or other felid of similar size - that happens to be brown. “Big brown cat”, on the other hand, sounds more like a brown cat that’s just a bit bigger than a regular housecat - like a bobcat or a maine coon cat or something like that.

[the-real-seebs]

yeah, a brown big cat is almost certainly a puma. a big brown cat is probably a maine coon.

[whetstonefires]

yeah, if you put the adjectives out of order you wind up implying a compound noun, which is presumably why we have this rule; we stripped out so much inflection over the centuries word order now dictates a huge amount of our grammar

[delphinidin4]

Just looked up why we do this and one of the first lines in this article is, “Adjectives are where the elves of language both cheat and illumine reality.” so I know it’s a good article.

Things this article has taught me:

This same order of adjectives more or less applies to languages around the world.  “It’s possible that these elements of universal grammar clarify our thought in some way,” says Barbara Partee, a professor emeritus of linguistics and philosophy at the University of Massachusetts-Amherst. Yet when the human race tacitly decided that shape words go before color words go before origin words, it left no record of its rationale.

One theory is that the more specific term always falls closer to the noun. But that doesn’t explain everything in adjective order.

Another theory is that as you get closer to the noun, you encounter adjectives that denote more innate properties. In general, nouns pick out the type of thing we’re talking about, and adjectives describe it,” Partee told me. She observes that the modifiers most likely to sit right next to nouns are the ones most inclined to serve as nouns in different contexts: Rubber duck. Stone wall.

Rules are made to be broken. Switching up the order of adjectives allows you to redistribute emphasis. (If you wish to buy the black small purse, not the gray one, for instance, you can communicate your priorities by placing color before size).  Scrambling the order of adjectives also helps authors achieve a sense of spontaneity, of improvising as they go. Wolfe discovers such a rhythm, a feeling-his-way quality, when he discusses his childhood recollection of “brown tired autumn earth” and a “flat moist plug of apple tobacco.”

Brain scans have discovered that your brain has to work harder to read adjectives in the “wrong” order.

TL;DR: No one knows why we do this adjective thing but it’s pretty hardwired in.

[cuzosu-blog]

@deadcatwithaflamethrower Linguistics tidbit.

[thecsjones]

Since it’s never credited, this is from Mark Forsyth’s The Elements of Eloquence, and just one reason why I think it’s required reading for anyone interested in prosecraft. Every page is this useful.

[mckitterick]

V.E. Schwab's advice for creating memorable characters - works for both protagonists and villains

source post: X

[dduane]

This is really good advice.

It also ties neatly into the simplest version of the formula for getting people emotionally engaged with your characters: or how to build the moment in which your character starts moving from their initial state to the state in which they'll start changing their own lives.

First, you figure out the one important thing the character believes that they're wrong about. There's usually a core misperception that they haven't examined. Once they're forced to engage with it, it'll start to change everything about their perception of the world they're inhabiting and/or the people in it.

Then, as V.E. says, you identify the character's great desire and their great fear: the thing that character wants more than anything, and the thing or situation that terrifies them, and that they'll go to any lengths to avoid.

And having identified these two objects or situations, you build a situation in which the two forces will be in close, direct opposition to one another... then drop the character down in between them, and squeeze. Those two opposing forces become the jaws of a vise... and you crank the vise more and more tightly closed until the character has no choice but to acknowledge those opposing forces, and start (even in a small way) to deal with the pressure being exerted and push their way through.

This does not have to be, initially, a great climactic moment. In fact, it works better if it's not. It's more effective if your character has a brief low-intensity brush with these conditions-in-conflict early on. That way, when your big resolution scene comes along about two-thirds or three-quarters of the way along through the story arc, you'll have set up a resonance between that earlier hint or intimation of what's to come, and the really big blowoff. Your readers will recognize the resonance—the throb of tension between the two occurrences, like the vibration of a plucked string—and will find satisfaction both in the true resolution having been partially telegraphed earlier, and in how it's now being experienced and resolved in full.

This approach also allows you to set up more minor resonances between the realization of the conflict and its final resolution. These can serve to bind the structure of the work more closely together: to make it look (and be) less like a series of loosely strung-together plot events, and more like a unified whole, in which ripples of story business flow backwards and forwards, interpenetrating and influencing one another, and hinting at the big one to come.

But none of this can happen until the paired and opposing what-do-they-most-desire, what-do-they-most-fear axes have been defined. So that's a subject it's smart to spend some while thinking about (and for all your characters, not just the major ones), to be sure you're getting it right.

It's not unusual to get the wrong answers, or merely superficial ones, while you're still working out what's actually going on with the characters. So take your time. Eventually you'll find a set of answers that feel unquestionably right... and you can then nail those down in your notes and get on with making the kind of "good trouble" for your characters that will see them made complete.

[kayforpay]

history fucked me up

oxford was built and operational as a college before the rise of the mayans and cleopatra lived in a time nearer to pizza hut’s invention than to the pyramids being built

[kayforpay]

I need a noncomprehensive history book that covers Known World History in time periods, like “in this century, all this shit was happening concurrently” and not just all spread out so I have to piece it together like some unpaid uneducated scholar

[archaeologysucks]

You mean like this?

The Timetables of History by Bernard Grun

I grew up with this book, which is frickin’ enormous, and it was endlessly fascinating to young me to pour over the side by side comparison of events taking place concurrently under different headings and in different parts of the world.

Or if you want something you can put on your wall, there’s this:

World History Timeline

[butts-bouncing-on-the-beltway]

I had this book! My grandpa gave it to me and it was really freakin useful!!

[mckitterick]

I loved this book! Same for The Timetables of Science: A Chronology of the Most Important People and Events in the History of Science.

Same for The Timetables of Technology: A Chronology of the Most Important People and Events in the History of Technology. Great references!

[lepetitpoete]

okay but here’s an even cooler (free!) visualization that goes a step further and tracks ideas, devices, infrastructures, and systems of power

Calculating Empires: A Genealogy of Technology and Power Since 1500

✨️with a special focus on colonialism, militarization, automation, and enclosure✨️

You can spend hours upon hours exploring this

[luna-azzurra]

Tips for Writing Injuries

✧ Broken ribs suck. You don’t just “walk it off.” Breathing hurts. Laughing hurts. Existing hurts. Characters with rib injuries won’t be doing heroic sprints.

✧ Concussions aren’t instant naps. Dazed vision, nausea, dizziness, maybe even personality changes, but they’re not going to collapse neatly like in the movies.

✧ Blood loss is sneaky. It’s not just about dramatic pools of blood. It’s dizziness, confusion, and the body getting cold as circulation tanks.

✧ Adrenaline lies. Someone can take a serious injury and not feel it until the fight’s over. That “I didn’t realize I was bleeding until later” trope? Very real.

✧ Twisted ankles are brutal. One bad step and suddenly running is off the table. Even walking hurts like hell. Perfect way to ground a chase scene.

✧ Burns linger. Even small burns hurt more than most people expect. Blisters, infection risk, constant pain, it’s not just a cool scar later.

✧ Dislocated shoulders = useless arm. Characters can’t keep swinging a sword or firing a gun. They’re basically fighting one-armed until it’s fixed.

✧ Shock is a thing. Pale skin, trembling, rapid heartbeat, and eventually disorientation. A character might not even realize how bad their wound is.

✧ Stitches aren’t magic. Getting sewn up is painful and recovery takes time. They’re not instantly battle-ready after a needle and thread.

✧ Scars tell stories. Some fade, some don’t. Some stay sensitive forever. Don’t forget the aftermath when the wound becomes part of the character.

[luna-azzurra]

Emotional Walls Your Character Has Built (And What Might Finally Break Them)

(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.

✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)

[skribblegurl]

some people think writers are so eloquent and good with words, but the reality is that we can sit there with our fingers on the keyboard going, “what’s the word for non-sunlight lighting? Like, fake lighting?” and for ten minutes, all our brain will supply is “unofficial”, and we know that’s not the right word, but it’s the only word we can come up with…until finally it’s like our face got smashed into a brick wall and we remember the word we want is “artificial”.

[heywriters]

I couldn't remember the word "doorknob" ten minutes ago.

[bumblewyn]

ok but the onelook thesaurus will save your life, i literally could not live without this website

[breelandwalker]

REBLOG TO SAVE A WRITER'S LIFE

[myfairkatiecat]

LIFE SAVED

REBLOGGING TO SAVE ANOTHER WRITERS LIFE

[sirowsky]

I use this every time I sit down to write. It's the best tool in the world and I would be lost without it!

[fragmentedink-archived]

YALL. Holly Black has a list of resources she's used for writing her books on the fair folk. I'm OBSESSED. I love her work and world building. it's so true to the heart of faeries

[void-botanist]

Some other resources that might be worth checking out (not strictly about faeries but related):

The Corpus of Electronic Texts, or CELT, a collection of Irish cultural materials. This includes English translations of Irish myths.

Mary Jones - similar to CELT, and a resource we used for translations in the Irish mythology class I took in undergrad.

An Encyclopedia of Fairies by Katherine Mary Briggs, a British folklorist.

The Folklore of Cornwall by Ronald M. James. Unfortunately this book is harder to access and is often only in university libraries, but if you're interested in piskies it's a potentially very helpful read.

Traditions and Hearthside Stories of West Cornwall by William Bottrell.

[blueboxbeagle]

By LabradoriteKing on Pinterest

[sonneillonv]

As a Dungeon Master I nearly scrolled past this before my brain kicked my own ass and reminded me that I have tried looking up 'Blue Gemstones' at LEAST a dozen times in the last six months and never found anything this helpful.

[ossifer-deactivated20250706]

it's hilarious how if you do any amount of research into life or death melee combat the prevailing themes that emerge are that

you're gonna get tired very quickly

tired leads to injured, injured leads to tired, tired leads to—

you're not gonna be as composed as you expect

humans are more fragile than you think and also more durable than you think. both are true and neither stop them from dying of an infection later (DO NOT GET BITTEN)

DO NOT GET STABBED (generally good life advice)

DO GET A SPEAR

knights are faster than you think

[rainboq]

Other favorites from history:

Humans are very good at *pretending* to fight each other in hopes that the generals way in the back are buying it so nobody has to get stabbed.

Most of the dying only happened after a side broke and tried to run, because then the rich assholes on horseback got to start running them down.

[ere-the-sun-rises]

When you do get a bloodthirtsy force, it gets bad real quick (see the battle of Adrianople, 378 CE, and the battle of Cannae, 216 BCE)

SUPPLY LINES FFS

Uuuuuuuh wow professionalization matters a lot actually

There's a lot of dust actually

Horses Will Not run through opposing infantry, but they will run at other horses

Elephants are not worth it, tbh

Shields matter a lot if you want to not die but good luck finding a balance between being too heavy and not protective enough

Anything is a projectile if you throw it hard enough

Always have a knife

Do Not Fall Down - you will be trampled

The guy with the biggest hat/plume is the leader

Release The Hounds

Valleys are BAD NEWS

Uphill is much nicer than downhill

A retreat route to boats on the sea is only helpful when you're already ready to sail

Forests are torches waiting to be lit

A professional soldier does a surprising amount of sitting around and day labour on massive projects

The army has always been a good place to become an engineer, it seems

Ffs, pleasr listen when the sergeant tells you something. He's always right

If you've got a shit general, make sure you've got a good tactician/strategist

That rich guy really doesn't know what he's doing, huh

Drowning is awful and being in the navy is certainly A Choice, but your wife will not be happy with you

Damn, all this shit is heavy :(((

Attack the baggage train >:)))

Uhhhh, sarge? The battle line broke. I'm going home

Why aren't the enemy running and screaming back at us? They're just ... walking towards us. I will not be sticking around to figure out whatever fuckery they're up to.

Blood is actually really slippery :(

I did not clean my blade and now the blood has dried and glued the sword and scabbard together :(((

Tf you mean we're gonna fight during harvest season. I think tf not.

I Hate This. All Of This.

Fuck me, battle is LOUD despite the fact I can't hear shit in this helmet

You're better to be down an arm than down a leg, tbh

Desertion rates are not as high as you'd think, but if you let the troops starve and get sick, they will abandon you en masse

WHAT MADE YOU THINK CROSSING THE MOUNTAINS WAS A GOOD IDEA?!

The fewer pieces to armour the better is usually is (with the exception of chain and scale)

Skirts and loose-ish clothes actually help conceal the lines of your body in combat

Don't wear too much armour in a hot place because you will be sweating until you pass out and die

CHARIOTS ARE SO COOL

Falling off a chariot is Less Cool

You're less likely to get stabbed than you are crushed or run over

Leather resists slashing damage, silk/linen resists piercing damage and wood/ceramic disperses blunt damage

Ceramic armour is actually so effective at defending its wearer that we still use it in bulletproof vests and tank armour (though once its broken it needs to be replaced)

A blade lodged in bone can actually be really hard to get back out

If your belly is cut open, you're already dead to an infection

Unless they hit a major artery, bleeding out takes a long time

[ubercharge]

look. look at this beautiful sword meme. i’m going to cry

[literallybyronic]

@petermorwood

[petermorwood]

I saw and reblogged this one a while back, but it’s always worth repeating, and this time I’m adding a bit of background info comparing common fantasy sword features to the Real Thing (with pictures, of course.)

Leaf-bladed swords are a very popular fantasy style and were real, though unlike modern hand-and-a-half longsword versions, the real things were mostly if not always shortswords.

Here are Celtic bronze swords…

…Ancient Greek Xiphoi…

… and a Roman “Mainz-pattern” gladius…

Saw or downright jagged edges, either full-length or as small sections (often where they serve no discernible purpose) are a frequent part of fantasy blades, especially at the more, er, imaginatively unrestrained end of the market.

Real swords also had saw edges, such as these two 19th century shortswords, but not to make them cool or interesting. They’re weapons if necessary…

…but since they were carried by Pioneer Corps who needed them for cutting branches and other construction-type tasks, their principal use was as brush cutters and saws.

This dussack (cutlass) in the Wallace Collection is also a fighting weapon, like the one beside it…

…but may also have had the secondary function of being a saw.

A couple of internet captions say it’s for “cutting ropes” which makes sense - heavy ropes and hawsers on board a ship were so soaked with tar that they were often more like lengths of wood, and a Hollywood-style slice from the Hero’s rapier (!!) wouldn’t be anything like enough to sever them. However swords like this are extremely rare, which suggests they didn’t work as well as intended for any purpose.

I photographed these in Basel, Switzerland, about 20 years ago. Look at the one on the bottom (I prefer the basket-hilt schiavona in the middle).

A lot of “flamberge” (wavy-edge) swords actually started out with conventional blades which then had the edges ground to shape - the dussack, that Basel broadsword and this Zweihander were all made that way.

The giveaway is the centreline: if it’s straight, the entire blade probably started out straight.

Increased use of water power for bellows, hammers and of course grinders made shaping blades easier than when it had to be done by hand. This flamberge Zweihander, however, was forged that way.

Again, the clue is the centre-line.

Incidentally those Parierhaken (parrying hooks - a secondary crossguard) are among the only real-life examples of another common fantasy feature - hooks and spikes sticking out from the blade.

Here are some rapiers and a couple of daggers showing the same difference between forged to shape and ground to shape. The top and bottom rapiers in the first picture started as straights, and only the middle rapier came from the forge with a flamberge blade.

There’s no doubt about this one either.

The reason - though that was a part of it - wasn’t just to look cool and show off what the owner could afford (any and all extra or unusual work added to the price) but may actually have had a function: a parry would have been juddery and unsettling for someone not used to it, and any advantage is worth having.

However, like the saw-edged dussack, flamberge blades are unusual - which suggests the advantage wasn’t that much of an advantage after all.

Here’s a Circassian kindjal, forged wiggly…

…and an Italian parrying dagger forged straight then ground wiggly…

There were also parrying daggers with another fantasy-blade feature, deep notches and serrations which in fantasy versions often resemble fangs or thorns.

These more practical historical versions are usually called “sword-breakers” but I prefer “sword-catcher”, since a steel blade isn’t that easy to break. Taking the opponent’s blade out of play for just long enough to nail him works fine.

NB - the curvature on the top one in this next image is AFAIK because of the book-page it was copied from, not the blade itself.

The missing tooth on that second dagger, and the crack halfway down this next one’s blade, shows what happens when design features cause weak spots.

So there you go: a quick overview of fantasy sword features in real life.

Here’s a real-life weapon that looks like it belongs in a fantasy story or film - and this doesn’t even have an odd-shaped blade…

Just a very flexible one…

If you want more odd blades, Moghul India is a good place to start…

[ubercharge]

i could not ask for a better addition to my meme post than blade education thank you so much

[fantasy-anatomy-analyst]

It’s not fantasy anatomy, but knowing stuff about the objects you put in your fantasy world is also very important

[what-even-is-thiss]

I hate I when I get an idea for a novel. Like oh no here starts the slow sad slip n’ slide to dissapointment again.

[what-even-is-thiss]

You ever been 30,000 words and hundreds of research hours into a project when you realize hey wait a minute. I don’t like this. This is bad.

[fassina]

Ok adding to this though that even though it is extremely relatable, this is a KNOWN thing with professional writing. 10k is often referred to as "having a pot boiling" or "having a stew" - it's the point where you often see an idea coming together and it's exciting! But THEN... 30k-50k is the point where that fun has to start coming together. In theatre, it's usually week 3 of a 5 week rehearsal period where you have to stop talking about the play and really get it all up on its feet and cohesive. In art, it's committing to what are going to be the final visible layers of colour and texture, in sculpture the moment where you're truly at the point of no return with carving out the shape.

It usually feels really bad. Because this is the point it becomes real craft. It's so, so difficult to really be able to identify if it's truly not going to be anything or you're just in the hardest part of the process, and really the only way to know is to... write through it. Write it badly. Or, if you really can't, put it in a drawer and come back to it after a few months of breathing space. Remember, you can fix so much in the edit, but you can't fix nothing!

(I say, fully looking at my latest draft of my book and considering throwing it in the bin. But my editor said exactly this to me, so I'm passing it along.)

[tjalexandernyc]

this is 100% true. I've written 6 complete novels at this point and every single time around the 40k mark I feel lost in the woods. Nothing seems to be working. I feel awful; I can't sleep. I keep going even though I'm convinced I'm going to fail. And then... It's like leaving a tunnel and getting back out in the sunshine. Stuff starts coalescing. Things that weren't working have obvious fixes. I "can write" again, except I was writing the whole time. It just felt hopeless in the moment. It's not. You just gotta get out of the woods.

[ariaste]

Ah yes the Slough of Desponds. Professional author with 13 books, and this is normal for me as well. (Checking for tension issues usually helps!)

[sainamoonshine]

Lmao I literally wrote a whole blog post abt it once.

https://www.patreon.com/posts/writing-advice-1-82451675

Writing Advice #1: The 90% project completion Dark Night of the Soul | Marie Blanchet

Get more from Marie Blanchet on Patreon

[tenderwatches]

sometimes you need dialogue tags and don't want to use the same four

[acookiecalledlizzy]

as a non-native english speaker this is more than valuable to me - i struggle a lot with finding synonyms and similar words (thesauru.com is my best friend) but seeing it like this really helps.

[clementine-kesh]

the big three questions of media analysis: what the author wanted to say, what they actually said, and what they didn’t know they were saying

[clementine-kesh]

for the last one i don’t just mean oh the author inadvertently wrote in gay subtext or whatever i’m talking about media as a cultural artifact which can reveal a ton about societal norms, biases, ideals, etc. it’s all about positionality and an unexamined positionality is often the most revealing of all

[3hks]

How to Write a CHARMING Villain

Everyone loves a good villain, and they especially love a charming one. If you want to write an antagonist who's both evil yet irresistible, look no further!

1. Show Their "Kindness"

Kindness? Wait, I thought you said we're writing a villain today.

Yup, I mean it--make your antagonist appear kind. Realistically, someone who's polite and friendly is often considered more attractive than someone who's rude and judgmental, so make them kind. It doesn't have to be honest kindness, but you want your readers to doubt the malevolence of your character, if that makes sense.

You can show this kindness through small, daily actions; they don't have to have a lot of impact on the story. Something simple like leaving a big tip, granting a minion a vacation, letting someone go first in the line, and holding open the door all contribute to this image.

2. Smooth Talker

Effective communication is everything. If your villain is eloquent, they seem more capable and intelligent! However, if you're looking to expand further, explore what they can do with their speech.

Does everyone pay attention when they start speaking? Are they able to calmly resolve conflicts verbally? Are they really persuasive? Do they speak elegantly?

Show the effects of their communication skills!

3. Good leader

Make them a good leader. Make them consider how their subordinates might feel. Make them choose good decisions. Perhaps they give their workers days off when they need it. Perhaps they engage with their followers often. Perhaps they're more down-to-earth.

A solid leader looks respectable while a poor one looks ridiculous.

4. Intelligent + Logic

I say this all the time, but make your villains smart, make them logical, make your readers understand where they're coming from. Some of the best antagonists I've ever seen are not the ones that seem excessively evil or unhinged, but rather the ones that seem logical in their actions. And knowing that they're well-aware of their actions and the consequences makes things that much scarier.

if you want a charming villain, you have to start with someone who is competent.

5. Conflicting Moments

At the end of the day, your character is still the antagonist. Yes, they might appear kind, but that's not going to last forever. There will be times when they act unnecessary cruel, and that's okay.

Your audience might be unsettled and confused from the whiplash, and that's okay. Don't force your character into being someone else to satisfy the readers. Embrace the difference.

6. Backstory

Backstories matter for all different types of reasons. From establishing the basis to one's goals, morals, and values to providing the foundation for their character, an effective backstory can do a lot.

However, I want to specifically talk about how the backstory demonstrates someone overcoming their obstacles. If they made it to the present, then they really defied all odds to be here, and honestly? That's admirable (and attractive), no matter what kind of person they turn out to be.

Now, if you're thinking "what if I don't give the antagonist a painful backstory?", I'll address that real quick. You don't have to give them a super depressing past, but there will always be pain and hurt in their past, even if it isn't something "lifechanging" or there 24/7. There is no such thing as a perfect, happy past.

CONCLUSION

To quickly conclude, a charming villain is often not one who appears visibly evil, but one who appears compassionate, intelligent, well-spoken, and acts like a good leader.

Happy writing~

3hks :)