#technique references

[statementvsbackgroundproject]

Caravaggio

[unboundprompts]

advice for a character who grips control like a lifeline. who wants to be in charge of every little thing because whenever they're not in control of something something bad could happen. has happened. they can't let a single variable be wild or in someone else's hands

How to Write a Controlling Character

Backstory Rooted in Trauma or Guilt

This character likely has a history that has ingrained the belief that they must be in control or face devastating consequences. Perhaps they once trusted someone else with something crucial—a promise, a responsibility, or a life-altering choice—and that trust was broken in a way that had lasting repercussions. For example, maybe they lost someone because they weren’t “careful enough,” or they experienced a betrayal when they trusted another person’s plan.

They might frequently flash back to this moment, possibly catching themselves thinking, If only I’d been the one in control, this wouldn’t have happened. This memory fuels their need to keep a tight grip on everything, especially if they’re in high-stakes situations.

Rigid Daily Routines and Habits

This character’s day is probably packed with small rituals and routines that give them a sense of security. From double-checking door locks to setting multiple alarms, they rely on routines to give themselves a sense of order. In fact, they might be nearly ritualistic about small actions—checking emails three times before sending, never leaving a task halfway finished, or meticulously arranging their workspace.

Even something as simple as making coffee can become a precise process. If someone moves one of their tools or a file from their desk, they may feel a spike of frustration or even anxiety, seeing it as a disruption to their personal “system.” They could feel that control in their daily life is the only thing keeping chaos at bay.

Intensely Observant of Details and Mistakes

They are hyperaware of mistakes or inefficiencies in others, mentally cataloging things like a coworker’s slight lateness or a friend’s disorganization. They may feel a sense of superiority (or frustration) over people who don’t “have it together” and take it upon themselves to organize or “fix” things for others.

In conversation, they might cut people off or “correct” them even over small points, often justifying this to themselves as necessary. For instance, if someone shares a plan that seems half-formed, this character could immediately dive in, pointing out potential problems or filling in details.

Controlling Relationships and Social Situations

This character struggles in relationships where they aren’t the dominant or organizing force. They might instinctively take over when making plans with friends, micromanaging even casual hangouts to make sure everything goes “right.” For example, they might pick the restaurant, plan the travel route, and check weather forecasts—assuming that if they don’t, no one else will think of these things.

When someone resists their attempts at control, they can respond defensively, often turning cold or resentful, unable to understand why anyone wouldn’t want them to manage the situation. Statements like, “Fine, but don’t blame me if this doesn’t go well,” are frequent in their interactions.

Extreme Anxiety or Panic When Control Is Taken Away

When things go beyond their reach, this character might experience panic, as if they’re suddenly powerless. For instance, if an unexpected roadblock prevents them from handling a task (like a canceled flight they needed to board, or a plan that falls apart), they might spend hours trying to regain control, calling every contact or frantically exploring alternatives.

Their reaction may feel extreme to others. Even minor setbacks—such as a colleague taking initiative on a project or a friend planning something without consulting them—can trigger a disproportionate response, like clenching their fists, pacing, or silently stewing as they feel the situation “slipping.”

Inability to Accept Help or Collaboration

Their controlling nature makes it hard for them to collaborate, as they believe their methods are the only ones that work. For them, accepting help feels like an admission of weakness or failure, so they rarely delegate or ask for assistance. If they do reluctantly accept help, they are constantly supervising or “suggesting” things, making it feel more like they’re still in charge.

In a team setting, they might take on all the major tasks, either out of distrust in others’ abilities or a feeling that no one will match their standards. Their motto could be something like, “If you want something done right, do it yourself,” even if that means working late or burning out.

Reluctance to Show Vulnerability or Need

Since vulnerability and control rarely coexist for them, they avoid showing weakness at all costs, preferring to mask stress or struggles as “just part of the job.” If they do become overwhelmed, they’re more likely to shut people out, saying, “I’ve got it handled,” even if it’s far from true.

When people push them to let go or share the load, they might lash out, accusing others of “just not understanding.” They often see their intense responsibility as a form of sacrifice, justifying their behavior with, “If I don’t handle this, who will?”

[shroomerr]

HAPPY BIRTHDAY TO THE BOY EVER, KENNY MCCORMICK!!!!!! my favorite little guy,,, i hope he gets all of the kfc he desires for his special day

[ryssbelle]

Drew a bunch of Marinettes in a bunch of different artists styles it was a lot of fun!!

Artists who's styles I mimicked: @buggachat @hamsternamedmarinette @ladybeug @sabertoothwalrus and @anna-scribbles all epic artists 🤟😎

[tahbhie]

20 Alternative Losses Your Protagonist Can Face That Don't Involve the Death of a Person.

In one of my recent posts, I talked about losses as a core principle in driving a plot forward.

It's recommended in almost all guides. But here's the thing: someone doesn't have to actually die to create that emotional rollercoaster.

Here are 20 different losses your protagonist can face without losing someone to the cold hands of death:

1. Loss of a dream job opportunity

2. End of a long-term relationship or marriage

3. Betrayal by a close friend or family member

4. Financial ruin or bankruptcy

5. Loss of a beloved pet (The pet could go missing.)

6. Rejection from a prestigious program or institution

7. Injury or illness leading to the loss of physical abilities

8. Destruction of a childhood home

9. Loss of custody of a child

10. Failure to achieve a lifelong dream or goal

11. Being falsely accused of a crime

12. Natural disaster destroying personal belongings and home

13. Loss of a valuable family heirloom

14. Experiencing discrimination or injustice

15. Being forced to move away from a beloved community

16. Losing a significant competition or contest

17. Loss of memory or cognitive abilities

18. Falling out with a mentor or role model

19. Closure of a cherished local business

20. Loss of one's reputation due to scandal or rumor

Thank you for all of your support. If you love my blog, consider gifting me a rose. Val's here, and I hope your characters are ready to paint the town red.

Check out this printable template that helps you structure the nuanced parts of your plot you normally skip out on.

You also receive a free add-on that enhances your plot. It saves you time and helps you maintain quality.

[warmfuzzyanimal]

had an identity crisis, prime time for a slight sona redesign!

it's cow! (again!)

+ a closeup because i'm really proud of the eyes

[love4ng1e]

𐙚 Have fun with the law.

Play with it. Yes. Play. Like a game. Like an experiment. Like you’re testing magic. Because that’s exactly what it is.

When your mind starts to spiral, when you’re stuck wondering “But is this even real? Is it working? What if it’s not true?” don’t panic. Don’t overthink. Just go back to fun.

Try it out with small, simple things. Maybe your specific person asks to sit beside you. Maybe your teacher surprises the class with donuts. Maybe your boss gives you your paycheck early. Anything. Pick one. Assume it’s already done. Then let it go.

Don’t wait for it like you’re watching the clock. Just live your day normally, but inside, you know it's going to happen. You don’t hope. You don’t beg. You just say,

“Of course. I said it. So it’s done.”

So go ahead. Have fun with the law. Be playful. Be bold. Be like a child making wishes and knowing they’ll come true. Because when you let go of the pressure and remember the joy, that’s when the magic clicks.

Ultimately, the law was always just about having fun. Mwah, Angie. - 𝜗𝜚

[mamawasatesttube]

that one page of tim narration in rr09 #8 is still just so funny like. okay. life or death situation. a 7 vs 1 fight. full focus mode.

"okay. gotta remember everything i learned on my first adventure in paris. gotta be better than i ever was."

"hope i can move half as fast and gracefully as dick does."

"man it would be so cool if kon put his ttk to some good use. wait what--"

[divine-dreaming-arts]

bro your calls are NOT going through !!! 3rd pfp for myself bc he's just too fun to draw lol

[mrynxs]

"Hey guys, today we're going to hunt some ghosts, these are hypocritical couple who say they're not romantically together; but secretly are. Be told that can't sleep on the same bed, but they broke their own rules. What a fcking good leaders they are."

or

Craig was pissed that Wendy assigned him with someone instead of Tweek for the entire trip, so he pay back with a special treatment.

I have my own storyline in my head but I can only express it through the drawing (this is the only context I can give sorry)

[statementvsbackgroundproject]

colleen barry

[wildwood-faun]

Patternmaking, both basic and creative: The Shapes of Fabric

Once upon a time I used to follow the blog of someone who worked in the fashion industry who would write irate posts on fitting and quality issues, teaching me in the process why ready to wear trousers never fit properly, exactly how to set a sleeve, and why T-shirts sometimes start to turn themselves into corkscrews once you've washed them. I'm pretty sure this is not that blog, but I think I found it when I was trying to find the aforementioned one again.

The Shapes of Fabric is a really cool blog with a mix of basic guides like drafting pattern blocks (a base pattern you can use to create more complex garments) and really fun patternmaking experiments that are basically practical geometry.

If you're going to use older sewing sources, it's often really helpful to have at least a basic grasp of what pattern drafting is and how it works, so I'll be linking to some tutorials on how to draft some basic pattern blocks (bearing in mind that I've probably not used this source in particular, but the idea is more or less the same however you explain it):

pattern making basics

how to use basic pattern blocks

bodice block

dartless bodice block

pants block

The site also has a bunch of helpful guides, like these ones:

welt pockets

fitting bodices

fitting pants and skirts

sewing plackets and collars

more on collars

jacket sewing

sewing sleeves

sewing pants

There's also some really cool posts on dart manipulation, flounces, ruffles, "patterns that create patterns" (if you want to go off in a retro futurist way this kind of thing would be neat to incorporate), funky things you can do with sleeves, tucks (v useful if you're into Victorian stuff), detachable collars. Basically, go have a look around and get inspired!

[sadfishpile]

a quiet night

[tahbhie]

The Act of Writing Psychotic Characters 

Edited

Part 1: Attention vs Intention

It's been a while since I received this request, and I ensured I took my time with the thoughts, evaluation, and analysis. This topic will be covered in three parts, so here's the first.

Before we proceed, please note that I am not a psychiatrist, psychologist, or any professional in that field. This is just an insight into how this kind of concept can fit into your novels.

Okay, let's begin.

The Attention vs Intention part of this topic will discuss two ways of portraying these type of characters in scenes. 

First, you need to understand that psychopathic characters aren't psychos based solely on their speeches or actions. If that's all you have in mind before approaching a story, you might leave a huge gap in the execution.

Rather, it's how they feel—the desire to satisfy their current emotions.

They have drives and motives, but most especially beliefs which, in most cases, are hardly understandable by other people. It's wrong and unacceptable by society, but to them, they wouldn't do it any differently.

That's why most psychopathic characters have no remorse. You simply can't apologize or feel sorry if you don't 'believe' that you're in the wrong.

➜ Attention Psychopath

Psychopathic characters whose main purpose in a story is limited to presence (i.e., showing up in scenes and visibly serving the role of a psychopath) are attention psychopaths. You don't flesh out their backstory or why they are who they are.

Their drives and motives aren't talked about enough to the point of justification. Readers hardly care about them, but the action they bring to the scene creates a rich narrative with the purpose of psychopathy.

In summary, their role is minor. We see such cases in movies like The Babysitter.

Let's agree that none of the cult characters in that movie are exactly sane, as their main aim is to end their victims’ lives in the sickest ways possible. However, there's a certain character, Max, who simply enjoys the idea of "killing and seeing people bleed."

That has exceeded the central idea of being a cultist who gets involved in blood sacrifice to achieve their 'dream life' like the rest of the characters. It's now something more and different.

Something that has to do with homicidal ideation.

Max worked in a diner where he dealt with people that annoyed him so greatly that he wanted to kill them. So he got the opportunity to join a cult and do just that.

It was plain clear this guy had something else going on for him, but throughout the movie, his character had no special attention or even a peek into his thoughts. Although, it still worried the audience. Job done.

➜ Intention Psychopath

When a story is centered around a character's mental state, their motives, drives, beliefs, actions, and the story actually unfolds by going deeper into this concept, you have intention psychopathy.

If not entirely, at least mostly, it defines the entire plot surrounding that character. People get to understand why they are who they are, their mode of action, what drives them, and even a peek into how they perceive the world around them.

Such scenarios are seen in movies like The Joker and Pyramid game (Korea). The audience gets a glimpse into their overall life and understands at least to an extent why they are the way they are.

Their beliefs get twisted for certain reasons, and there was just no stopping them. Here the characters were more than a presence; they were a central core.

In the movie Joker, we watched Arthur’s impoverished life unfold, with every event and incident worsening his condition further.

Baek Ha-rin in Pyramid Game literally created an entire game system to watch a student, who happened to be her old friend, suffer both physically and mentally. She went to great lengths to carry out this nefarious act under the guise of the game. Although this movie encompassed more than just this storyline, it was hard to ignore the unhealthy drive and actions of the young lady with an innocent face.

Before incorporating a psychopathic character in your novel, determine their form of portrayal and appearance in the overall story. Are they going to serve as an attention psychopath or an intention psychopath?

Inspired by @sothera

Stay tuned for the next part!

۝ Before you go! ۝

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[ryllen]

jade who got heartstruck by someone who listens, and trey who generally takes interest on really listening to what people have to say, about things he doesn't know yet

[majesticcorn2000]