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"depiction is not automatically glorification" can and should coexist with "some depiction is glorification and you need to be able to tell the difference"

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When writing always remember… a character flaw is only a flaw until becomes useful. 

Is your protagonist manipulative? Well that’s awful… until they manipulate the antagonist into making a decision that saves the lives of their friends. 

Is your protagonist a skeptic? Well that’s not good… until someone tries to lie to them. 

Is your protagonist overprotective? That sucks… until someone they love is in danger. 

Is your protagonist remorseless? Well that makes them pretty unlikeable… until a hard decision has to be made. 

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By LabradoriteKing on Pinterest

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As a white woman writing PoC characters, I wanted to use AAVE with my two African-American characters but I don't know how well that would translate with my readers. I know I'll have to do a lot of research to understand how to write the language correctly (as with most of my writing), but I would like to know your opinion on this. Should I use AAVE when my characters are code-switching when they are by themselves or with their families? Or should I leave it out of my writing so I don't offend?

Non-Black Writers: AAVE & Code-Switching in Story 

I’m going to present you with two sides. 

My factual opinion with advice on preparing to do this well.

And my personal one, which is to use AAVE sparingly in stories if you’re not a Black writer.

Doing this well

Execution is everything. Approach this as you would adding any secondary language within a story that has a different primary language. In this case, it’s adding African American Vernacular English to a story written in prescriptive, standard English. AAVE may use English words, but syntax (word order), context and so on follow its own rules. Those rules should be respected and there’s not much room to play if you don’t know AAVE. That’s how you get blotched AAVE from people outside of the culture throwing stuff together and making little sense. 

To write AAVE how you think it sounds vs. how it is quickly looks like a mockery or racist stereotyping. 

So the decision to include would truly depend on:

If you research it thoroughly

Have a Black, AAVE-speaking person to check over it 

Research

Our tags as well as Google has plenty of resources for learning, so i’ll avoid being repetitive here. 

Beta readers

As for the importance of having someone read it; just like you wouldn’t use google translate as your sole source for correct translation, you should not rely on what you think you know. There’s nuances that are hard to learn on paper. Plus, as AAVE is almost always spoken along with Standard English, most wouldn’t speak completely in Black English. It could easily be 1-2 sentences in a paragraph of dialogue in which it slips out. 

My personal opinion

Instinctively, I want to say no. Use it sparingly to little as a non-Black writer, because if it’s done poorly, it’ll distract and put me off as a reader. I’d feel betrayed reading this great story with a Black character only to come across poorly-written AAVE. Even done well, in theory, it’s pretty easy to mess up. 

Also, how it is spoken, how often, and to whom varies regionally, within families and even individuals. Just another point of research and decision to make if you do include it! 

For this in particular, I don’t consider it erasure leaving it out, especially if you make it clear the character is African-American in other ways, and include other pieces of culture and representation. Hair and skin care, decor, family life, culture, and cultural events, to name a few things.

Another reason I feel more protective of AAVE is from how commercialized it has become. Black language is under near constant scrutiny, used by non-Black people on the same breath that it’s disrespected. It is seen as a “cool misuse” of English or considered universal “Teen speak.” Sometimes it’s praised, but often made fun of or seen as speaking improperly.

Again, just my perspective and probably differently than how I felt when I started this blog in 2014! I encourage Black readers to share their own.

–Mod Colette

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me as a writer: Oh no I can’t write that, somebody else already has

me as a reader: hell yes give me all the fics about this one scenario. The more the merrier

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I will always prefer Wizards Is A Job over Wizards Is A Species as a trope.

Wizarding should be something you work towards. Being a wizard is like being an architect, or a painter, or a chemist. It’s something that makes your relatives ask “So are you still doing that or do you have an actual job now”

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Best things for a ship to have or be:

Horny

Insane

Religious/spiritual themes

Obsession

Age gap

Doomed

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<div style="white-space:pre-wrap">

🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.

Let’s say your character sucks.

She’s flat. Predictable. “Strong” in all the wrong ways. Let’s call her Nicolle. Or Carol. Or whatever name Hollywood gave her.

She’s a superhero. She’s got powers. She’s got sarcasm. She takes no shit. She leads the squad. She’s admired by everyone — and loved by no one.

You’ve seen this character before. Now watch what happens when you give her one secret she doesn’t brag about.

Nicolle has two sons.

She’s raising them alone — to become men like her late father: A man who sacrificed everything to raise her after her mother disappeared, broke, or gave up.

The world sees Nicolle as the apex of visual empowerment. But the world doesn’t see:

The arguments with her boys’ father — about what being a real dad means.

The prayers whispered in the dark over a fevered forehead.

The way she ghosted the only man she maybe wanted, not because she’s flaky — but because she doesn’t know if wanting love makes her a bad mother.

The nights she tucks her boys in, then collapses into her bed, staring at the ceiling, heart full of ache, because she gave the world her strength but kept no one to hold hers.

They don’t see the days her sons cry after watching her get slammed through buildings on TV.

Held by the throat. Left for dead. Motionless for seconds too long. Until she rises — because she has to.

They don’t see the breakdowns. They don’t see her flinch.

They assume she doesn’t feel fear. But the truth?

She feels it every single time.

She’s not fearless. She’s never been. But fear is a luxury she doesn’t have.

That’s a luxury for men. She is a god. And she will make any threat scream that truth — as she crushes it beneath her bleeding hands.

Because when demons invade, tyrants rise, and monsters descend, She suits up.

Not for hashtags. Not for feminism. Not for attention.

She suits up because the idea of her sons growing up in a world she could’ve fought for and didn’t — is more terrifying than death itself.

And she will not let the universe teach her boys that their mother ever cowered.

🔺 THE TRIFECTA THAT MAKES ANY SUPERHERO NEXT-LEVEL:

Intimacy. Contradiction. Duty.

Intimacy gives them a soul — something they protect more than their own body.

Contradiction gives them depth — because perfection is forgettable, but conflict creates memory.

Duty gives them immortality — because we remember those who bled for more than applause.

Give a character that trifecta — and suddenly:

She’s not annoying. She’s haunting. She’s not fanfiction. She’s canon. She’s not shallow. She’s legend.

✍️ That’s how you fix a weak character. You don’t soften her. You give her something to fight that fists can’t touch.

And suddenly?

She’s not a girlboss. She’s the last myth your enemies ever tell themselves before they die.

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<div style="white-space:pre-wrap">

🧠 THE MANNEQUIN WITH POWERS — Why Character Comes Before Plot or Die in the Void A Blacksite Literature™ Transmission (If your protagonist couldn’t grip a reader’s soul in a blank room, you already failed.)

I. THE VOID YOU'RE WRITING INTO

Let’s get this out of the way first:

If your character can’t speak — not literally, but viscerally — to the reader’s insides without the crutch of explosions, lore dumps, or a “cool” outfit…

You are not writing a character. You’re dressing a mannequin. And no one gives a fuck what a mannequin does.

II. IF THEY FEEL NOTHING, YOU BUILT NOTHING

Who cares what city’s under attack? Who cares if they’re the Chosen One? Who cares about your twist, your map, your seven-act structure?

If the protagonist you’ve built:

Has no secret

Carries no weight

Evokes no response from a quiet, tired reader on a Tuesday night—

Then you wrote into the void.

Your reader wasn’t “dumb” or “impatient.” They felt nothing. And they left.

III. THE LIE OF “PLOT FIRST”

You’ve been sold a lie:

“Just make the story exciting and the characters will follow.”

No. Never. Backwards.

Character always precedes plot. Character is the plot.

Because if I don’t care who it’s happening to — Then nothing happening will ever matter.

A reader can forgive:

A slow start

A clunky scene

A cliché trope

But they will never forgive the crime of hollow company.

You gave them someone to follow —

And that someone had no soul.

IV. THE MANNEQUIN WITH POWERS

Let’s define the threat.

The Mannequin:

Has abilities

Has trauma

Has a goal

Has quips

Has a backstory

But no voice.

No contradiction. No shame. No private thing they would die to protect, not because it’s powerful — but because it’s theirs.

This mannequin does things. Big things. High stakes.

And no one cares. Because nothing human is bleeding through the plastic.

V. ESCAPISM ISN’T A LICENSE TO LIE

Yes, readers want to escape. But not from humanity.

They want to escape into:

A place where flawed people matter.

A place where pain has context, not just screen time.

A place where characters don’t just “get better” — they get known.

Escape into fantasy all you want. But if you’re escaping the imperfections of the human condition, then you’re not writing fantasy. You’re writing propaganda for emotional disconnection.

And your reader knows it. Even if they don’t say it. Even if they reblog it. Even if they finish it.

They know.

VI. THE SECRET THEY DON’T BRAG ABOUT

Let me give you the fix.

Give your character one thing:

A secret they don’t brag about.

Something they hide not because it’s cool — but because it’s raw, vulnerable, humiliating, or sacred.

Examples:

She used to believe in God, and now she can’t even say “grace” over her food.

He kept a voicemail from his brother the day before he overdosed.

She has two daughters, and hasn’t seen them since the custody ruling.

He talks shit to villains but goes home and reads old love letters he never responded to.

Do not announce it. Do not reward it. Do not let them monologue it.

Let it live. Quietly. And watch your readers form emotional attachments like animals recognizing kin.

VII. PLOT WILL NEVER SAVE YOU

You can worldbuild forever. You can twist the timelines, deepen the lore, expand the pantheon.

But if your central figure could be replaced by anyone and the story still works?

You didn’t build a character. You built scenery in a cape.

Plot is what happens.

Character is who we blame, who we mourn, who we root for in spite of ourselves.

And if you skip that? You skip the anchor. You leave your reader floating — no matter how pretty the setting is.

VIII. THE READER DOESN’T OWE YOU A DAMN THING

Let’s be brutally honest:

Your reader doesn’t care how much time you spent.

They don’t care how much of your soul you “poured in.” They don’t care how important your themes are.

If they can’t connect to a being — not a puppet — then they leave.

Because they’re not in your head. They’re alone. Reading. Tired. Wanting to feel something.

And if your protagonist doesn’t show up with emotional currency in hand?

They’re gone.

IX. THE ONLY TEST THAT MATTERS

Write this down:

If your main character was in a blank white room for five pages — with no plot, no action, no powers — would I want to hear what they think?

If the answer is no?

Start over.

Not from page one. From soul one. You didn’t give them a person. You gave them a vessel to carry your story — and no one wants to be ferried by a stranger.

X. THE REALITY YOU’RE TOO SCARED TO ADMIT

You’re not scared of writing bad plots.

You’re scared of putting real, flawed, mirrored, shameful, holy you into your character — because if it fails, it’ll feel like you failed.

So you keep them clean. You keep them plastic. You keep them “relatable” in all the ways that mean nothing.

But the only thing that ever makes a reader stay?

Is the feeling that this character was carved from a place they weren’t supposed to see.

That’s what creates emotional loyalty. That’s what earns tears. That’s what builds cult followings, not just fandoms.

XI. SO FIX IT.

Kill the mannequin.

Bury the empty badass. Silence the sarcastic automaton. Throw the trauma plot in the fire.

Build a person. A person with shame. A person with weight. A person who reminds the reader of a truth they’ve never told anyone.

Then throw that person into your plot.

And watch the story ignite.

XII. CONCLUSION: YOU'RE NOT WRITING STORIES. YOU'RE WRITING PEOPLE.

You think you’re writing entertainment. You think you’re building scenes. You think you’re plotting arcs.

But you’re not.

You’re introducing human souls to strangers. And the ones who do it well? They become immortal.

Every good story is just a person you didn’t want to say goodbye to.

If you don’t have that?

Then what the fuck are we doing here. </div>

📌 If this made your spine straighten mid-sentence — reblog it. 🧠 If it exposed a hollow character you once thought was “done” — save it. ✍️ If it reminded you why we write at all — read it again.

And if it hurt? That means it’s time to start over.

Bonus:

🧠 FREE WRITING LESSON — THE MOST POWERFUL CHARACTER DEPTH TRICK YOU’LL EVER READ.

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Commenting fanfiction is the easiest thing in the world once you start doing it. 

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You know what, folks… Modifiers: They can be your friend, and they can be your enemy.

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I dream of the day when I won’t have to look at this fucking chart….

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unironically i love this website and the people who post here because like 4% of them are even more pedantic and specialized in their knowledge bases than i am, and they are ALL HATERS. these are my people, sincerely. i support them uncritically even though all of us are REALLY annoying

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You guys probably already know this, but in case you forgot, it’s fine to just, like, put cool stuff in your novel. Names don’t always have to have special meanings, the way the sword swishes doesn’t have to be of extreme plot significance, there doesn’t need to be “another angle” to a particular character…It’s certainly good to use metaphors, items, themes, motifs, and suggestions to loftier ends, but you liking something can be enough.

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Another worldbuilding application of the "two layer rule": To create a culture while avoiding The Planet Of Hats (the thing where a people only have one thing going for them, like "everyone wears a silly hat"): You only need two hats.

Try picking two random flat culture ideas and combine them, see how they interact. Let's say taking the Proud Warrior Race - people who are all about glory in battle and feats of strength, whose songs and ballads are about heroes in battle and whose education consists of combat and military tactics. Throw in another element: Living in diaspora. Suddenly you've got a whole more interesting dynamic going on - how did a people like this end up cast out of their old native land? How do they feel about it? How do they make a living now - as guards, mercenaries? How do their non-combatants live? Were they always warrior people, or did they become fighters out of necessity to fend for themselves in the lands of strangers? How do the peoples of these lands regard them?

Like I'm not shitting, it's literally that easy. You can avoid writing an one-dimensional culture just by adding another equally flat element, and the third dimension appears on its own just like that. And while one of the features can be location/climate, you can also combine two of those with each other.

Let's take a pretty standard Fantasy Race Biome: The forest people. Their job is the forest. They live there, hunt there, forage there, they have an obnoxious amount of sayings that somehow refer to trees, woods, or forests. Very high chance of being elves. And then a second common stock Fantasy Biome People: The Grim Cold North. Everything is bleak and grim up there. People are hardy and harsh, "frostbite because the climate hates you" and "being stabbed because your neighbour hates you" are the most common causes of death. People are either completely humourless or have a horrifyingly dark, morbid sense of humour. They might find it funny that you genuinely can't tell which one.

Now combine them: Grim Cold Bleak Forest People. The summer lasts about 15 minutes and these people know every single type of berry, mushroom and herb that's edible in any fathomable way. You're not sure if they're joking about occasionally resorting to eating tree bark to survive the long dark winter. Not a warrior people, but very skilled in disappearing into the forest and picking off would-be invaders one by one. Once they fuck off into the woods you won't find them unless they want to be found.

You know, Finland.

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I forgot I did this.