axrpgmuse

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░  ♡ * — HAYLEY KIYOKO GIF ICONS !!

under the cut you will find 156 gif icons of the stunningly talented, hayley kiyoko, all cropped & coloured by me. full credit goes to the original creators of these gifs ! don’t redistribute/edit & claim as your own. there is a variety of gifs, this will also be updated over time as requested ! please like/reblog if these are helpful in any way or if you use !

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Emily Bett Rickards gif hunt

Under the cut are #236 gifs of Emily Bett Rickards. None of these gifs were made by me; all credit goes to the original makers. Please like or reblog if using.

Content warning: guns

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Under the cut you’ll find 648 gifs [ 150 x 80 ] of Aaron Taylor-Johnson; 26 years old british actor most known for his acting career. None of the gifs are mine, I just edited them, so credits to the original owners. if you see your gif here and would like it removed just send me a message. Please like/reblog if using/saving or if this was helpful.

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Helpful things for action writers to remember

Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 

Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 

Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 

Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 

Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 

ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 

Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.

Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 

A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 

If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 

ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)

If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 

People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 

Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 

If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

[axrpgmuse]

About: Many people mistakenly place Hydra’s origins at World War II/Nazi Germany; however Hydra has existed long before then. WWII had merely been a large turning point for the organization, and its presence became more known as a result.  “Hydra was founded on the belief that humanity could not be trusted with its own freedom. What [we] did not realize is that if you try to take that freedom, they resist. The war taught us much. Humanity needed to surrender its freedom willingly. After the war… the new Hydra grew, a beautiful parasite… For 70 years, Hydra has been secretly feeding crises, reaping war. And when history did not cooperate, history was changed.” [x]

Prominent Members: 

Madame Hydra | Ophelia Sarkissian | FC: Lena Headey--The leader of Hydra. Although she travels across the globe, she primarily operates out of Hydra’s modern day headquarters. She often approves/denies strategies proposed by other, high ranking members of Hydra; she herself is an expert strategist and has been highly trained in weapons and hand-to-hand combat for the majority of her life. Along with this training, her resistance against toxins and poisons is abnormally high.

Crossbones | Brock Rumlow | FC: Frank Grillo--Although his allegiance was originally to SHIELD, it was short-lasting before he became loyal to Hydra, but utilized his status as a SHIELD agent, and worked undercover. Upon being exposed and severely injured shortly thereafter, he retreated to Hydra entirely and has carried out several lethal tasks across the United States. Prior to his injuries, he was a formidable combatant. Those skills remain with him, in addition to 

Baron Wolfgang Von Strucker | FC: Thomas Kretschmann--Another high ranking Hydra agent who often works closely with Madame Hydra and leads several missions around the globe. Before and during his time with Hydra, his military skills have been honed, along with exceptional combat training and espionage. Similar to Madame Hydra, very few people actually know what he looks like, let alone that he is at all affiliated with Hydra, making him one of the ultimate assets to Hydra.

Baron Heinrich Zemo | FC: Daniel Bruhl--He is not high ranking, but has claimed allegiance with Hydra. Zemo, however, has often expressed a singular agenda targeting The Avengers and therefore often seeks out missions in the United States, particularly along the East Coast (the NY area) where the Avengers’ base is known to be. He doesn’t possess any super powers, however he is a highly skilled strategist and was a brilliant scientist long before aligning himself with Hydra.

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Under the cut are 200+ gifs of the adorable Hayley Kiyoko known for her roles in Wizards of Waverly Place, Fosters, Lemonade Mouth and as a musician. Mostly small and medium but there are a few large gifs. None of these gifs belong to me, credits go to their respective owners. Sorry about some of the grey boxes. Please like or reblog if you’re using, or planning to use.

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Below the cut is 130 gifs of actress, Elizabeth Olsen in her role as Wanda Maximoff/Scarlet Witch in Captain America: Civil War. All of these gifs were made by me so please don’t claim as your own or post in your own gif hunts.If you would like to crop these into gif icons please message me first as I would like credit if you redistribute.

Please like or reblog if you use or are a RPH.

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Formulating Responses and Interactions for Roleplayers.

I was talking with a future roleplayer who is new to the text based roleplay scene and they asked a very good question that I think a lot of roleplayers do not think about, or new roleplayers struggle with initially;

How do I respond to posts and make sure my partner can continue it?

Alternatively…

How do I make sure it’s not all about my muse?

At risk of sounding like a professor I am going to reveal my own post formula that I myself use EVERY TIME I continue a post no matter what.

The formula is;

React Supplement Question

React

Respond to whatever your partner is doing or saying to your character or their environment if it is relevant. Answer any questions they asked or posed. Be sure to only react to things that they are actually saying or doing and not thinking unless your character can read minds.

Examples;

Steve dodged Tony’s drunken fist and instead grappled his arm, easing him to the ground gently.

Lilith answered Amaranth’s question, hesitation laced in her normally stoic voice “I think I do love you.”

Supplement

This is the gravy part of your post; your character’s inner monologues, explanations, actions, moving the plot further and anything you feel is important to include. Back stories, fun things, things not entirely relevant to the main plot can go here as well. Examples; The smell of alcohol on Tony’s breath and skin conjured memories of a broken home and an unhappy childhood, why did that liquid have such power over even the most strong of men? Admitting it made her terrified, but it was a terror that Lilith knew she could not flee from or fight any longer. Lilith’s violent life had come to a single peak and it was not glorious battle, but pillow talk in a dimly lit room over coffee and crumpets. If she were not so terrified it would have been humorous.

Question

Always include something for your partner to react to; it does not have to be a literal question, and it should not be a literal question all the time. By ‘question’ it is more of an ‘opened doorway’ for your partner’s character to move through. Do something, or say something, or ask something so that your partner can directly react to that something and move your plot along. Even if your character is 100% non-verbal you still should be able to do something to have your partner react to; even if it is interacting directly with the environment of your surroundings rather than your partner’s character. Leaving it open-ended allows for your partner to follow up on their post and continue the roleplay.

Examples; “Is this how you want her to see you?” Steve asked Tony, hoping that by suggesting his friend’s newly found daughter and love of his life would calm the alcoholic demon that possessed him, the grip on his arm loosened.

Lilith stared into her coffee for a moment before she brought it to her red lined lips, the movement was completely artificial to the gladiator and she hoped Amaranth would not notice just how terrified she actually was. Her hands trembled then and she dropped the coffee cup spilling hot liquid all over her dress and the table in front of her, and buried her face in her hands.

These steps can also be done in more or less any order, and even repeat depending on the situation;

supplement, react, supplement, question react, question, supplement question, supplement, react (okay this makes for very interesting posts but it does happen especially during heated arguements between muses)

You can also omit ‘supplement’ entirely and work with just reacting and questioning as well for shorter posts and quicker responses.

The important thing to any roleplay post is to always double check to make sure there is something for your partner to interact with, and make sure that you have reacted to what their own character is doing or saying.

Also, BE INTERESTED in your partner’s muse. Having a self-centric post is okay just so long as there is something in there that your partner can jump into somehow.

[axrpgmuse]

&& // avoid making boring muses !

i’ve noticed a big problem in the rp community that also often occurs in the fanfiction community, and that’s boring, perfect OCs. if you find that the conversation dies quickly when you rp with someone, either you’re rping with boring muses or – you have a boring muse.

NOTE: i do not write this in arrogance or superiority so forgive me if it comes across as such – i write from personal experience, as someone who has made these mistakes myself and also as someone who has had trouble playing against muses with these traits – i hope it helps you !

without further ado, here are the worst crimes committed in the art of muse-making:

DO-NO-WRONG

there’s nothing wrong with a goody-two-shoes; honestly, sometimes they’re preferable over the rebel trope. but it’s when your character is just so good that they’re snow white – that’s when we have a problem.

your muse should never be perfectly “good”. even the most good-hearted people make mistakes in real life out of a brief moment of selfishness or even just a desperate decision. instead of making ‘good’ or ‘perfect’ their trait, go for ‘moralistic’ – this means that your muse tries their best to do the right thing (but they won’t ALWAYS succeed).

FLAWLESSNESS

icky icky icky. the beautiful muse with so many talents who everyone loves and everyone has a crush on them? get that out of here. nothing screams boring! more than a fantastical character made out of what we wanted to be when we were 11 years old. give your muse grit – they’re friendly and fun, but selfish as hell. they’re destructive and make bad decisions, but they’re always there for their friends. combine good traits and bad traits and make a good balance between them for a likeable yet REALISTIC character.

OVER-VICTIMISATION

their parents died. then their foster parents abused them. then they ran away and were homeless. they had to pay their way through school with a terrible job. they had an abusive lover. they got married then divorced. they have depression. they don’t believe in love anymore – just stop.

look, tragedies are great. they are the best way to change the direction of a character’s backstory and show how they got to where they are in the present. but do NOT layer on tragedy over tragedy just so other characters will love them through pity and sympathy!! dealing with a character that knows nothing but sadness and victimises themselves all the time will likely make other roleplayers uncomfortable more than anything. try to stick to one major or two minor negative events in your backstory to keep things realistic – and try to avoid making your character talk about them too much.

ROMANTIC ENDGAME

this is not always only to blame on a badly-constructed muse – sometimes, though sadly not often, the muse is interesting. but this type of roleplayer usually goes in looking specifically for a romantic relationship and nothing else (worst of all, they join a group JUST for a character whose fc they love), and they tend to neglect everyone else in favour of whoever they’ve picked as their love interest. once they have the relationship, the muse isn’t much on their own and becomes defined by that relationship. eventually the roleplayer (and probably everyone else) will get bored and the fun is dead.

never rp for romantic relationships, guys – put value on friendships, dramatic plots and especially on character development/exploration; and don’t be afraid to (tactfully!) end relationships in order to start new ones!

in summary, you should never go into creating a muse with perfection as the goal. leave room for development, for the character to realise their flaws, address them, and get past them using plots and connections – enjoy the journey !!

[axrpgmuse]

www.newyorkinspiration.com

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PTSD isn’t just flashbacks. while a lot of movies, books, games etc equate post traumatic stress disorder to having extremely vivid flashbacks in which one thinks the trauma is happening again, this is not the only symptom of PTSD, nor is it a requirement for having the disorder.

other symptoms of PTSD include

problems sleeping

nightmares 

hypervigilance (constantly checking surroundings for safety, looking for any possible threat)

being easily startled

being emotionally numb or not experiencing joy

seeing the world as a terrible place

memory loss 

trouble relating to others

physiological or strong emotional reactions to reminders of trauma 

intrusive thoughts about the trauma

(full list of criteria here)

flashbacks are not the be all and end all of PTSD. it’s a much more complex disorder than it’s portrayed in a lot of media, nor is it military exclusive. i hope this post can at least help educate some people beyond the incomplete and in some cases outright wrong information that a lot of people have.

[axrpgmuse]

Guide: Archery

Disclaimer: I have been practicing archery since I was eight and became really involved with the sport / hobby since turning eighteen; despite my experience, I am by no means an actual expert but I do know a considerable amount and am capable of answering any and every question you all may have!

Types of Bows: recurve, long / flat / traditional, compound, crossbow, pistol crossbow, war, mongolian, takedown, priminitive, composite

Types of Archery: traditional, competitive, field, target, hunting, 3D

Types of Arrows: aluminum, carbon, fiberglass, wooden ( traditional ), bolts ( crossbow )

Types of Fletchings: straight, helical, flu-flu. Material: feather, plastic

Types of Points: target, bullet, blunt, field, judo, fish, broadhead, fixed blade, mechanical blade, small game, bludgeon ( stump ). Medieval: bodkin, war, crescent leaf, swallowtail, hunting. Some are push-ins and others are screw-ins, the material tips are made out of can also vary: plastic, aluminum, carbon, etc…

Types of Nocks: push/press-in, pin, overnock, convential. For crossbows, the nocks will be different as the arrow sits differently (such as: flat, capture, omni-nock, and half moon)

Types of Draws: mediterranean ( most common ), mongolian, pinch

Types of Quivers: hip, back, side, pocket, bow, 

Types of Gear: shooting gloves, shooting tabs, arm guard, chest guard, quivers, silencers

Anatomy of a Bow generally consists of their limbs, riser, bow string, grip / handle, ( arrow ) rest, and nocking point. Additional features ( mostly with compound and competitive archery ) also include: sight, stabilizer, long rod, side rod, limb bolt, clicker, shelf. Additionally, these are two sides to a bow ( a front and back ), the outer portion — or the part that faces away from you when you aim — is called the back and the inner portion is called the belly.

Anatomy of a String: Sometimes, with some strings you will see three points of the string with different colours at the ends of the limbs and at the center, these are called servings. Top, bottom, and center.

Anatomy of an Arrow: Point ( tip / insert ), shaft, crest, fletching, nock

Terminology:

Anchor Point — A consistent part on the face where the draw hand comes back to.

Cant — This is a bow that is being tilted to one side or another, more commonly used by hunters.

Dry Fire — NEVER do this to your bows, this is VERY harmful to the bow and decrease longevity. A dry fire is when you pull the string back WITHOUT an arrow nocked then release.

Sky Draw — This is illegal and incredibly dangerous, don’t do this. This is the act of aiming your bow towards the sky and releasing. Do not pull a Katniss Everdeen. It’s not worth it. Only do this in places in a wide open and empty field or somewhere it is at least permitted.

Index Feather / Vane — There are commonly three fletchings to an arrow with two of three being one colour; the one that is the odd one out is called the index. This should be facing out / away from the bow’s arrow rest.

Nock — Commonly used and confused for notch ( similar to blood spatter vs blood splatter ). This is the slot at the end of an arrow; there is also an accompanying point on the string itself where the arrow sits on top of for a consistent level of shooting. Additionally, on some arrows, there is a nock nodule that typically lines up with the index feather ( this is used to easily nock an arrow into place without having to look down mid-aim or shooting, so typically hunting ).

Poundage ( # ) — A bow’s weight at full draw. For instance, while the poundage of a bow says forty#, the bow isn’t actually going to weigh that much ( bows, in contrast, are actually really light ). 

Draw Weight — I see this used interchangeably with poundage but there really isn’t such a thing as a draw weight? Or, at least, it doesn’t have a specific function that I am aware of. 

Draw Length — This is the length of how far you can pull the string back to your anchor point; the length typically is about the half of your arm span from middle fingertip to middle fingertip. Measured in inches ( “ ).

Bow Length — The length of the bow unstrung from limb tip to limb tip.

Bow Arm / Hand — The hand that commonly grips the handle.

Dominant Eye / Hand — The hand that pulls on the string; and the eye that more accurately sees the target. Sometimes, the dominant eye and hand are not on the same side of the body but there are ways to get around this!

Spine Flexibility — When getting new arrows, it’s important to test the spine for any cracking sounds. If an arrow does that, you do not want to use it. Also checking for arrow hardness. 

Archer’s Paradox — The arrow flexing as it leaves the bow. 

Followthrough — Holding your posture / position after letting go of the string to when the arrow hits the target.

Other Information:

The correct way to draw / pull a bow is by using back muscles rather than your arms, this helps lessens fatigue! And allows you to use the maximum poundage. In saying that, bows are not the same from person to person; for example, because I use a longbow ( 48″ )and my arm span is shorter, even though my bow is 40#, I am actually drawing 30#. And unless you’re using a primitive bow or a bow that has a versatile grip, bows are specifically made to be used by one hand or the other ( so left or right ).

The best way to build up stamina and strength is to consistently do muscle strength exercises, practice with the bow often. I also recommend holding the string back for thirty seconds to a minute at least three times in a day.

There is A LOT of muscle memory involved! And like overtime if you don’t exercise or ride a bike, getting back into the sport can take a readjustment to get up to par. The elbow of your bow arm should be pointed out and not down at the ground ( this is to get your elbow out of the way so that the string doesn’t slap against your forearm upon release ), your back should be straight ideally.

Do NOT use wooden arrows with compound bows. It will more than likely explode in your face and cause bodily injury. Additionally try to use the right arrow with the right bow and bow poundage; it’s like using a gun, you wouldn’t overload it with ammunition it’s not meant to shoot, so don’t do that to your bows.

If a bow creaks or makes any kind of sound while you draw it back, do not use that bow. Same with an arrow. It’s safer to avoid injury.

Do not fire a bow with anyone or anything in your peripheral or around the target. Be very aware of your surroundings.

War bows have the highest poundage, that I am aware of, that goes up to 180# and are made of a different wood. These are incredibly powerful and dangerous weapons, so I don’t recommend a war bow to shoot in your basic backyard unless you have a really great stopping tool / target.

If you can, try to practice at archery ranges. Hunting with a bow requires a license; please check your city / state laws regarding archery and its restrictions ( some don’t allow backyard shooting ).

Lastly, bows ARE weapons. I know they are treated very much like toys but they are not! Even the toy bows that you see at medieval fairs or in stores, those are still dangerous. Actual bows should be taken seriously; do not have an arrow nock and at full draw while you haphazardly aim the bow in jest at your group of friends, claiming to be the next Legolas or Katniss. That is the quickest way of hurting someone, don’t do it. In saying that, television and all other mediums of entertainment are not wholly accurate depictions of archery; some of the moves they do are highly ridiculous and unrealistic ( Hawkeye, Arrow, THG, LOTR, etc… ). While there are good depictions out there and some decent moments, they should not be your basis of instruction. It’s of course to take inspiration from these characters but don’t treat what they do as fact.

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( hayley kiyoko gif pack ! )

under the cut are #96 gifs of hayley kiyoko in size 245x150. i made every single gif in this pack, and if you use these gifs i would appreciate a like/reblog. you’re welcome to use these gifs for whatever you’d like, but if you edit&repost, please credit me as it took quite a long time for me to finish these. 

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BRENDA SONG GIF PACK

Under the cut you’ll find roughly 64 gifs of the lovely Brenda Song from her role as Daisy in New Girl season 2 episode 15, titled “Cooler”. Song is famous for her roles in Disney Channel. The gifs are all small/medium, textless, and mostly hq. Any repeats were completely unintentional. I made all of these gifs and honestly you can use them in anyway but if you add them to a crackship or gif hunt or anything of the sort please give me credit. Please like or reblog if you plan on using. Thank you! 3/?

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Theme #4 - Across The Garden Came A Youth — [ live preview - code ]

Made using the Makin’ Bacon Pancakes palette @ color-palettes 

Features

1 column posts

500px posts

Round 100x100px sidebar image

7 custom links

Lots of customisable colours

Optional infinite scroll

Max description height: 100px; if the text is longer, a scrollbar will appear.

Please, dont’ steal, remove the credits or claim as your own. Like or reblog if you use it, I’d really appreciate that! <3

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A Guide To: Writing Bitchy Characters

There are two types of characters I think we all struggle to write at some point - be it playing them ourselves or playing them against other people. The anti-villain/villainous types as well as the ‘bitchy’ characters — they’re generally mean, have a hard-edged demeanor that makes talking to them a bit intimidating sometimes. They always seem to have snappy, witty remarks or know just what to say to get your character’s blood boiling.

So, how do you write one? 

Tone is one factor.

Words can be carried a number of different ways - by tone and body movement. Is their voice rough? Do they speak with an irritated tone? Is it deadpan? Sarcastic? Defensive? Blase? Abrasive? Authoritative and demanding?

Now, with that in mind, think of mean things to say - they might not be things you would say but they’re probably what your character would say. Meaner characters generally tend to lack a ‘polite’ filter, they’re more crass - and while what they say may not be honest, it sounds honest with the tone. Think of the things you think about saying or do actually say when you’re mad - sometimes that’s an easier approach. Is what they said just a throwaway comment?

Along with tone, phrasing is important - a simple ‘what?’ can sound very upfront and demanding if it’s got an abrupt tone and uptight reaction. Mediator comments and passive ones aren’t typically used by these types of characters - though sometimes it will be used mockingly to taunt the person (but they can also be sincere if they want to be). For example, “I understand that…” versus “I know you…” What they say is more direct, more finger-pointing like they’re out to blame or accuse someone, even with assumptions, they sometimes even lack the ownership of ‘I’ and use ‘you’ and/or ‘they’ instead when it comes to owning up to things. It’s like a redirection away from them to make the conversation about the other person or to make the person feel like they should take responsibility or blame for whatever it is your character is saying. 

If you don’t know what to say, think about their gestures, their movements.

Are they huffy? Do they get defensive and cross their arms over their chest, closing themselves off to the world because how dare you? Do they kick their foot up a little or take a confrontational route by getting closer to the person they’re talking to? Are they the physical type (leans towards controlling when this route is taken), do they grab wrists or elbows? Or do they shove and swat/slap? What’s their demeanor like? Is it really intimidating, standoffish, nonchalant, reserved… 

Body language makes up a huge part of our communication - so it makes sense that their communication also would rely on that. The body can say more than words can. Mean/bitchy characters tend to be more confrontational - they aren’t afraid to say what’s on their minds, be it alone or in a group of people. Sometimes what they say/do has a motive (big or small, from getting a crowd to laugh at their target or to sabotage their target’s career), and sometimes it plain doesn’t and they just say something snarky because it’s a natural thing to do.

And why do they do it? Is it a defense/coping mechanism of some kind? How were they treated by their parents, siblings, friends, and other peers? What did they experience for them to behave like that? While sometimes the answer may not be readily available and it’s easier to say “they’re just that way,” try to find a reason - don’t use that reason to justify their behavior but to explain it, because once you can find a reason they’re like that, the easier it is to find resources on how people behave and depending on how they coped with it.

*They will more readily jump on the defense when anyone tries to insult them, attack their character or talk to them about something serious that may be effecting the other person.

It’s similar to writing villains. They have a more assertive or aggressive stance in conversations, sometimes they’re meant to challenge the plot and characters, and sometimes their roles can be really antagonistic in general because of that even with personable traits involved to humanize them. 

The easiest transition I can think of as a base is giving them witty and sarcastic remarks. What I want you to do is think of phrases such as:

Oh, golly, gee

I wasn’t aware that…

Seriously? 

Right, because…

Excuse me?

Read them with a condescending and/or sarcastic tone in mind - imagine your character rolling their eyes, shifting from hip to hip and canting their head. Imagine your character looking at their opposite incredulously with dagger eyes or a complete look of indifference as they deliver those words deadpan. 

Visualizing what they do/react and hearing how they say it can really help make that transition from taking a simple line that could be comedic into something rude. Keep in mind, though, that they’re not always mean - and can just say things flatly or be humorous even if what they say might be offensive or upsetting to an extent, because they’re insensitive about a certain topic or don’t care about whose feeling they hurt.

A mean/bitchy character can speak with any and every tone, it’s more their mannerisms and the words they use - they can take something as simple as a compliment and make it sound completely backhanded. And sometimes, they do relent and back down from conversations if their heart just isn’t in it or the effort to cause an upset isn’t arising soon enough. (They can be compared to a bully, they’re encouraged by reactions - so if a character feeds into it, it only fuels them on).

In the RP community, we’re all at a big advantage with being able to format our texts for emphasis and providing gifs for our characters reactions. While that may not always help, it’s good too. But in paras, try to think about their body movements.

And I know I just gave you all a brief mental task above but now, here’s a miniature assignment:

If you’re struggling with how to find your character’s voice, I suggest writing a 300 to 500 word self/solo para just imagining their bodily movements and gestures. How do they breathe? (Huffy, fast and heavy…) What do they do with their jaw, tongue and cheeks? (Puff them out, clench, bite their tongue/lips). Do they pace around or sit down? What about their hands? Clenched, shoved in pockets, what? But most importantly: what are their thoughts?

Put them in a scenario that gets their mind going with all kinds of thoughts — maybe they’ve just been in a vehicular accident, maybe they’re under a ridiculous amount of stress, maybe they’re attending an event they loathe going to. Now, take one thought and have them blurt it out. Allow them to speak their minds. And see where it takes you (and them). Allow yourself to write freely, don’t try to control/police their voice in this assignment - let them think and say what they want, that can help you get a better grasp on what they’re like/what they say.

Hopefully that will help you break that wall.