shinryumecha

[shinryumecha]

the witch and the pirate

no longer gonna be doing the dailies but i'll try to draw every now and then, if i remember to post stuff here then i'll post it

[shinryumecha]

5 Tips for Creating Intimidating Antagonists

Antagonists, whether people, the world, an object, or something else are integral to giving your story stakes and enough conflict to challenge your character enough to change them. Today I’m just going to focus on people antagonists because they are the easiest to do this with!

1. Your antagonist is still a character

While sure, antagonists exist in the story to combat your MC and make their lives and quest difficult, they are still characters in the story—they are still people in the world.

Antagonists lacking in this humanity may land flat or uninteresting, and it’s more likely they’ll fall into trope territory.

You should treat your antagonists like any other character. They should have goals, objectives, flaws, backstories, etc. (check out my character creation stuff here). They may even go through their own character arc, even if that doesn’t necessarily lead them to the ‘good’ side.

Really effective antagonists are human enough for us to see ourselves in them—in another universe, we could even be them.

2. They’re… antagonistic

There’s two types of antagonist. Type A and Type B. Type A antagonist’s have a goal that is opposite the MC’s. Type B’s goal is the same as the MC’s, but their objectives contradict each other.

For example, in Type A, your MC wants to win the contest, your antagonist wants them to lose.

In Type B, your MC wants to win the contest, and your antagonist wants to win the same contest. They can’t both win, so the way they get to their goal goes against each other.

A is where you get your Draco Malfoy’s, other school bullies, or President Snow’s (they don’t necessarily want what the MC does, they just don’t want them to have it.)

B is where you get the other Hunger Games contestants, or any adventure movie where the villain wants the secret treasure that the MCs are also hunting down. They want the same thing.

3. They have well-formed motivations

While we as the writers know that your antagonist was conceptualized to get in the way of the MC, they don’t know that. To them, they exist separate from the MC, and have their own reasons for doing what they do.

In Type A antagonists, whatever the MC wants would be bad for them in some way—so they can’t let them have it. For example, your MC wants to destroy Amazon, Jeff Bezos wants them not to do that. Why not? He wants to continue making money. To him, the MC getting what they want would take away something he has.

Other motivations could be: MC’s success would take away an opportunity they want, lose them power or fame or money or love, it could reveal something harmful about them—harming their reputation. It could even, in some cases, cause them physical harm.

This doesn’t necessarily have to be true, but the antagonist has to believe it’s true. Such as, if MC wins the competition, my wife will leave me for them. Maybe she absolutely wouldn’t, but your antagonist isn’t going to take that chance anyway.

In Type B antagonists, they want the same thing as the MC. In this case, their motivations could be literally anything. They want to win the competition to have enough money to save their family farm, or to prove to their family that they can succeed at something, or to bring them fame so that they won’t die a ‘nobody’.

They have a motivation separate from the MC, but that pesky protagonist keeps getting in their way.

4. They have power over the MC

Antagonists that aren’t able to combat the MC very well aren’t very interesting. Their job is to set the MC back, so they should be able to impact their journey and lives. They need some sort of advantage, privilege, or power over the MC.

President Snow has armies and the force of his system to squash Katniss. She’s able to survive through political tension and her own army of rebels, but he looms an incredibly formidable foe.

Your antagonist may be more wealthy, powerful, influential, intelligent, or skilled. They may have more people on their side. They are superior in some way to the protagonist.

5. And sometimes they win

Leading from the last point, your antagonists need wins. They need to get their way sometimes, which means your protagonist has to lose. You can do a bit of a trade off that allows your protagonist to lose enough to make a formidable foe out of their antagonist, but still allows them some progress using Fortunately, Unfortunately.

It goes like… Fortunately, MC gets accepted into the competition. Unfortunately, the antagonist convinces the rest of the competitors to hate them. Fortunately, they make one friend. Unfortunately, their first entry into the competition gets sabotaged. Fortunately, they make it through the first round anyway, etc. etc.

An antagonist that doesn’t do any antagonizing isn’t very interesting, and is completely pointless in their purpose to heighten stakes and create conflict for your protagonist to overcome. We’ll probably be talking about antagonists more soon!

Anything I missed?

[shinryumecha]

Vocabulary List for Fight Scenes

Combat Actions

Hoist

Dart/Dash

Deflect

Shield

Sidestep

Snatch up

Stalk

Stamp/stomp

Stretch

Stride

Wagger

Oust

Leap

Lose ground

Mimick

Mirror

Negate

Overpower

Parry

Rear to full height

Resurgate

Suanter

Seize

Take cover

Throttle

Twirl

Unleash

Withdraw

Entwine

Flee

Gain ground

Grasp

Cling to

Breach

Duck

Dodge

Hits

Amputate

Bloody

Carbe

Castrate

Collision

Connect

Crush

Defenestrate

Destroy

Disfigure

Dismember

Dissever

Grind

Maul

Perforate

Rend

Riddle with holes

Saw

Smack

Splatter

Sunder

Torn Asunder

Traumatize

Whack

Writhe

Gut

Hammer

Maim

Mangle

Plow

Puncture

Melee

Assault

Attack

Barrage

Bash

Belebor

Bludgeon

Carve

Chop

Cleave

Clio

Club

Crosscut

Dice

DIg

Gore

Hack

Impale

Jab

Kick

Knock

Onsalught

Pierce

Plnt

Punch

Rive

Shove

Skewer

Slice

Smash

Stab

Strike

Sweep

Swipe

Swing

Transfix

Thrust

Visual Flair

Agony

Asphyxiate

Chock

Cough up bile

Cut to ribbons

Flop limply

Fractue

Freckled with blood

Gouts of blood

Grimane

Hemorrhage

Hiccup blood

Imprint

Indent

Resounding

Retch

Rip

rupture

Shiny with gore

Spew

Splash

Slumped in despair

Splatter

Split

Tear

Topple

Void

Vomit

Wedge

With a fell gaze

With a fiendish grin

With blank surprise

Audible Flair

Bang

Barking

Bong

Boom

Crack

Cackle

Clang

Clash

Crash

Cry

Echo

Elicit a curse

Frunt

Hiss

Howel

Hum

Moan

Muttering

Whoosh

Whistle

Whizz

With a keening cry

Thud

Thunk

Thawk

Splat

Snarl

Swoosh

Squeal

Sing

Sickening Pop

Silintly

Shriek

Shout

Snap

Thundering

Effects

Blind

Burn

Cause frostbite

Cauterize

Concussion

Combust

Daze

Dazzle

Deafen

Disintegrate

Electrocute

Freeze

Fuse flesh

Immobilze

Incinerate

Melt

Pralyse

Petrify

Purbind

Radiate

Reduced to

Shock

Sightless

Stun

Transiluminate

Death Blows

Annihilate

Behead

Decapitate

Disembowel

Eviscerate

Extirpate

Murder

Obliterate

Raze

Exterminate

[shinryumecha]

How to Write REALISTIC and SMOOTH Dialogue

In a story, dialogue is quite important, it helps the readers paint a picture of what's happening and the characters themselves. However, it can be difficult to avoid the unnaturalness and choppiness that comes with a lack of experience. But luckily, I have put together A LOT of advice on how you can get over that rockiness and improve!

*** KEEPING YOUR DIALOGUE REALISTIC, AND PACING ***

>> Keep your characters in character:

Dialogue is a remarkably quick way for readers to determine your character's personality. Thus, you want their speech patterns to remain fairly consistent so the audience won't get confused. If your character is more serious, then they will use less slang and perhaps a more impressive vocabulary. If your character is more relaxed, they will use more slang and compress the words. (such as "dunno," "kay," "y'know," etc.)

Basically, you want their tone to match their traits so the way that they talk is more realistic and personlized to themselves. If the way all your characters speak is the same, there's something wrong. A strong tip is to put yourself in your character's shoes and imagine how they would respond!

>> Take the situation into consideration:

This is another part of keeping your characters in, well, character. Different emotional situations will have a different effect on separate people, so make sure that you have an idea of how your character will act during stressful, irritating, and sad times.

If your character is normally cold, they will struggle if it comes to comforting other people because they have less experience in that field.

>> Don't take too long with their words:

Unlike when narrating something, most people talk just to get the idea across. They will be more specific and quicker with what they say. (This excludes any character who likes to talk a lot.) Unless it's on purpose, they won't dance around the topic. Think of when you casually chat with your friends; you're pretty unlikely to use certain words and/or phrases that might be common to use while narrating.

If you want to explain something complicated, instead of writing out a paragraph of just one person talking, use a question-and-answer prompt! This is where another character continuously asks related questions that get answered by another person, so you can indirectly reveal your explanation.

*** HOW TO WRITE A SMOOTHER CONVERSATION AND DIALOGUE TAGS***

>> Having a variety of dialogue tags:

This is a pretty basic thing to look out for if you're new to writing conversations. Using words like "said," every other sentence can easily make it feel choppy and robotic. Instead, use words like "murmured," "smirked," etc. to paint some emotion into their words. Additionally, vary the location of the dialogue tags! They don't all have to go after the statement, you can include something in the beginning or even the middle, too!

Examples:

Beginning - She tilted her head, "What are you talking about?"

Middle - "Oh," he blinked, "I actually never thought about that."

End - "Wait up!" She exclaimed loudly, waving her hands around.

>> Using no dialogue tags to create a smooth conversation:

Having too many tags can also overwhelm your reader--remember, sentence variety is a crucial part of writing--so you can always drop them if they're unneeded. This applies when your characters (two is the suggested amount) are talking back and forth in a pattern straightforward enough for the reader to understand who's talking without it having to be labeled.

Dropping dialogue tags in these moments can create a smoother atmosphere during the conversation because the reader only has to focus on the talking present.

*** USING SLANG, STUTTERS, FILLER WORDS, AND PAUSES ***

Human speech is often not perfect; when talking, we often make mistakes such as filler words, grammatically incorrect phrases, etc. Hence, for more natural-sounding dialogue, it's important to incorporate some of these.

>> Pauses and stutters:

When reading dialogue, we read it at a steady pace unless it's written otherwise. However, that steady pace can soon get too robotic and too smooth. Luckily, there are several ways to change this! You can use dialogue tags, (ex: she quickly spoke) commas, and ellipsis (...). These are often integrated when the character is hesitant, nervous, answering something, or when they need to admit something. The same idea applies to stutters--they're mainly used to demonstrate anxiousness, which can be found in varying situations.

>> Filler words and slang:

Filler words can really just be used where you see fit. They may be used in the situations I previously mentioned (because it shows someone stumbling over their words) but it's ultimately up to you!

Slang, just like everything else, should not be used too often, or it will seem forced and exaggerated. The point is to sound natural, and increasing amounts of repetitiveness can ruin it. It's also important to remember that in real life, our conversations move slower; when someone speaks, another person usually doesn't respond quite literally, right after. However, in writing, dialogue can actually often seem that way, which is why using tags and these imperfections of speech is pivotal for building a realistic conversation!

*** CONCLUSION ***

Lastly, a key point when writing dialogue is to ALWAYS read the conversations! Whether it be in your head or out loud, it can often help you catch anything that seems off! Additionally, like I mentioned at the very beginning, write dialogue from your character's perspective! Imagine yourself as them and how they/you would talk. Try to keep your dialogue tags, sentences, and word use varied to create a natural conversation!

If you were struggling before, I hope that this (extra) long guide was able to really offer you some insight and useful tips! If you read this far, thank you!

Happy writing~

3hks <3

[shinryumecha]

Pirate Terms and Phrases

-> Pirate Lingo

-> A Pirate's Glossary

Batten Down The Hatches - tie everything down and put stuff away for a coming storm.

Brig - a prison on a ship.

Bring a Spring Upon 'er - turn the ship in a different direction

Broadside - the most vulnerable angle of a ship that runs the length of the boat.

Cutlass - a thick, heavy and rather short sword blade.

Dance with Jack Ketch - to hang; death at the hands of the law (Jack Ketch was a famed English executioner).

Davy Jones's Locker - a mythical place at the bottom of the ocean where drowned sailors are said to go.

Dead Men Tell No Tales - the reason given for leaving no survivors.

Flogging - severe beating of a person.

Gangplank - removable ramp between the pier and ship.

Give No Quarter - show no mercy.

Jack - flag flown at the front of the ship to show nationality.

Jolly Roger - black pirate flag with a white skull and crossbones.

Keelhaul - a punishment where someone is dragged under the ship. They are cut by the planks and barnacles on the bottom of the ship.

Landlubber - an inexperienced or clumsy person who doesn't have any sailing skills.

Letters of Marque - government-issued letters allowing privateers the right to piracy of another ship during wartime.

Man-O-War - a pirate ship that is decked out and prepared for battle.

Maroon - to leave someone stranded on a. deserted island with no supplies, typically a punishment for any crew members who disrespected the captain.

Mutiny - a situation in which the crew chooses a new captain, sometimes by forcibly removing the old one.

No Prey, No Pay - a common pirate law that meant crew members were not paid, but rather received a share of whatever loot was taken.

Old Salt - experienced pirate or sailor.

Pillage - to steal/rob a place using violence.

Powder Monkeys - men that performed the most dangerous work on the ship. They were treated harshly, rarely paid, and were expendable.

Privateer - government-appointed pirates.

Run A Shot Across the Bow - fire a warning shot at another boat's Captain.

Scurvy - a disease caused by Vitamin C Deficiency.

Sea Legs - when a sailor adjusts his balance from riding on a boat for a long time.

Strike Colors - lower a ship's flag to indicate surrender.

Weigh Anchor and Hoist the Mizzen - an order to the crew to pull up the anchor and get the ship sailing.

If you like what I do and want to support me, please consider buying me a coffee! I also offer editing services and other writing advice on my Ko-fi! Become a member to receive exclusive content, early access, and prioritized writing prompt requests.

[shinryumecha]

summoning circle

ace of spades

[shinryumecha]

practice

ship

[shinryumecha]

seersayer

[shinryumecha]

welcome to the first instance of mecha's dailies

from today on i will draw two (2) things every day in order to get my mojo back, mostly relating to a sona au me and friends are doing but i'll draw some other shit as well

confidence

twin fangs

[shinryumecha]

some new stuff i made for ollie!! here's the colored version of the guy and some more drawings of him :]

[shinryumecha]

alright since tumblr is being poopoo i'm gonna throw this here

this basically keeps all your art shit from getting scraped for ai YOU HAVE TO OPT OUT SINCE TUMBLR IS DOGSHIT AND WHATEVER SO GO INTO YOUR SETTINGS AND FLIP THE SWITCH TO KEEP YOUR SHIT FROM GETTING STOLEN

this has been my ted talk goodbye

[shinryumecha]

[shinryumecha]

I absolutely adore the interactions and writing in these comics, go check out the artists as well as my good friend jsaking11 who provided silver's voice! I hope you enjoy these as much as we loved making them! comics by @siggiedraws and @chippuyon https://www.tumblr.com/chippuyon/737431850053763072/sonilver-week-day-3-fear?source=share https://www.tumblr.com/chippuyon/737615523641196544/sonilver-week-day-6-7-future-and-dream?source=share https://www.tumblr.com/siggiedraws/737418611472384000/silver-brings-history-books-from-the-future-and?source=share https://www.tumblr.com/siggiedraws/736987198261542912/sharing?source=share voices: Sonic The Hedgehog: @beauh Silver The Hedgehog: @jsaking11 ambience: Michael Ghefli Studios

[shinryumecha]

New Crow Time 🐦‍⬛🦊🌟

[shinryumecha]

This is my interpretation of Sayu's second form from no straight roads!

[shinryumecha]

Here are a bunch of comics by @the-hydroxian-artblog voiced over by me! Hope you enjoy!

[shinryumecha]

BEHOLD, THE FINISHED SKETCH OF GEORGE THE KNIGHTHOST

got this done before new years too, hell yeah! i'll work on coloring him as a side thing and as to learn how to do color to begin with and then continue working on the other hosts as a side project

if you randomly find this and are curious about what a knighthost is, i got some explanations on my blog so you can check it there