#Characterdevelopment

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[polaritydisturbed]

Watching the First Doctor for the first time, and it’s wild how different he is at the start. Very “we mustn’t interfere, we’re just observers of history” energy. All stiff coat, no meddling. But then—he fakes a busted fluid link just so they have to explore the city? He’s not above poking the universe when it suits him.

He’s curious, definitely. Almost childishly so. But unless it directly involves Susan being in danger, he’s surprisingly hands-off. Cold, even. It’s like he’s treating the universe as a lab experiment and he’s the guy behind the glass.

What’s interesting is—I always assumed, since he and Susan stole the TARDIS and we know he was kind of a disaster at the Academy, that he was just a bad Time Lord. Like, the rebel from the start. But watching him now? It’s kind of clear he still buys into a lot of their ideals. The whole “we observe, we don’t interfere” mindset? That’s textbook Time Lord. He's not so much a rebel as he is a rule-follower with an itchy curiosity.

And that’s where Barbara and Ian come in. And by extension, Susan—who, let’s be real, is clearly picking up her worldview more from them than from her grandfather.

Barbara and Ian don’t just observe. They care. They intervene. They ask questions like “Why is this happening?” and then go do something about it. They push back when the Doctor tries to stay detached. They hold him accountable.

And the more I watch, the more I think they're why the Doctor changes. They don’t just travel with him—they teach him how to be better.

Which is kind of hilarious when you think about it. All it took to corrupt this ancient, immortal time traveler was two schoolteachers and his granddaughter.

[thewriteadviceforwriters]

🌟 Creating Character Names: A Non-Basic Guide for Fantasy Writers 🌟

Listen up fellow writers! aggressively slides into your dashboard with chai in hand Let's talk about one of the most CHAOTIC yet FUN parts of writing - naming your precious book babies!

👀 First things first - throw out everything you know about "normal" naming conventions because honey, we're going WILD today!

Here's the tea: Your character's name is literally their FIRST impression on the page. It's their brand™️, their essence, their whole vibe condensed into a few syllables. And in fantasy? The rules? We don't know her.

🔮 Non-Basic Methods for Name Creation:

The Vibes-Based Approach

Close your eyes and picture your character

What color are they giving off?

What texture?

Now translate that into sounds

Example: A character who feels like liquid silver might be named Sylthra or Mercurine

2. The Meaning Mashup Method

Take 2-3 words that represent your character

Break them apart

Frankenstein them back together

Example: Brave (Fortis) + Storm (Tempest) = Fortempest

3. The Aesthetic Alchemy Instead of just picking random syllables, think about:

How does the name look on the page?

Does it have strong consonants or flowing vowels?

Would it look good written in blood on a magical contract? (IMPORTANT)

🌙 Pro Tips That Nobody Talks About:

Test Drive Your Names

Write them in different fonts

Yell them dramatically

Whisper them mysterously

If you can't dramatically whisper "Lord Xylophone the Terrible" without giggling, maybe reconsider

2. The Name Evolution Game Your character's name should have:

A formal version

A nickname

What their enemies call them

What their mom yells when they're in trouble Example: Theodora → Thea → The Midnight Witch → THEODORA BLACKTHORN GET DOWN HERE THIS INSTANT

3. Cultural Consideration (but make it fantasy)

Create naming patterns for different regions/species

Maybe elves use lots of 'ae' and 'th' sounds

Perhaps dragon-folk names always start with a hiss

Desert dwellers might have names that sound like wind through sand

🔥 Advanced Name-Crafting Techniques:

The Emotional Echo Method

Write down the key emotion of your character

Find its opposite

Create a name that somehow bridges both Example: A character who's both gentle and fierce → Lysander (means "liberator" but sounds soft)

The Musical Approach

Names have rhythm

They have melody

Try singing your character names

If it sounds like a spell, EVEN BETTER

💫 Remember:

Names can be weapons (looking at you, True Name magic systems)

They can be prophecies

They can be curses

They can be LIES

🚫 What to Avoid (but like, in a non-basic way):

Names that look like you headbutted your keyboard

Names so complex your readers need a pronunciation guide every 2 pages

Names that are just regular names with random 'y's thrown in (looking at you, Kathryn → Kathyryn → Kathyyryn)

✨ Final Thoughts: Your character's name is a spell you're casting on your readers. Make it memorable. Make it meaningful. Make it YOURS.

And remember, if all else fails, you can always name them after what they had for breakfast. (Looking at you, Toast the Dragonslayer 👀)

sips chai aggressively

That's all for today's chaotic naming advice! Drop a 🌟 if you're gonna rename all your characters now! - Rin T.

[Note: Feel free to reblog and add your own chaotic naming methods! Let's build this resource together!]

[jennadknowsbest-blog]

Dear Marvel,

If Howard the Duck can have a child with Darcy Lewis and get an entire storyline dedicated to it, why not give fans something even more compelling? Let Star-Lord and Gamora have a child and explore their journey as parents. Better yet, let them get married! That would be a much more meaningful and exciting storyline than one that raises eyebrows with themes like bestiality. Let’s give the fans the epic stories they deserve!

P.S., Let’s not forget how Guardians of the Galaxy Vol. 3 hints at the possibility of Peter and Gamora finding their way back to each other. While the 2014 variant doesn’t share the same memories, the movie shows that she’s not entirely closed off to the idea of a connection with Peter. By the end of Vol. 3, Gamora acknowledges the bond they could have had, even if it’s not the same as before.

This opens the door for their relationship to grow organically in the future. Love stories in the MCU often thrive on character development and second chances—why not let Star-Lord and Gamora build a new chapter together? It’d be a compelling evolution for both of them!”

[kapow-comics-inc]

I love drawing my Robin boys!!

Jason Todd red hood going to work on getting some tumblers and smexy throw pillows!

[athenanfaymont]

🔥 Another nighttime dalliance: Slow burn is not just a cliché, it's a philosophy 🧘

Love not as lightning, but as architecture.

There’s a reason we keep coming back to the slow burn.

Not just because it’s romantic. Not just because we like to suffer (though… we do). But because at its core, the slow burn isn’t just a storytelling device. It’s a worldview. ✨

It tells us that love isn’t always a thunderclap or a glance across the room. Sometimes love is built. Quietly. Brick by brick. Sometimes love is a choice made over and over, across battles and betrayals and misunderstandings and time. ⏳

It’s a philosophy that says: Love is not the thing that hits you. It’s the thing you learn. It’s patience. It’s attention. It’s noticing. It’s two people who don’t immediately get each other, but who keep showing up anyway.

🌱 Slow Burn is trust. It’s knowing that if you build something slowly, it’s less likely to fall apart.

🔥 It’s tension. Because when characters don’t fall in love instantly, we get to watch them fall. In bits. In pieces. In stolen glances and shared silences.

🛠️ It’s work. Because it asks for vulnerability, for change, for self-reflection. A slow burn couple will teach each other things they didn’t know they needed to learn.

And that’s powerful.

We see this everywhere in fiction:

💞 Aziraphale and Crowley — literal centuries of ineffable tension. 💞 Kagome and Inuyasha — from bickering and misunderstandings to trust, friendship… and something much deeper. 💞 Superbat (if you feel it) — they start at odds. They grow through challenge. 💞 Feyre and Rhysand — from enemies to lovers, navigating trauma, trust, and love in a relationship forged slowly and carefully. 🌙💖 💞 Anne and Gilbert, Mulder and Scully, Pining Steve Rogers, Jane Austen’s entire bibliography — all slow burns at heart.

The slow burn says: You don’t have to fall fast to fall deep. That you can want someone before you understand why. And that maybe the best kind of love isn’t the one that erupts— —it’s the one that endures. 💖

[Hello Clio]

[storytellerslense]

JJ Maybank Character Analysis

Why a pairing of Kiara and JJ would hardly work under real-life circumstances

Screenwriters love messy romantic storylines because drama sells and keeps us all on the edge of our seats. Complicated relationships filled with "OMG, did that just happen?" moments push characters to grow and show off their deeper sides, making them more relatable. Plus, they mirror our own love life dramas (or lack thereof) and give us an escape from reality. The whole "will they or won’t they" vibe keeps us binge-watching season after season, completely invested in their rollercoaster romance.

But let's get real for a sec—these chaotic love stories shouldn't be your blueprint for a real-life relationship.

That being said, it might not be the popular opinion, but Kiara would be the worst match for JJ. In real life, their relationship would quickly go downhill, and here's why:

JJ's been crushing on Kiara since Season 1. His feelings have been solid, even while she was off exploring things with John B. and Pope even though she often treated him badly, commenting on almost all of his actions with sarcasm and disregard.

There are a lot of examples, especially in the first two seasons, where Kiara is being disrespectful and sarcastic towards JJ. It actually seems like she doesn't care for him at all

That's why Kiara’s sudden interest in JJ, after her flings with the other guys, raises some eyebrows. Is she really into JJ, or is this about rebelling against her parents or wanting a “fixer-upper” project?

JJ and Kiara would make a perfect example for a toxic relationship

Kiara's and JJ's core personalities and backgrounds clash in fundamental ways. JJ, with his ADHD-like tendencies, impulsive nature, and carefree, rebellious attitude, often acts without thinking, seeking thrills and living in the moment. This behavior is in stark contrast to Kiara’s strong morals, rule-following disposition, and the disciplined upbringing she received from her wealthy household and good education. While JJ's spontaneity might seem exciting, it conflicts with Kiara’s structured approach to life.

Kiara is feeding into JJ's insecurities

She tends to be judgmental, especially towards behaviors that deviate from her values, which can make it hard for her to fully understand or accept JJ’s way of coping with his challenges.

JJ grew up in an abusive household with a neglectful and violent father. This messed up his self-esteem, emotional health, and understanding of relationships. He’s conditioned to accept unhealthy dynamics and put others first, often at his own expense.

Kiara, on the other hand, had a cushy, stable upbringing with overprotective parents. This gave her strong convictions and a clear sense of right and wrong but also left her with high expectations and a need to maintain a certain image.

Kiara’s strong will and idealism can sometimes make her judgmental and inflexible, especially toward those who don't see things her way.

Opposites attract: the more differences, the better the story

She might struggle to fully get the depth of JJ's trauma and how it shapes his behavior. His impulsiveness and reckless behavior, driven by a need to survive his trauma, often clash with Kiara's moral convictions. His actions aren't about seeking admiration but about finding safety and acceptance.

JJ's and Kiara's values are constantly clashing

JJ’s low self-esteem, need for validation, and history of emotional neglect make him vulnerable to falling into the same victim role he’s known all his life. Kiara’s strong personality and occasional self-righteous streak could unintentionally exploit JJ’s compulsive selflessness and lack of boundaries.

Is there really more to the chemistry between JJ and Kiara other than just physical attraction?

So, unless JJ takes some serious time for personal growth, gets to know himself and his boundaries, and learns what healthy relationships actually look like, jumping into a romance with Kiara too soon is basically setting himself up to fall right back into the emotional traps he’s trying to escape.

So, what do you think about all this? Would you disagree or do you have another constellation in mind that would suit a character like JJ better (Sarah?). Let me know your thoughts!

[plotandelegy]

P1 -Types of Scarcity in Post-Apocalyptic Fiction: A Comprehensive Guide to Survival Elements in Dystopian Worlds

Understanding the Types of Scarcity

Material Resources: First, start with food, water, fuel, and ammo. Once you have the basics, move to less commonly thought-about things like batteries, clothing, scrap metal, and wood.

Skills and Knowledge: Doctors, engineers, survival experts, and mechanics would be some people worth knowing or being in a post-apocalyptic world. What if there were none?

Emotional Resources: Once the world goes to hell, trust and community become resources. Surviving sometimes means getting along with others; you'll want all parties to mean it. Getting fed to a zombie so someone can escape sounds like no fun. 

Information: Who are you going to let hold the map for you? Things can get harder on your team if it gets stolen, left behind, or destroyed. In a world without GPS, information is a resource; let's face it, you must trust its handler. 

This is part one of a five-part writing guide to post-apocalyptic scarcity. Tune in next time for a more in-depth breakdown of scarcity and who makes the decisions? Not me, that's for sure. I'd probably be the one used as zombie bait first.

-Indigo Everly

Want more advice? Check out my other articles!

[beaglebabe1]

Irene Monogatari -

I found the first season of Don Chuck Monogatari[1975] on YT. I watched it as a kid, it aired in Canada only in French in the 80’s and early 90’s. I decided to draw Irene in that style, kinda…Heh

[s-soulwriter]

Writing Angsty Scenes Without Making Them Cringe

Alright, so we all love a good angsty moment, right? That scene where everything feels like it's falling apart, emotions are running high, and your character's world is just burning around them. But… writing those scenes without slipping into "oh no, not this again" territory? Yeah, it can be tricky.

Angst is powerful, no doubt, but it can get cringey fast if you’re not careful. So, how do you make your readers feel the hurt without rolling their eyes at the drama? Here are some thoughts (because we’ve all been there)

1. Keep It Real No one—and I mean no one—has perfectly poetic, life-altering thoughts while they’re in the middle of an emotional meltdown. If your character’s going through it, make sure their reactions feel raw, maybe even messy. Show us their confusion, anger, and fear in a way that makes sense for them. Don’t just throw in a monologue about the meaning of life or have them collapse in a rainstorm. (Unless it’s really necessary. Then, okay, fine, but be careful!)

2. The Little Details Hit Harder Sometimes, it’s the small, unexpected details that pack the biggest punch. Instead of a dramatic sobbing fit, maybe your character’s hands shake as they try to make a cup of tea or they notice a tiny crack in the wall that they never noticed before because they’re spiraling. It’s those little, relatable moments that make the angst feel real, not overdone.

3. Embrace the Quiet Moments It doesn’t always have to be yelling or crying to show that your character is struggling. Silence can be loud. Sometimes it’s the things unsaid that carry the most weight. Maybe your character withdraws, or they’re stuck staring at the ceiling for hours. A pause in the conversation, a long sigh, or a blank stare can be just as gut-wrenching as full-on breakdowns.

4. Avoid the Obvious Clichés (If You Can) Okay, this one’s a bit tricky. It’s not that you can’t ever have rain scenes or broken mirrors (I see you, “symbolism”), but if you’re gonna go there, give it a twist. Maybe instead of staring out a window during a storm, they’re in a brightly lit, overly cheerful room that just doesn’t match how they’re feeling. Play with contrasts. Make the environment work against their mood rather than mirroring it perfectly.

5. Let the Angst Breathe Don’t feel like you need to dump all the angst in one scene. Let it stretch out a bit. Give your characters space to process (or fail to process) over time. A lot of times, readers will feel more for a character who’s quietly unraveling over several chapters than one who explodes all at once. It makes the eventual breakdown hit harder when it does happen.

6. People Are Weird When They’re Hurting They joke at the wrong times. They say things they don’t mean. They shut people out, or they get way too clingy. Don’t be afraid to make your characters react in unexpected or contradictory ways—people do that when they’re feeling too much. Let your characters be complicated, because real people are.

7. Subtle Can Be Stronger Not every angsty scene needs a screaming match or someone running away dramatically. Sometimes, a single line of dialogue or a character’s slight change in expression can hit like a freight train. Try letting things simmer. Hold back when it feels like you should go big, and you might surprise yourself (and your readers) with how much more intense it feels.

[alvizediegil]

NOTES FROM THE LEVANT V: Yaltra of Balah-Al 🇬🇧

If you’d asked Yaltra, she’d have told you demons don’t smell. Maybe sulfur. Maybe gunpowder. Maybe diabolical shit.

Turns out hers smelled like fish.

Which made more sense than it seemed at first, given she found it in a port warehouse. One from far-off Shaar, by the way. Doesn’t even show up on maps anymore. Might’ve been important once. Or not. Who gives a fuck. Point is, there was a demon in a rotting, empty warehouse in one of those rotting, empty port towns.

And Yaltra broke in to steal. Because that was her life. And she had no interest in changing it. When you get used to something, it can be shit and still feel like home. And thieving wasn’t even that bad — not when your targets were beggars, other thieves, or fine, upstanding workers.

She’d felt bad the first time she robbed a stevedore. But when she saw him spend his money on booze and girls far too young… well. Better off in Yaltra’s pockets.

She slipped through a hole in the warehouse wall, all splintered wood and stink. Wasn’t expecting much — maybe some copper scraps, loose metal, anything shiny.

Or food. She was starving. And that wasn’t even an exaggeration anymore.

Good thing Yaltra had always been skinnier than a rail-thin weasel. Wriggling her way through gaps too small for a child was basically a Tuesday.

Inside was the usual rot: salt-stained wood, half-dead insects, streaks of dusty light from the ceiling. Some weird porridge puddles on the floor. Best not to guess what they were.

And then, she saw it.

A demon. A devil. A bicha, as she’d heard once — she liked the word, but demon had a certain weight to it.

This one had no such weight. It was skinny like her, cross-legged on the floor with a head twice the size it should be. Something between a man and a spider, nightmare geometry folded into a body.

“Ugh. Gross,” she muttered. A beam of light cut across its forehead like it was about to whisper the secret to eternal life.

“Antialpe, crameteus?”

Great. Speaking in some gods-forsaken tongue.

“What the fuck are you doing here? You should be dead or something. You look like shit.”

It blinked — first one eye, then the other.

Yaltra had no fucking clue what it was. Briefly considered eating it. The head alone looked like it could feed someone. But gods know what diseases were packed into that oozing, hole-pocked flesh. Like cheese. Or a rotten cherry. The thought made her ass clench.

“Baltros?”

Maybe Baltros was a good name.

Was she seriously thinking about taking it with her? She pictured the slime it’d leave in her pack. There was room. That wasn’t the issue.

Oh, Gods Below and Above and Sideways and With Good Hair — the porridge puddles were HIS, weren’t they?

She nearly gagged. Her stomach twisted, empty as it was, and the second wave hit her hard. A splash of bile, nothing else.

The thing in front of her was nightmare fuel. A creature scraped from the ass-end of a fever dream. Something no sane god would ever claim.

Yaltra crossed herself. She’d need all the divine luck she could muster.

Because she’d come to a conclusion — maybe crazy at first, but as true as sunlight and blue skies and whatever other universal truths she could grab onto.

She could charge people to see him.

A couple coins to see Baltros. Maybe a few more if they puked.

Bingo.

Ugly, yeah. But reliable.

And in desperate times… she wasn’t about to say no to an endless pile of cash. No matter how ugly it was.

NOTAS DEL LEVANTE V: Yaltra de Balah-Al 🇪🇸

Si le hubieran preguntado a Yaltra, habría dicho que los demonios no huelen. A azufre, igual. A pólvora. A mierda diabólica. Resultaba que el suyo olía a pescado. Y tenía más sentido del que podría parecer en un primer momento, si se lo había encontrado en un puerto… Uno del lejano Shaar, por cierto. Ni siquiera figura en los mapas, pero antaño fue importante. O no. Qué más da. El caso es que había un demonio en un almacén abandonado en uno de sus puertos en una de sus ciudades. Y Yaltra entró, a robar, porque no conocía otra vida, y tampoco le apetecía dejarla. Cuando te acostumbras a algo, ya puede ser malo para abandonarlo. Y la vida de ladrona no era especialmente mala. Ni siquiera la que tenía sus miras puestas en mendigos, otros ladrones y honestísimos trabajadores. Robar a un estibador le remordió la conciencia la primera vez que lo hizo. Cuando vio que, si no lo robaba, se lo gastaba en alcohol y chiquillas demasiado jóvenes… bueno, digamos que estaba mejor en los bolsillos de Yaltra.

Entró por un agujero en los maderos del almacén. No esperaba encontrar mucho, si acaso algo de cobre que pudieran haberse dejado, algún metal que revender, o cualquier cosa que reluciera. O comida… Se moría de hambre. La hipérbole no parecía tan hiperbólica llegados a ese punto. Lo bueno es que Yaltra siempre había sido flaca como una musaraña, así que embutir su cuerpecillo en un agujero demasiado pequeño hasta para un niño era la tesitura habitual. 

Buscó por aquella sala y no encontró mucha cosa. Muchísima madera podrida. Un hedor a sal y pescado podrido, bichos y finos haces de luz que se colaban entre los maderos. Había papillas tiradas por el suelo cuyo origen no quiso ni pensar. Y, en una de esas, se lo encontró. Un diablo. Un demonio. Una bicha, como había escuchado alguna vez. Le hacía gracia lo de bicha, pero demonio era más solemne. Esa criatura, en realidad, no era solemne desde ningún ángulo, pero le concedió el nombre. Era esquelético como ella, estaba sentado con las piernas entrecruzadas y tenía una cabeza exagerada en comparación al resto del cuerpo. Daba una sensación arácnida a la par que humanoide.

—Joder, qué asco —masculló nada más verlo. Un haz de luz le cruzaba la frente como si fuera a decirle el secreto de la inmortalidad.

—Antialpe, ¿crameteus?

Para colmo de males hablaba en a saber qué mierda de idioma.

—¿Qué demonios haces aquí? Deberías estar… muerto o algo, qué mal aspecto.

El demonio parpadeó unilateralmente. Primero uno. Luego el otro.

Yaltra no sabía qué era. Pensó en comérselo. Desde luego, tenía un cabezón digno de ser cocinado. Pero a saber qué enfermedad tenía, con aquella carne bulbosa y agujereada en algunos lugares, como un queso, o como una cereza pocha. Le entró un escalofrío y se le crispó el culo solo de pensarlo.

—¿Baltros?

Quizás Baltros era buen nombre. Pero… ¿estaba pensando en llevárselo? Pensó en la baba que dejaría en su morral. Entraba de sobra, pero… Ay, por los Dioses Bajos, Altos, Medianos y Agraciados, esas papillas eran suyas… Yaltra contuvo una arcada. Su estómago se retorció, vacío como estaba, y no pudo contener la segunda. Apenas vomitó algo de bilis. Aquella criatura era materia prima de pesadillas, una criatura sacada de lo imposible, de la fantasía más retorcida del mago más macabro o del Dios más aborrecible.

Yaltra se santiguó. Iba a necesitar toda la ayuda posible para lo que estaba por hacer, porque había llegado a una conclusión, quizás loca en un primer momento, pero seguro que verdadera como que el Dios Sol da calor y que el cielo es azul y que todas las verdades universales que pudieran ocurrírsele. 

Podía cobrar por verle. Un par de marquillos por ver a Baltros. Y por generarle una arcada, quizás. Vaya chollo. Pero, a situaciones desesperadas… No iba a hacerle el feo a una fuente de dinero inagotable. Quizás era fea, sí, pero inagotable al fin y al cabo.

Still life with golden bream. Francisco de Goya, 1808-1812.

[thewriteadviceforwriters]

Do you have any tips on writing a character that can be a bit quiet and weird/quirky yet confrontational and loud. She bites and picks her fingers when very anxious but she’s also a confident, and brave character who fights for what’s right and what she wants. I have a difficulty mixing a character’s personality sometimes, and wondered if you had any tips to help? :)

On Creating Beautifully Contradictory Characters ✨

Hey writer friend! Rin here.

I LIVE for these questions! 💕

Here's the thing about characters (and people). we're not single-note beings who fit into neat little boxes. The most real characters exist in the in-between spaces.

Let's talk about how to make this work...

The secret to contradictory character traits

What makes a character feel REAL isn't consistency. it's coherence.

• Your character doesn't need to be the same in every situation

• What they need is an emotional core that makes sense of their seemingly opposing behaviors

• Think of their personality as a constellation, not a straight line

When I'm developing characters like this, I always start with their wounds and values. What do they care about SO DEEPLY that it would make a normally quiet person raise their voice? What hurts have they experienced that make them bite their fingers when anxious?

Some practical ways to blend these traits

• Give her specific triggers for each mode. Maybe she's quiet in casual social settings but finds her voice when someone's being mistreated.

• Create physical transitions between states. How does her body language shift when moving from quiet observer to vocal defender? Does she take a deep breath? Square her shoulders?

• The finger-biting anxiety habit is actually perfect. it can be the bridge between her quiet and loud states. Maybe it's what she does while gathering courage before speaking up.

• Show us moments where BOTH traits are present at once. She can be nervously biting her fingers WHILE confronting someone.

What NOT to do (because it's boring)

Please don't fall into these traps:

• Don't make her "usually quiet except when..." That's not a complex character, that's just situational behavior.

• Don't explain away her contradictions with trauma (unless that's genuinely part of her story). Not every character trait needs a tragic backstory!

• Don't make her self-conscious about her contradictions. She doesn't need to apologize for being both quiet and loud.

Let's make some word magic happen

Try writing a scene where:

We first see her in her quiet, observing mode

Something happens that triggers her sense of justice

We witness her internal thought process as she decides to speak up

She exhibits her anxious behavior (finger biting) while ALSO stepping into her confrontational mode

Afterward, she returns to quietness, but it feels different now

The magic happens in those transition moments. That's where readers will fall in love with her complexity.

Remember this always

The most memorable characters aren't the ones who are consistently anything. They're the ones who surprise us while still feeling true to themselves.

Your character's contradictions aren't flaws to fix or explain away. they're what make her human. They're what make readers say "I KNOW her" even if they've never met anyone exactly like her.

So embrace those contradictions. Let her be quiet AND loud. Let her be anxious AND brave. Let her be fully, messily human.

I hope this post helped you

-Rin T.

[charzoid]

Charlastor AU vague concepts

I have no real plans to write anything charlastor related right now but something I do know are some things I'd like to see more in both fics and art for it.

Human alastor/demon charlie

Human alastor/angel charlie

Demon or Human alasor/Bamf charlie

This is a little pet peeve of mine. I get why they do it but I really do want more assertive charlie in fics even if she's a human and Al is a creature or killer human. That line "Dad said don't take shit from other demons" could follow for human charlie to. While she isn't great at it we know it's canon she can fight.

As princess of hell and while not eager to do so she could put most in their place if need be. I think it's OOC for Al to attack her or force himself on her but if he either on sudden high emotions or high drugs attempted either, charlie wouldn't just lay there cowering. I can count on 1 hand how many fics actually remember this.

Likewise as a human just like demon lucifer worries about charlie being safe and being able push back on her own against creepy sinners the same would apply in the human verse. He would give her various combat classes and training how to uses tools if that failed or she was stuck in some situation that needed a fallback. Knives, guns, stun-guns, etc. His baby would not be an easy prey for just any man or monster.

[hellenfuvk]

𝐈'𝐋𝐋 𝐊𝐈𝐋𝐋 𝐘𝐎𝐔 : 𝐘. 𝐆𝐰𝐢-𝐧𝐚𝐦 𝐱 𝐅𝐞𝐦 𝐑𝐞𝐚𝐝𝐞𝐫 - •1• (on Wattpad) https://www.wattpad.com/1343078076-%E2%80%A21%E2%80%A2?utm_source=web&utm_medium=tumblr&utm_content=share_reading&wp_uname=hellenfoff One unfortunate day during lunch, the apocalypse starts. A zombie apocalypse. Y/n gets separated from her friends and barricades herself in the kitchen, killing all of the turned zombies in the room with the nearest kitchen knife. Little does she know, she just got stuck teaming up with the most feared bully in the entire school, Yoon Gwi-nam, who was hiding under one of the counters. She never bothered with the bullies before, but she sure as hell never feared them. Gwi-nam will soon realize that Y/n and himself are going to have to survive together. He also noticed how strong and brave y/n was when killing the zombies... Something inside Gwi-nam changed, and he begins to fall for y/n. He starts to be a little calmer and less aggressive. What will Y/n do? With that, enjoy my first book. -silvpics Yoon Gwi-nam x Fem Reader !! DISCLAIMERS !! TW's / CW's - Gore, Trauma, Strong language, Smoking She/her used A/N - For the sake of not getting cancelled, I made sure that Gwi-Nam never sexually harassed Eun-ji, or any other girl for that matter. He is simply your typical high school bully who likes to pick fights with other people. A/N - This entire story is fiction, I may forget what exactly happens in a moment and will most likely make something up to flow better with the story. Please do not take anything characters do/say as canon. I do not own any of the characters, apart from y/n. There may be spoilers within the story for the show, All of us are Dead. Thank you for reading, enjoy! :) Top rankings ✩ Lowkey just want #1 zombie, even for just one day. #1 in kdrama #1 in gwi-nam #1 in mi-jin #3 in characterxreader

[kapow-comics-inc]

I'm late! And forgot to post it here! #nokingsday art!

Ramses of Circus of Neverland a true king for the Vampire Nile Clan.