#community developer

[luna-azzurra]

When a Character Is Grieving Someone They Never Got to Say Goodbye To

✧ They talk about the person in past tense… then correct themselves. Then stop talking entirely.

✧ They touch things that belonged to the person like they’re fragile, sacred, about to disappear.

✧ They hoard the last voicemail, last message, last anything. Play it. Don’t play it. Just knowing it exists hurts enough.

✧ They leave something untouched, an empty seat, a half-packed bag, a coffee order that isn’t theirs.

✧ They get irrationally angry when someone else seems to be “moving on.” As if forgetting is betrayal.

✧ They don’t let themselves cry all at once. It comes in pieces. Like they’re afraid too much grief will drown them.

✧ They over-apologize. For being quiet. For being distant. For not being okay.

✧ They become hyper-aware of time, dates, anniversaries, time zones, the exact moment everything ended.

✧ They get superstitious. Ritualistic. As if doing things "right" might reverse something.

✧ They smile when they talk about the person. But it’s brittle. And it never quite touches their eyes.

[kri5wb]

working this tiny cozy aquarium game that sits at the bottom of your screen while you work, study etc!

it's talled Tiny Aquarium

🐟 fish grow when you're offline 🐠 breed of 70 species of fishy friends 🦀 crabs 🏰 decorate your fish tank 💖 visit your friend's aquariums

we just released our first demo and would love to hear your feedback https://store.steampowered.com/app/2581950/Tiny_Aquarium_Social_Fishkeeping/

[a-path-by-the-moon]

[wanologic]

yo danny fenton he was just 19

[theplotmage]

Principles and Laws of Magic for Fantasy Writers

Fundamental Laws

1. Law of Conservation of Magic- Magic cannot be created or destroyed, only transformed.

3. Law of Equivalent Exchange- To gain something, an equal value must be given.

5. Law of Magical Exhaustion- Using magic drains the user’s energy or life force.

Interaction and Interference

4. Law of Magical Interference- Magic can interfere with other magical effects.

6. Law of Magical Contamination- Magic can have unintended side effects.

8. Law of Magical Inertia- Magical effects continue until stopped by an equal or greater force.

Resonance and Conditions

7. Law of Magical Resonance- Magic resonates with certain materials, places, or times.

9. Law of Magical Secrecy- Magic must be kept secret from the non-magical world.

11. Law of Magical Hierarchy- Different types of magic have different levels of power and difficulty.

Balance and Consequences

10. Law of Magical Balance- Every positive magical effect has a negative consequence.

12. Law of Magical Limitation- Magic has limits and cannot solve every problem.

14. Law of Magical Rebound- Misused magic can backfire on the user.

Special Conditions

13. Law of Magical Conduits- Certain objects or beings can channel magic more effectively.

15. Law of Magical Cycles- Magic may be stronger or weaker depending on cycles (e.g., lunar phases).

17. Law of Magical Awareness- Some beings are more attuned to magic and can sense its presence.

Ethical and Moral Laws

16. Law of Magical Ethics- Magic should be used responsibly and ethically.

18. Law of Magical Consent- Magic should not be used on others without their consent.

20. Law of Magical Oaths- Magical promises or oaths are binding and have severe consequences if broken.

Advanced and Rare Laws

19. Law of Magical Evolution- Magic can evolve and change over time.

20. Law of Magical Singularities- Unique, one-of-a-kind magical phenomena exist and are unpredictable.

Unique and Imaginative Magical Laws

- Law of Temporal Magic- Magic can manipulate time, but with severe consequences. Altering the past can create paradoxes, and using time magic ages the caster rapidly.

- Law of Emotional Resonance- Magic is amplified or diminished by the caster’s emotions. Strong emotions like love or anger can make spells more powerful but harder to control.

- Law of Elemental Harmony- Magic is tied to natural elements (fire, water, earth, air). Using one element excessively can disrupt the balance and cause natural disasters.

- Law of Dream Magic- Magic can be accessed through dreams. Dreamwalkers can enter others’ dreams, but they risk getting trapped in the dream world.

- Law of Ancestral Magic- Magic is inherited through bloodlines. The strength and type of magic depend on the caster’s ancestry, and ancient family feuds can influence magical abilities.

- Law of Symbiotic Magic- Magic requires a symbiotic relationship with magical creatures. The caster and creature share power, but harming one affects the other.

- Law of Forgotten Magic- Ancient spells and rituals are lost to time. Discovering and using forgotten magic can yield great power but also unknown dangers.

- Law of Magical Echoes- Spells leave behind echoes that can be sensed or traced. Powerful spells create stronger echoes that linger longer.

- Law of Arcane Geometry- Magic follows geometric patterns. Spells must be cast within specific shapes or alignments to work correctly.

- Law of Celestial Magic- Magic is influenced by celestial bodies. Spells are stronger during certain astronomical events like eclipses or planetary alignments.

- Law of Sentient Magic- Magic has a will of its own. It can choose to aid or hinder the caster based on its own mysterious motives.

- Law of Shadow Magic- Magic can manipulate shadows and darkness. Shadowcasters can travel through shadows but are vulnerable to light.

- Law of Sympathetic Magic- Magic works through connections. A spell cast on a representation of a person (like a doll or portrait) affects the actual person.

- Law of Magical Artifacts- Certain objects hold immense magical power. These artifacts can only be used by those deemed worthy or who possess specific traits.

- Law of Arcane Paradoxes- Some spells create paradoxes that defy logic. These paradoxes can have unpredictable and often dangerous outcomes.

- Law of Elemental Fusion- Combining different elemental magics creates new, hybrid spells with unique properties and effects.

- Law of Ethereal Magic- Magic can interact with the spirit world. Ethereal mages can communicate with spirits, but prolonged contact can blur the line between life and death.

- Law of Arcane Symbiosis- Magic can bond with technology, creating magical machines or enchanted devices with extraordinary capabilities.

- Law of Dimensional Magic- Magic can open portals to other dimensions. Dimensional travelers can explore alternate realities but risk getting lost or encountering hostile beings.

- Law of Arcane Sacrifice- Powerful spells require a sacrifice, such as a cherished memory, a personal item, or even a part of the caster’s soul.

[vivsinkpot]

Zoom In, Don’t Glaze Over: How to Describe Appearance Without Losing the Plot

You’ve met her before. The girl with “flowing ebony hair,” “emerald eyes,” and “lips like rose petals.” Or him, with “chiseled jawlines,” “stormy gray eyes,” and “shoulders like a Greek statue.”

We don’t know them.

We’ve just met their tropes.

Describing physical appearance is one of the trickiest — and most overdone — parts of character writing. It’s tempting to reach for shorthand: hair color, eye color, maybe a quick body scan. But if we want a reader to see someone — to feel the charge in the air when they enter a room — we need to stop writing mannequins and start writing people.

So let’s get granular. Here’s how to write physical appearance in a way that’s textured, meaningful, and deeply character-driven.

1. Hair: It’s About Story, Texture, and Care

Hair says a lot — not just about genetics, but about choices. Does your character tame it? Let it run wild? Is it dyed, greying, braided, buzzed, or piled on top of her head in a hurry?

Good hair description considers:

Texture (fine, coiled, wiry, limp, soft)

Context (windblown, sweat-damp, scorched by bleach)

Emotion (does she twist it when nervous? Is he ashamed of losing it?)

Flat: “Her long brown hair framed her face.”

Better: “Her ponytail was too tight, the kind that whispered of control issues and caffeine-fueled 4 a.m. library shifts.”

You don’t need to romanticise it. You need to make it feel real.

2. Eyes: Less Color, More Connection

We get it: her eyes are violet. Cool. But that doesn’t tell us much.

Instead of focusing solely on eye color, think about:

What the eyes do (do they dart, linger, harden?)

What others feel under them (seen, judged, safe?)

The surrounding features (dark circles, crow’s feet, smudged mascara)

Flat: “His piercing blue eyes locked on hers.”

Better: “His gaze was the kind that looked through you — like it had already weighed your worth and moved on.”

You’re not describing a passport photo. You’re describing what it feels like to be seen by them.

3. Facial Features: Use Contrast and Texture

Faces are not symmetrical ovals with random features. They’re full of tension, softness, age, emotion, and life.

Things to look for:

Asymmetry and character (a crooked nose, a scar)

Expression patterns (smiling without the eyes, habitual frowns)

Evidence of lifestyle (laugh lines, sun spots, stress acne)

Flat: “She had a delicate face.”

Better: “There was something unfinished about her face — as if her cheekbones hadn’t quite agreed on where to settle, and her mouth always seemed on the verge of disagreement.”

Let the face be a map of experience.

4. Bodies: Movement > Measurement

Forget dress sizes and six packs. Think about how bodies occupy space. How do they move? What are they hiding or showing? How do they wear their clothes — or how do the clothes wear them?

Ask:

What do others notice first? (a presence, a posture, a sound?)

How does their body express emotion? (do they go rigid, fold inwards, puff up?)

Flat: “He was tall and muscular.”

Better: “He had the kind of height that made ceilings nervous — but he moved like he was trying not to take up too much space.”

Describing someone’s body isn’t about cataloguing. It’s about showing how they exist in the world.

5. Let Emotion Tint the Lens

Who’s doing the describing? A lover? An enemy? A tired narrator? The emotional lens will shape what’s noticed and how it’s described.

In love: The chipped tooth becomes charming.

In rivalry: The smirk becomes smug.

In mourning: The face becomes blurred with memory.

Same person. Different lens. Different description.

6. Specificity is Your Superpower

Generic description = generic character. One well-chosen detail creates intimacy. Let us feel the scratch of their scarf, the clink of her earrings, the smudge of ink on their fingertips.

Examples:

“He had a habit of adjusting his collar when he lied — always clockwise, always twice.”

“Her nail polish was always chipped, but never accidentally.”

Make the reader feel like they’re the only one close enough to notice.

Describing appearance isn’t just about what your character looks like. It’s about what their appearance says — about how they move through the world, how others see them, and how they see themselves.

Zoom in on the details that matter. Skip the clichés. Let each description carry weight, story, and emotion. Because you’re not building paper dolls. You’re building people.

[thewriteadviceforwriters]

💀 Making Your Villain Make Sense (Without Making Them Right™)

("because if I see one more war criminal with a sad diary entry get a redemption arc, I’m gonna throw my laptop.")

Here’s the thing: your villain doesn’t need to be redeemable. But they do need to make sense.

And I mean sense beyond "they’re evil and they monologue about it." Or “they have a tragic past, so now they do murder <3.” Or “they were right all along, the hero just couldn’t see it 🥺.”

Let’s fix that.

─────── ✦ ───────

🧠 STEP ONE: BUILD A LOGIC SYSTEM THAT ISN’T OURS Your villain shouldn’t just be wrong, they should have their own internal system that works for them. Morally flawed? Absolutely. But coherent.

Ask yourself:

What do they value more than anything? (Power? Order? Loyalty? Vengeance?)

What do they believe about the world, and how did they get there?

What fear drives them? What future do they think they’re trying to prevent?

The villain doesn’t need to know they’re wrong. But you should.

Make their logic airtight. even if it’s awful. Give them cause and effect.

─────── ✦ ───────

👿 STEP TWO: STOP GIVING THEM THE BETTER IDEOLOGY Listen. I love a “morally gray” moment as much as anyone. But if your villain is making all the good points and the hero’s just like “no because that’s mean,” your arc is upside down.

If your villain is critiquing injustice, oppression, or inequality, make sure their methods are the problem, not their entire worldview.

✖︎ WRONG: Villain: “The ruling class is corrupt.” Hero: “That’s not nice.”

✔︎ RIGHT: Villain: “The ruling class is corrupt, so I’m burning the city and everyone in it.” Hero: “So you’re just… committing genocide now?”

Your villain can touch a real issue. Just don’t let them be the only one talking about it, or solving it with horror movie logic.

─────── ✦ ───────

🔪 STEP THREE: GIVE THEM POWER THAT COSTS THEM The best villains lose things too. They’re not just untouchable horror dolls in sexy coats. They make bad choices and pay for them. That’s where the drama lives.

Examples:

They isolate themselves.

They sacrifice people they love.

They get what they want, and it destroys them.

They know they’re the monster, and choose it anyway.

If your villain can kill a dozen people and feel nothing, that’s not scary. That’s boring. Let them bleed. Let them regret it. Let them double down anyway.

─────── ✦ ───────

🧱 STEP FOUR: MAKE THEM PART OF THE WORLD, NOT OUTSIDE IT Villains shouldn’t feel like they were patched in from another genre. They should be part of the world’s logic, culture, class system, history. They should reflect something about the setting.

Villains that slap:

The advisor who upheld the regime until they decided they deserved to rule.

The noble who’s using war to reclaim stolen legacy.

The ex-hero who thinks the system can’t be saved, only reset.

The priest who truly believes the gods demand blood.

They’re not just evil, they’re a product of the same world the hero is trying to save.

─────── ✦ ───────

👁 STEP FIVE: SHOW US THEIR SELF-JUSTIFICATION You don’t need a tragic backstory™. But you do need to show us why they think they’re right. Not just with exposition, through action.

Let us watch them:

Protect someone.

Choose their goal over safety.

Justify the unjustifiable to a character who loves them.

Refuse to change, even when given a chance.

A villain who looks into the mirror and goes “Yes. I’m correct.” is 1000x scarier than one who sobs into a journal and says “I’m so broken 🥺.”

─────── ✦ ───────

🧨 BONUS ROUND: DON’T MAKE THEM A HATRED MEGAPHONE Especially if you’re writing marginalized characters: don’t let your villain become a mouthpiece for slurs, abuse, or extremism just to make them “evil enough.” That’s lazy. And harmful.

You don’t need real-world hate speech to build a dark character. You need power, consequence, and intent.

─────── ✦ ───────

TL;DR: Good villains don’t need to be right. They need to be real. Not a vibe. Not a sad boy in a trench coat. Not a trauma monologue and then a sword fight. They need logic. They need cost. They need to scare you because you get them, and still want them to lose.

Make them dangerous. Not relatable. Make them whole. Not wholesome. Make them make sense.

—rin t. // thewriteadviceforwriters // villain critic. final boss consultant. licensed chaos goblin

P.S. I made a free mini eBook about the 5 biggest mistakes writers make in the first 10 pages 👀 you can grab it here for FREE:

[the-most-humble-blog]

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🧠 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.

</div>

[thenomadicquill]

Your Protagonist is a Liar. If your story follows only the main character, we see things how they see them. A main character is an unreliable storyteller, if they mean it or not. We, just like the MC, aren't in other characters' minds. So, moments are misinterpreted. Your main character sees the world through their own biases. We only know the main character's impressions of the side characters, and the villains. We read only their perception of these characters.

That doesn't make them a villain, its normal. It's realistic and purely understandable. They can't fill gaps of information simply because they weren't there. So, they make assumptions, they make judgements, they remember things incorrectly. Memory isn't perfect, details are changed or forgotten. It's only natural.

Let your protagonist lie. Maybe they don’t even realize they’re doing it. Maybe they do. See what happens.

[anqueerism]

I wish there were more games where polyamory was an option and it’s not treated like it’s cheating or the butt of a joke.

I wish there were more games where you can be in relationships without having to be romantic with your partner

I wish there were more games where explicitly asexual and aromantic relationships were possible

[morallysuperiorlips]

10 Ways to Ensure Your Villain's Evil Monologuing Dialogue is as Unsettling as Possible!

1.) Make sure you're mixing body language with the words themselves: You can have your villain saying the most twisted shit, but if they're just standing there like a cardboard cutout, their words probably aren't going to hit as hard. Have them touch your protag. Have them toy with a weapon as if they're going to use it. Have them pace. Have them put together the blood ritual they're ranting about. Keep them moving.

2.) Have them use personal knowledge as a tool: Does your villain have some deep dark dirt on your protag? Don't let that all go in one swoop. Let them hint at it in drops before they open the dam. Maybe they use that knowledge as a bargaining tool to get an upper hand, or use it to send the trapped protag into a frenzy because they love to watch them scream.

3.) When it comes to threats, certainty is key: A threat is a threat, but there's nothing like a threat being spoken as if the villain knows it's going to happen. Whether your villain has already caught your protag, or is in the process of doing so, everything they say they want to see happen to your protag needs to come with absolute certainty. Almost as if it's a certain warning, and not just something they’re saying to be scary.

4.) Contradictions are your friend: Nothing indicates a warped villainous mind more than some juicy contradictions. Your villain might be talking about how they're going to flay your protag's hide after catching them in their dungeon, only to throw in a subtle "but, you're probably safer here with me." Find ways to toss in twisted contradictions that also underline the crazy shit they might be saying.

5.) Mess with syntax: Unsettling dialogue calls for unsettling structure. Incomplete sentences, unforeseen pauses, longwinded explanations broken up by more unforeseen pauses. Whatever it is, keep the rhythm offbeat. Don't give your reader a chance to be able to tell what's coming.

6.) Expectations? Subvert those: Your protag and even your readers might be suspecting one thing from your villain, so throw them a curveball and hit them with the complete opposite. Perhaps you've reached a point in your story where it seems like the villain might kill your protag on sight. But no, have your villain mention exactly why they aren't going to do that, and why they want to wait it out.

7.) Mix quiet confidence and loud assertion: Some might say that the silent seether is scarier, while others might agree that the sudden explosive type takes the bigger unsettling prize. In my opinion, you can really capitalize on the eeriness of villain dialogue by tapping into both. A villain that speaks on with refined confidence before very suddenly exploding, without much warning, can really power up the dread behind their words.

8.) Sometimes, ambiguity is better than being straightforward: Whether it's obvious that your villain has a lot of tricks up their sleeves--or not--leaving things to the imaginations of your protag, and subsequently, your readers is great for building dread. You can use dialogue to make it clear that they're up to something, but never make them fully disclose what that is. They might show it instead of tell it, or it might just never happen. Either way, it'll likely have everyone looking over their shoulders.

9.) There might be times where silence says everything: You might be worried about penning the correct verbiage for your villain's big evil speech, but sometimes, silence speaks wonders. When used correctly, a long pause, or a bout of silence after your protag has said their piece can build a sense of uneasiness more than them actually speaking would have.

10.) Find ways for your villain to mirror the hero: A monologuing villain is better when they're throwing your hero's values and beliefs back in their face. A hero that believes in mercy? Well, have your villain talk about how they'll make them beg for it. A hero that believes in the greater good? Have your villain talk about their idea of a greater good.

As always, GO WRITE SOMETHING TODAY! <3

[luna-azzurra]

Emotional Walls Your Character Has Built (And What Might Finally Break Them)

(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.

✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)

[independent-fics]

Now, you can take that as a gift, or you can take it as a curse. And that's up to you.

Eliot Spencer and Parker Doing the Things Others Won’t

Leverage (2008-2012)

04x01 The Long Way Down Job

05x09 The Rundown Job

[lovelydisc]

No one was doing it like tv shows in the early 2000s. I mean the partnerships, the secret gay love, the amateur child private investigators, the ghost hunters, etc. It was the decade of brilliant ideas and no funding.

[gamoraswonder]

Happy december 10th!

COMMUNITY | “Comparative Religion”