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luna-azzurra · 4 months

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The Villain Checklist!

Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:

Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?

Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.

Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.

Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.

Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.

Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.

Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.

Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.

Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.

Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.

#writing #writer on tumblr #writerscommunity #writing tips #character development #writing help #write villain #writing villains #my ocs #creative writing #oc character #writing block

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imastoryteller · 3 months

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20 Plot Twist Ideas That Will Shock Your Audience

One of the most effective tools in a storyteller's arsenal is the plot twist. A well-executed plot twist can leave your audience reeling, questioning everything they thought they knew about your story. It can turn a good story into a great one, leaving a lasting impact on your readers or viewers. In this post, we'll explore 20 plot twist ideas that will shock your audience and elevate your storytelling game to new heights.

1. The Unlikely Hero:

Turn the tables by revealing an unexpected character as the true hero. This can be someone seemingly insignificant or even an antagonist who redeems themselves at a crucial moment.

2. The Double Agent:

Introduce a character who initially appears loyal to the protagonist but is secretly working against them, only to later reveal their true intentions.

3. The Long-Lost Sibling:

Uncover a secret sibling, separated from the main character in their early years, and use their sudden appearance to shift the narrative.

4. Time Travel Paradox:

Play with time travel to create a paradox that forces the characters to confront alternate timelines or unforeseen consequences of their actions.

5. The Mastermind:

The story's villain is revealed to be a puppet in a larger scheme, controlled by a mastermind who has been operating behind the scenes.

6. The Supernatural Twist:

Introduce a supernatural element, like ghosts or mythical creatures, that the characters and audience believed were mere myths.

7. The Doppelgänger:

A character's doppelgänger appears, causing confusion and chaos as they try to determine who is the real one.

8. The Reversal of Roles:

Switch the roles of the protagonist and antagonist halfway through the story, making the audience question their allegiances.

9. The Untouchable Hero:

Create a seemingly invincible hero who unexpectedly meets their match, forcing them to reevaluate their abilities and tactics.

10. The Forgotten Past:

Unearth a character's forgotten or repressed memories, leading to a shocking revelation about their true identity or past actions.

11. The Betrayal Within:

One of the protagonist's closest allies betrays them, throwing their entire mission into disarray.

12. The Hidden Identity:

A character is not who they claim to be, and their true identity is revealed, impacting the story's direction.

13. The Inception Twist:

Blur the lines between reality and illusion, leaving the audience guessing what's real and what's a dream or illusion.

14. The Time Loop:

Trap your characters in a time loop where they're forced to relive the same events repeatedly until they can break free.

15. The Shapeshifter:

Introduce a character with the ability to change their appearance, creating doubt and suspicion within the group.

16. The Truth About the Mentor:

The mentor figure, who initially seems wise and benevolent, is unveiled as the story's true antagonist.

17. The Lost Artifact:

The much sought-after artifact or treasure turns out to be a fake, and the real item is something entirely unexpected.

18. The Pseudo-Death:

Fake a character's death to shock the audience and later reveal they were alive all along.

19. The Prophecy Reversed:

Subvert the traditional hero's journey by defying a prophesized destiny and taking the story in a different direction.

20. The Unreliable Narrator:

Reveal that the narrator has been lying or misrepresenting events, casting doubt on the entire story's accuracy.

Conclusion:

These 20 plot twist ideas are just the beginning, and by incorporating them into your narratives, you can leave your audience stunned, shocked, and eager for more. Remember that the key to a successful plot twist lies in its execution, so take your time and craft a twist that seamlessly integrates into your story, making it an unforgettable experience for your readers or viewers.

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#writing tips #writing advice #plot development #plot device #writers on tumblr #writeblr #creative writing #fiction writing #writerscommunity #writing #writing help #writing resources #ai assisted

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sunderwight · 3 months

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SV Mary Poppins-ish AU.

So lots of protagonists and antagonists and etc have tragic backstories. Turns out that this can present something of a logistical nightmare for systems in cases where the stories become "real", because there are many instances where an author overestimated how survivable certain angst-ridden circumstances actually were, and without some kind of intervention, a lot of characters actually don't make it anywhere near their intended power-up and revenge/villain/hero/etc arcs.

In cases where this is happening, the System deploys a special agent to go make sure that plot-crucial characters actually survive to the plot.

Enter Shen Yuan, case worker for tragic backstories. His job, basically, is to sweep in during the points of the backstory where the story isn't paying attention and provide actual care. Most of the time, the system ensures that his clients forget about him when he's no longer present, so he can't impact the plot or their character development. But that also means he gets to be as nice and supportive as he wants to be while he is there.

He hates it, though -- knowing that he has to leave his little charges behind to suffer, and that they'll all forget him, and that some of them will grow up and meet bad ends (because they're villains, or tragic heroes, or doomed mentors, or fridged love interests, or so on). However, he can't beat the system, so he just tries to compartmentalize it. Focus on the here-and-now, steadily accrue points, and get to where he can afford to buy a proper reincarnation.

He works in this fashion for a long time, although it's difficult to keep track of it when the System is constantly bouncing him from relevant backstory moments to pending non-canon catastrophes. Sometimes it's stories he knows, sometimes it's stories he doesn't, or is only peripherally aware of. The first time he arrives in PIDW, he doesn't even figure it out. Partly because it's not backstory info that actually made it into the novel, partly because he has by that point kind of stopped trying to figure out where he's going, and whether or not the cute little kid he's helping is going to get their limbs all chopped off someday.

He likes Xiao Jiu and Yue Qi, but given the sheer number of times he has to go save them from dying and try to comfort them in their misery, he doesn't foresee them meeting good ends.

And then there's Luo Binghe. Treating a baby for hypothermia, helping a lost little orphan reach a faraway mountain on his own, bringing him food and treating his wounds in the woodshed, whisking him away to brief (always so brief) magical escapes to just give his brain a chance to rest and recover from all the grief and struggle, even if he won't actually remember the reprieve. Shen Yuan can't pretend he doesn't know that Luo Binghe's story is going to take him to some rough places, can only console himself with the idea that he'll be able to intervene at the worst of times, and that in the end at least, Binghe will live.

At least, until Shen Yuan realizes who Binghe's scum shizun is after he accidentally crosses paths with Shen Qingqiu, and Xiao Jiu recognizes him. Remembers him.

Then he figures out just what exactly is going to happen, and who it is going to happen to, and suddenly all that compartmentalization fails him.

Nanny Shen goes rogue.

#svsss #scum villain's self saving system #scum villain #shen yuan

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thewriteadviceforwriters · 1 month

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Villains vs. Antagonists (Guide For Writers)

Hey there, fellow writers and wonderful members of the writeblr community! 📚✍️ It's Rin here and...

Today, we're diving into a topic that's close to many writers' hearts: villains and antagonists. These characters often steal the show, driving our plots forward and giving our heroes something to push against. But here's the thing – while these terms are often used interchangeably, they're not quite the same. So, let's unpack this, shall we?

First things first, let's break down the difference between a villain and an antagonist. It's a distinction that can really elevate your storytelling game!

An antagonist is simply a character (or force) that opposes your protagonist. They're the obstacle, the challenge, the thing standing in the way of your main character achieving their goal. Here's the kicker: an antagonist doesn't have to be evil. They could be a rival love interest, a stern parent, or even nature itself.

A villain, on the other hand, is a specific type of antagonist. They're the bad guy, the evildoer, the character with malicious intent. All villains are antagonists, but not all antagonists are villains. Mind-blowing, right?

Let's look at some examples to make this clearer:

In "Romeo and Juliet," the feuding families are antagonists, but they're not villains. They oppose the protagonists' desire to be together, but they're not evil.

In "Harry Potter," Voldemort is both an antagonist and a villain. He opposes Harry (making him an antagonist) and he's also evil (making him a villain).

In "Cast Away," the island and the challenges of survival are the antagonists. There's no villain in sight!

Now that we've got that sorted, let's dive deeper into how to create these characters and use them effectively in your writing.

Creating Antagonists:

Define their opposition: What specifically does your antagonist do to oppose your protagonist? This could be physical, emotional, or ideological opposition.

Give them a reason: Why are they standing in your protagonist's way? Even if it's not justified, there should be a reason that makes sense to the antagonist.

Make them strong: Your antagonist should be a worthy opponent. They need to pose a real challenge to your protagonist to keep things interesting.

Consider their perspective: Remember, your antagonist is the hero of their own story. Try writing a scene from their point of view to understand them better.

Create contrast: Your antagonist should in some way contrast with your protagonist. This could be in values, methods, or personality.

Creating Villains:

Establish their evil: What makes your villain "bad"? Is it their actions, their beliefs, or both?

Develop their backstory: How did they become evil? A compelling villain often has a tragic or twisted history.

Give them dimensions: Pure evil can be boring. Give your villain some complexity – maybe they love their cat or have a soft spot for classical music.

Create a strong motivation: What drives your villain? Greed? Revenge? A twisted sense of justice? The stronger and more relatable the motivation, the more compelling your villain will be.

Make them smart: Your villain should be clever enough to pose a real threat. They should be able to anticipate and counter your protagonist's moves.

Now, let's talk about how to use these characters in different genres. Because let's face it, a villain in a romance novel is going to look very different from one in a fantasy epic!

In Romance: Antagonists in romance are often rivals for the affection of the love interest, or perhaps societal norms or family expectations standing in the way of true love. Villains are less common, but when they appear, they might be abusive exes or manipulative friends trying to sabotage the relationship.

Tip: In romance, make sure your antagonist's motivations are clear and relatable. We should understand why they're opposing the main relationship, even if we don't agree with their methods.

In Fantasy: Fantasy is ripe for both antagonists and villains. You might have a Dark Lord seeking to conquer the world (classic villain) or a rival magic user competing for the same goal as your protagonist (antagonist).

Tip: In fantasy, world-building is key. Make sure your antagonist or villain fits logically into the world you've created. Their powers, motivations, and methods should all make sense within the rules of your fantasy realm.

In Mystery/Thriller: In these genres, your antagonist is often the perpetrator of the crime your protagonist is trying to solve. They might not be evil (maybe they committed a crime of passion), or they could be a full-fledged villain if their crimes are particularly heinous.

Tip: In mysteries, your antagonist needs to be clever enough to challenge your detective protagonist. Leave subtle clues about their identity or motives, but make sure they're smart enough to almost get away with it.

In Literary Fiction: Here, antagonists are often more abstract. They might be societal expectations, personal flaws, or even time itself. Villains in the traditional sense are less common, but morally grey characters who oppose the protagonist are frequent.

Tip: In literary fiction, focus on the nuances of your antagonist. They should be as complex and flawed as your protagonist, with their own rich inner life.

In Sci-Fi: Science fiction offers a wide range of possibilities for antagonists and villains. You might have alien invaders, oppressive governments, or even well-meaning scientists whose creations have gone awry.

Tip: In sci-fi, make sure your antagonist or villain is consistent with the technological and social aspects of your imagined world. Their methods and motivations should make sense within the context of your sci-fi setting.

Now, let's dive into some tips to make your antagonists and villains the best they can be in your novel:

Make them believable: Whether you're writing a mustache-twirling villain or a morally grey antagonist, their actions and motivations should make sense within the context of your story and their character.

Give them a personal connection to the protagonist: The conflict becomes much more engaging when it's personal. Maybe your antagonist and protagonist used to be friends, or they're fighting over the same goal.

Show their impact: Don't just tell us your antagonist is a threat – show us the consequences of their actions. Let us see how they affect your protagonist and the world of your story.

Give them wins: Your antagonist or villain should have some successes along the way. If they're always failing, they won't seem like a credible threat.

Humanize them: Even if you're writing a truly evil villain, give them some humanizing traits. Maybe they have a pet they dote on, or a tragic backstory that explains (but doesn't excuse) their actions.

Make them adaptable: A good antagonist doesn't stick to one plan. When the protagonist foils them, they should be able to come up with new strategies.

Give them their own character arc: Your antagonist or villain should grow and change throughout the story, just like your protagonist does.

Use them to highlight your protagonist's strengths and weaknesses: Your antagonist should challenge your protagonist in ways that force them to grow and change.

Consider their presentation: How do other characters react to your antagonist? How do they present themselves to the world versus who they really are?

Don't forget about henchmen: If you're writing a villain, consider giving them some underlings. This can add depth to their character and provide more challenges for your protagonist.

Remember, whether you're crafting a dastardly villain or a complex antagonist, these characters are crucial to your story. They're the ones who push your protagonist to grow, who raise the stakes, and who often drive the plot forward.

But here's a gentle reminder: while it's important to make your antagonists and villains compelling, be mindful of the impact your writing might have. If you're dealing with heavy themes or traumatic events, handle them with care and sensitivity.

Now, I know we've covered a lot of ground here, and you might be feeling a bit overwhelmed. That's okay! Writing complex characters is a skill that develops over time. Don't be afraid to experiment, to try different approaches, and to revise and refine your antagonists and villains as you go.

One exercise I find helpful is to write a short story from your antagonist's or villain's point of view. This can help you understand their motivations better and ensure they feel like real, three-dimensional characters.

Another tip: watch movies or read books in your genre and pay special attention to how they handle antagonists and villains. What works well? What doesn't? How can you apply these lessons to your own writing?

Remember, there's no one "right" way to create these characters. What matters is that they serve your story and engage your readers. Trust your instincts, and don't be afraid to push boundaries or subvert expectations.

As you work on your antagonists and villains, keep in mind that they're not just there to make life difficult for your protagonist. They're an integral part of your story's ecosystem. They shape the plot, influence character development, and often reflect themes or ideas you're exploring in your work.

And remember, writing is a journey. Your first draft of an antagonist or villain might not be perfect, and that's okay. The beauty of writing is in the revision, in the gradual sculpting of characters until they leap off the page.

Lastly, don't forget to have fun with it! Creating antagonists and villains can be some of the most enjoyable parts of writing. Let your imagination run wild, explore the darker sides of human nature, and see where your characters take you.

I hope this deep dive into antagonists and villains has been helpful and inspiring. Remember, you've got this! Your unique voice and perspective will bring these characters to life in ways no one else can.

Happy writing! 📝💖 - Rin. T

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors.

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gr1mstar · 7 months

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I'm a huge Dark romance book girlie

So can you write LDS boys finding out what she was reading like they had no idea reader has a fascination with dark romance books with psychotic ml or villains

I'M BETTER `✦ ˑ ִֶ 𓂃⊹

note. i'm also a huge fan of darl romance books so i had fun writing this. thank you for your request love. also, i'm sorry for the wait, i hope you like it.

contains. love and deepspace boys x reader, fluff, sfw.

ZAYNE

you both had this hobby of reading, so it wasn't strange when zayne found you on the sofa in the living room of your apartment, reading a new book.

the only difference between you was that zayne read books related to medicine and history, while you liked to read romance books. zayne knew that you weren't into history or medicine, so he didn't bother to explain in detail what he read, but he was more satisfied listening to you complain that the two protagonists are stupid that they don't see that they love each other others.

at least zayne liked listening to your stories until they disappeared. suddenly, you started not telling him anything.

so curiously, when you put the book down to go drink a glass of water from the kitchen, he took the book you were reading at the moment, wanting to see what makes you stop sharing the plot of the story.

after some time, making your way back to the living room and seeing zayne with the book in his hand, his face red and a shocked expression on his face, you started to laugh subtly.

"what is it? what's with that expression?"

speechless, zayne puts the book down, moving closer to you.

"to understand that this is how you want me to be too?" he said, placing his hands on either side of your waist.

"what?"

"to talk to you like this… to tie you to the bed with something and make you stop walking the next day? to be crazy about you? what do you say?"

XAVIER

seeing you blushing in front of the book you were reading, xavier couldn't help but ask you what you were reading.

"ah, just a romance book." was your answer, returning to reading, the blush on your cheeks not disappearing.

not satisfied with the answer, xavier sighs and sits back with his head in your lap. thinking that he had nothing to lose, in a second the book you were reading now was in xavier's hands, his eyes on the lines you had just read.

"what is this?" he asked, flipping through a few pages and then looking at the cover. a smile appeared on his face. "do you like this stuff?" he continued, handing you the book back.

you didn't answer now the blush in your cheeks being much more obvious than before, your gaze moving down, avoiding his.

"i understand that you like antagonists more than heroes, right? someone obsessed with you?" xavier said, approaching you with big steps, now being a few millimeters away from you. bending down, his face was directly in front of yours, and with the help of a hand he forced you to look at him, grabbing your chin and turning your head.

"you're lucky, princess. i can be mean sometimes, but you have to take responsibility for it."

RAFAYEL

rafayel never understood what you like so much about books. it is a fictional story, with a fictional person. why waste your time reading about them when you have him, alive and very sexy, in front of you.

this, out of curiosity, he tried to read one day, when he had no painting to complete.

getting into bed, with a cup of coffee 'for energy', he started reading the last book you recommended, not expecting what would happen next.

the hours passed quickly, and in the middle of the book Rafayel lay down, looking at the time in wonder. the whole day had passed, and all he had done was read.

"i lived to see this too." he heard, immediately seeing that it was you at the door. "are you reading?" you asked, laying down on the bed next to him.

"let's say. i was curious why you like it so much." Rafael answered, leaving the book on the bedside table and taking you in his arms.

"and did you like it?"

he didn't say anything, taking his face into the crack between your shoulder and neck, inhaling the aroma of your body. he didn't want to admit that he liked the book, being too ashamed to tell you that now he understood why you liked it.

"so you like it." you said, laughing lightly.

"no. I'm better."

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physalian · 2 months

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“Likable” vs “Compelling” Protagonists

Protagonist does not mean “good guy” it means “the person the story is about”.

Antagonist does not mean “bad guy” it means “person in opposition to the protagonist”.

We know this, yes?

So when I’m talking about “likable” protagonists I do not mean that your MC has to be witty, funny, charming, etc—they have to be compelling.

I didn’t much care for Death Note, I thought Light got away with way too much without consequences for his actions, but he was very much the villain and the protagonist. He was an arrogant narcissist with a god complex and you watched the show not to see him win, but to see how badly he would eventually lose.

This was because, despite my dislike of his story, Light was a compelling character. You don’t necessarily agree with his motivations, but you do understand why he does what he does and why he believes what he does about himself and his world.

In contrast, one of my favorite anime is Code Geass. Lelouch (who is often compared to Light) is *constantly* getting kicked in the ass by his own hubris. He's arrogant as well, but he makes mistakes everywhere and suffers if not immediate comeuppance, then drastic consequences later down the line. Which, to me, made a far more compelling character than someone like Light playing with cheat codes.

Most of the time, “likable” and “compelling” go hand in hand, because your protagonist is the “good guy” that we’re supposed to root for.

So one of the worst mistakes I think you can make is writing a hero who just doesn’t want to be here.

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I recently read a story where MC needed to win a competition, baseline unsponsored underdog story, and everyone loves an underdog. The problem was the MC’s attitude. Nothing pleased them and in their internal monologue, nothing was good enough and everyone else was the problem. They actually hate competitions and can’t wait for this to be over…even though no one forced them into it with a gun to their head. They hate all their competitors for behavior they themself exhibit. They hate their lone sponsor for being a sleezeball, and yet, chose to enter a voluntary competition, knowing this sponsor’s behavior, and still blaming the sponsor for their problems.

The entire time I was reading all I kept thinking was, “Then go home, bitch!”

This was not a high-stakes competition, and the MC didn’t have dire enough circumstances for the reader to believe this was a "life-or-death, even if it sucks, MC has to win," type situation. Not like Hunger Games. This was all completely voluntary.

So I started wondering if the author meant the MC to be the villain with all these personality flaws, but they’re still the underdog with no wins under their belt to support their level of entitled arrogance and no notable skills that make them inherently better than the competition.

So I was rooting for the MC to lose, and I don’t think I was supposed to. Even if I was, the mixup between “underdog hero” and “catty bitchy villain” was too confusing for too much of the story. MC didn't have to be here, didn't want to be here, so... why was MC here?

—

Some suggestions for compelling motivations for your protagonist boils down to this:

Define as quickly as you can these three things for your protagonist of any walk:

What the protagonist wants

How the protagonist plans to get it

And what’s in their way

Specify the stakes, if not physical, then personal. It doesn’t have to be life-or-death, but if they’re entering a risky situation, whatever it is has to be extremely important to them. Luca doesn’t have as high stakes as, say, Toy Story 3 but the moped race is important to the heroes, thus a compelling motivation.

Make this a journey they actually want to be on. Even if it’s grimdark or horror, if your hero is complaining the entire time and wanting to go home, yet plowing forward anyway because the plot’s dragging them on a leash, your audience will be as invested in the story as that character. If they don’t actually have the commitment to see their quest through, why should the audience care?

Alternatively, make this a journey they cannot afford to walk away from. Whether that be pressure from without or within. Frodo didn’t have to take the One Ring to Mordor. He chose to, because it was, in his mind, the right thing to do. He suffered his entire journey with the Ring and got homesick and depressed and discouraged, but he never called his own journey stupid and dumb. He could have put the Ring down and walked away or given it to somebody else, but he chose to carry on, because that’s who he is.

Even reluctant chosen ones have an ulterior reason for remaining in the story. Your long-lost princess might not want the throne being thrust upon her, but she’s chasing something else that accepting the throne and going along with the plot will give her. Maybe it’s power, respect, vengeance, money, protection, connections. So she’ll tolerate the nonsense so long as it still gets her what she wants and her struggle might be trying to not let herself get corrupted by the allure of politics and “the game”. Or, she's playing along merely to stay alive and actively trying to escape and return to her simpler life.

Popular example: Percy Jackson is a reluctant chosen one throughout his entire story in every book, even Last Olympian where he insists that he's the unknown prophecy child. In The Lightning Thief he doesn’t give a damn about the quest for the Master Bolt, he’s there to get his mom back, and cooperating with the quest will give him the means to achieve his goal, and along the way, finds that he doesn’t quite hate it as much as he thought he would.

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So. Yeah. In no way, shape, or form does your protagonist have to be “likable”. If someone tells you they aren’t, they probably mean that your protagonist is contradictory, or lacks compelling motivation and drive, and lacks a clear goal or aspiration that will define their story. Or, they lack drive to even participate in the story at all.

Or they simply mean that your charcater, who you intend to be likeable, has a nasty flaw that would turn readers off, but a beta should be able to tell you that one easily. If they can't come up with a solid reason why your charcater is unlikable, it's probably a motivation issue.

The earliest draft of a WIP that shall never see the light of day had my protagonist sent on a glorified space field trip by her parents, and wasn’t happy to be there. This not only made her unlikable, but also uncompelling. She didn’t want to participate in the plot and only did it to hold up her end of the deal, she wasn’t excited about the actual trip nor making friends, and eventually grew into it far too late in the story.

I then changed it to have the trip be her idea, and she ran away from home to chase this dream she had. Doing so gave her much more agency as an MC and gave her an immediate motive and goal so you wanted to see her succeed right from the get go.

Even villain protagonists have a goal, and generally they very much enthusiastically want to be in this story. You don’t have to like them, but you do have to want to root for them, if not for their success, then their eventual downfall in a blaze of glory.

—

Interested in a fantasy novel without a "chosen one" protagonist? Eternal Night of the Northern Sky is up for preorder in ebook, paperback on sale 8/25/24. Subscribe for updates if you'd like~

#writing #writing advice #writing a book #writing resources #writeblr #writing tips #writing tools #heroes and villains #character motivation

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sas-soulwriter · 1 year

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Twist for your story

Ever wondered why a well-crafted twist is crucial in a story? It's like the element of surprise that keeps you engaged, challenges your expectations, and ultimately makes the narrative memorable. A great twist is the heart of intrigue in storytelling. Here are some you can use!

The Sentient Object: Twist: An ordinary object, like a book, a mirror, or a piece of jewelry, is revealed to be sentient and possesses its own consciousness. It becomes a key player in the story, guiding or manipulating the characters.

The Collective Memory: Twist: A group of characters, seemingly unrelated, share a mysterious collective memory or dream that connects them in unexpected ways. They must work together to decipher the meaning behind these shared experiences.

The Language of Magic: Twist: Magic in your world is governed by a unique language or code. As the story unfolds, characters discover that the language itself is sentient and can influence events and outcomes.

The Eldritch Revelation: Twist: Characters stumble upon ancient texts or artifacts that contain forbidden knowledge about cosmic horrors or eldritch beings. The revelation of this knowledge threatens their sanity and forces them to confront incomprehensible entities.

The Mythical Betrayal: Twist: A character believed to be a mythical hero or savior turns out to be the story's true villain, deceiving everyone around them. The actual hero must rise from obscurity to confront this unexpected antagonist.

The Reverse Time Travel: Twist: Instead of traveling to the past or future, characters unwittingly bring historical or future figures into their present. They must adapt to the challenges and paradoxes this brings, all while trying to return these displaced individuals.

The Living Ecosystem: Twist: The entire world or ecosystem of the story is revealed to be a living, interconnected entity, and the characters' actions have profound consequences on its well-being. They must make choices that protect or harm this sentient world.

The Forgotten Prophecy: Twist: Characters initially believe in a well-known prophecy, only to discover that the true prophecy has been hidden or forgotten, and its revelation drastically changes the course of their journey.

The Inverted Morality: Twist: A society where good is evil and evil is good is introduced, challenging characters' beliefs and forcing them to question their own moral compasses.

The Quantum Reality Shift: Twist: The story shifts between multiple parallel realities or dimensions, and characters must navigate the complexities of these shifting worlds to achieve their goals.

The Manipulative Reader: Twist: It is revealed that a character within the story has the ability to influence the actions and decisions of the other characters, essentially "writing" the story's plot from within.

The Protagonist Swap: Twist: Midway through the story, the perspective switches from the original protagonist to a secondary character, offering a fresh viewpoint and challenging readers' assumptions about the narrative's focus.

#writing #creative writing #writing advice #writers block #writers on tumblr #writing community #writing tips #writblr #writeblr #tipss #twist #plottwist #bookish #books

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the-modern-typewriter · 6 months

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Hi, I really love your writing. It’s actually incredible how you can write people of the same pronoun and still make it easy to discern the two characters. I was wondering if you have any tips on how to do that without using phrases like “the short one” or anything like that.

1. Use the character's names

I often use 'the protagonist ', 'the antagonist', 'the hero', 'the villain' on tumblr. However, functionally, I use these like names and/or titles.

Using a character name allows you to periodically clarify who is talking or doing something when the reader would otherwise get confused. I know some people take this a step further by actually using 'Hero' 'Villain' as names more literally/directly, but I don't personally like doing that. It jars my brain.

I think 'the hero' etc works as an indicator where 'the short one' doesn't because it's neutral/not providing new info. Traditionally, we often only use physical descriptors when we don't know who a character is, so it creates distance/can jar when used in the middle of a scene. If you are in first person or limited third, there's just not necessarily a reason why your narrator would think of the other character in that way, which is another reason it can feel odd.

Basically, it's a bit like how we don't notice 'said', but would really notice if someone was uttering/shouting/mumbling in every dialogue tag.

2. Use proper paragraphing.

New character doing something, new line. New person talking, new line. New idea/point, new line. Shift in time or setting, new line.

3. Don't be afraid of easy beats

What are easy beats, you say? They are the moments of action or thinking in between dialogue. Body language. Whatever. Even if you don't use 'he/they/she said', because that can get repetitive. They are a way of providing context and variety to your writing, that can often do double work making it clear who is doing or saying something.

Example:

''So this is dialogue," they said.

"Right."

"And you didn't need to say you were talking next, because it was obviously someone else because it was on the next line. And now it's obviously me again. Hi!"

"All well and good until we've been chatting like this forever."

"Well." They stretched out, lazily. "That's what the easy beat that just happened was for. Did you catch me stretching in the middle?"

"But now I'd need a name or some kind of indicator," Character B replied. "Or it feels odd. Too many theys"

"It's all about balance, my friend. The instinct comes with practice."

Character B wrinkled their nose. "But what if I want to talk for a really long time?"

"Well," they said. "Then you can often start with a pronoun use or a character name to establish. Then you make your next point. Try and keep it relatively easy to follow. After that, try to have some kind of easy beat or action happen so the whole thing isn't talking heads." Character A rose towering to their feet, waggling their fingers in another hello. "And, if we're lucky, we never need to say 'the short one said' again, because we can flow our descriptions more naturally into the action.' Now." They sauntered closer, stopping in front of Character A with the worst smirk that B had ever seen. "Shall we ask the audience which of us is taller?"

#writing talk #writing advice #writing tips

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