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Writing Fight Scenes
Here are a handful of tips on how to write intriguing and strong *no pun intended* fight scenes! 1. Give your character a meaning behind their actions. Are they fighting to survive? Are they the aggressor or the victim? Are they defending someone they love or hunting down someone who hurt them? Makes sure the audience knows why this action scene is important to your character. Unimportant and nonmeaningful actions can be boring!
2. Short sentences. Generally speaking, longer more detailed scenes slow the pace of your novel down. This is because the reader has to take more time to read and absorb all the details. Quicker, brief sentences make the pace move faster because there is less for the audience to read. Most fighting happens quickly and instinctively— without too much thought or anticipation. When things are happening fast, we have less time to take in details.
🏃♀️ Fast-paced with minimal details: "He punched me in the cheek, my back molars ripping open my fleshy skin. By the time the next punch came, I was already choking on a mouthful of blood."
🐌 Too many details/thoughts that slow down the action: "His large fist hurled towards me with insane speed. I could hardly believe it. He punched my cheek so hard that my sharp, back molars ripped open my fleshy skin. It hurt so bad, but I couldn't stop the next punch from coming. Blood filled my mouth, the irony taste causing me to choke and for my face to wilt."
3. Use all five senses. When adrenaline is pumping, the body can become hyperaware! Touch and sight are the senses that most people focus on... but don't forget about smell, hearing and, taste. Does your protagonist hear dogs approaching? Do they taste the blood from their busted lip?
4. Don't' slow down the pace by adding too much detail. Try to keep an ebb and flow in your action scene. When the action is happening, keep the details quick and short— no one has time to think about their next move when in the heat of danger. However, you can balance the scene out by giving your character a chance to breathe and think and observe
5. Research/study. Watch famous fight scenes in movies or anime to see what is realistic and what is exaggerated. Pay attention to the pacing or what keeps you on edge. When does the character get a chance to think or come up with a plan? What makes this action scene so enthralling?
6. Consider what is at stake. Stakes always make a scene more tense. What does your character have to lose and how does this affect their mental state? Does it aid in their energy, or does it distract them from the fight?
7. Develop characters/the plot. Consider how this action scene will either further your character in the plot or set them back. Does this scene give them a lasting injury that follows them throughout the story, or do they lose an ally that they desperately loved? How does this affect them moving forward?
Instagram: coffeebeanwriting
oops! it seems i tripped and dropped several million free books, papers, and other resources
https://annas-archive.org
https://sci-hub.se
https://z-lib.is
https://libgen.is
https://libgen.rs
https://www.pdfdrive.com
https://library.memoryoftheworld.org
https://monoskop.org/Monoskop
https://libcom.org
https://libretexts.org
http://classics.mit.edu
https://librivox.org
https://standardebooks.org
https://www.gutenberg.org
https://core.ac.uk
Writing Problem: The Villains Are Cartoonish, Evil-for-the-Sake-of-Evil
Problem: The Villains Are Cartoonish, Evil-for-the-Sake-of-Evil
Solution: Villains require just as much character development as the novel’s heroes, protagonists, and perspective characters. Effective villainy incorporates consequential decision making, relatable character motivations, believable perspectives and experiences, and most important, intention. When a writer diversifies these facets of a so-named villain’s free will, humanity, personal interests, and relationship with the story’s main conflict, one is better-positioned to craft a more diverse and more engaging villain.
Writing Resources:
How Your Character’s Failures Can Map A Route To Self-Growth (Writers Helping Writers)
Good Character Flaws: Create Complex Antagonists (Now Novel)
50 Questions to Ask Your Antagonist (Alyssa Hollingsworth)
Antagonist Starts Good, Becomes Drunk With Power (related, master list) (Writing Questions Answered; ahbwrites)
16 Villain Archetypes (Chosen by the Planet; ahbwrites)
How to Give Your Antagonist a Little Humanity (Fiction Writing Tips; ahbwrites)
How to Write the Perfect Villain (Jericho Writers)
How to Build an Antagonist (How to Fight Write)
Negative Trait Thesaurus (Evil) (One Stop for Writers)
Theme and Symbolism Thesaurus (Evil) (One Stop for Writers)
❯ ❯ Adapted from the writing masterpost series: 19 Things That Are Wrong With Your Novel (and How to Fix Them)
The Intricacies of Crafting Character Deaths in Storytelling
Elevating Narrative Through Character Deaths
Character deaths wield the unique ability to transform the narrative landscape, serving pivotal roles that extend beyond the confines of plot advancement. They are moments ripe with potential to:
Deepen Plot Dynamics: The departure of a character can catalyze significant plot developments, altering the course of the narrative and presenting new challenges and dynamics for the characters left behind. This not only propels the story forward but also introduces complexity and unpredictability.
Enhance Character Arcs: The ramifications of a character's demise are felt most acutely in the evolution of surviving characters. Witnessing or grappling with loss can reveal hidden depths, trigger transformations, and redefine motivations, thereby enriching character arcs with nuanced layers of growth and introspection.
Amplify Thematic Resonance: Character deaths can serve as poignant reflections of the story's underlying themes—be it the fragility of life, the inevitability of change, or the nature of sacrifice. These moments offer a mirror to the thematic heart of the narrative, inviting deeper contemplation and emotional engagement from the audience.
Forge Emotional Connections: At its core, the impact of a character's death hinges on its ability to evoke a profound emotional response. This connection not only cements the audience's investment in the narrative but also elevates the storytelling experience, making it memorably resonant.
Discerning the Whys and Why Nots of Character Deaths
The decision to write a character out of a story should stem from a place of narrative integrity rather than convenience or shock value.
Valid Reasons Include:
Narrative Necessity and Integrity: A character's death should feel like a natural culmination of the narrative's direction and themes, serving as an essential link in the chain of the story's development rather than an arbitrary twist.
Emotional and Thematic Depth: If the demise meaningfully enriches the narrative's emotional landscape or underscores its thematic concerns, it justifies the inclusion.
Conversely, character deaths can detract from the story when:
Solely for Shock Value: Utilizing death merely as a tool for surprise can undermine the narrative's depth, leading to moments that feel unearned or manipulative.
For Plot Convenience: Eliminating a character simply to untangle complex plot threads can be perceived as a shortcut, cheapening the narrative's overall craftsmanship.
Crafting Deaths with Lasting Impact
The resonance of a character's death is profoundly influenced by the narrative groundwork laid both before and after the event.
Prior to the Death:
Robust Character Development: Investing time in developing the character ensures that the audience forms a meaningful bond, amplifying the impact of their loss.
Strategic Foreshadowing: Implementing subtle hints about the character's fate can enhance the sense of inevitability and poignancy of their demise, while still preserving the element of surprise.
Narrative Integration: The potential death should be deeply intertwined with the story's fabric, ensuring it feels like a consequential event rather than an isolated incident.
Following the Death:
Showcase Reactions: Illustrating the emotional and practical aftermath of the death through the eyes of surviving characters adds layers of realism and depth to the narrative.
Honor the Legacy: Exploring how the deceased character's influence persists, whether through the memories of others, the impact of their actions, or ongoing storylines they set in motion, can enrich the narrative's continuity and emotional resonance.
Mindful Tone Setting: The narrative tone in the wake of the death should reflect its significance, allowing both characters and audience adequate space to navigate their grief and find closure.
Navigating the Ethical Landscape
Writers must tread carefully, mindful of the ethical implications and the messages their stories convey through the depiction of death. It's crucial to handle such moments with sensitivity, avoiding the trivialization of loss or perpetuation of harmful stereotypes. Moreover, understanding genre expectations and audience sensibilities can guide the frequency and portrayal of character deaths, ensuring they enrich rather than detract from the storytelling experience.
Conclusion
The decision to conclude a character's journey through death is a formidable aspect of storytelling, demanding careful consideration and thoughtful execution. By anchoring these moments in narrative necessity, emotional depth, and ethical sensitivity, writers can craft deaths that not only serve the story but also offer a lasting impact on the audience. Such carefully navigated departures not only underscore the stakes and depth of the narrative but also foster a deeper emotional connection between the story and its readers. Ultimately, the art of writing character deaths is about balance—between advancing the plot and honoring the emotional journey of the audience, between the shock of loss and the narrative necessity, and between the finality of death and the enduring legacy of a character’s impact.
Happy Writing!
See Slaying Fiction for more fun content.
The Intricacies of Crafting Character Deaths in Storytelling
Elevating Narrative Through Character Deaths Character deaths wield the unique ability to transform the narrative landscape, serving pivotal roles that extend beyond the confines of plot advancement. They are moments ripe with potential to: Deepen Plot Dynamics: The departure of a character can catalyze significant plot developments, altering the course of the narrative and presenting new…
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10 Tips for New Writers
Find people to write with (another beginner writing buddy, critique groups for beginners, a mentor or teacher, online writer groups that you trust)
Accept all feedback, but you ultimately decide what changes to make
If you want to traditionally publish your writing—don’t post it online. Anywhere.
Be choosey with who you share your writing with
Rejection does not determine your writing’s worth.
First drafts are meant to be bad—you can’t edit a blank page
Write as much and as often as makes you happy
Try out lots of different techniques until you find the one that really works for you
Write what interests you—not what you think others will be interested in
Ultimately, writing is supposed to be fun—don’t be afraid to have fun with it!
10 Tips for New Writers
Find people to write with (another beginner writing buddy, critique groups for beginners, a mentor or teacher, online writer groups that you trust)
Accept all feedback, but you ultimately decide what changes to make
If you want to traditionally publish your writing—don’t post it online. Anywhere.
Be choosey with who you share your writing with
Rejection does not determine your writing’s worth.
First drafts are meant to be bad—you can’t edit a blank page
Write as much and as often as makes you happy
Try out lots of different techniques until you find the one that really works for you
Write what interests you—not what you think others will be interested in
Ultimately, writing is supposed to be fun—don’t be afraid to have fun with it!
Hi! Questions!!
Trying to write a lengthy story, but I don’t know how to start. The plot is so messy in my brain, and I can't understand how to plan the outlines. I'm feeling really demotivated. It’s my first time attempting to write a novel/long fic. Sometimes, I imagine my characters and their romantic scenes, but damn! I just can’t seem to write. Another problem is that I'm writing the story in English (even though I've written many stories in this language before, it’s not my native language). I tried writing another story in my native language, but it feels like my mind is a blank slate, and I can't write anything.
Here are some posts to help you get started:
Guide: How to Turn Ideas into a Story Guide: Starting a New (Long Fiction) StoryGuide: Filling in the Story Between Known Events Guide: How to Outline a Plot Basic Story Structure Beginning a New Story How to Move a Story Forward Plot Driven vs Character Driven Stories Understanding Goals and Conflict Trouble Getting Started Writer’s Block Want to Write but Can’t Come Up with a Plot Have Plot, Can’t Write Deciding How to Open Your Book Finding a Story in Characters and Setting Finding a Plot to Go with Characters/Setting Where to Find Story Ideas Coming Up with Ideas and Plot
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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!
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free resources to write a novel in 2024
hello hello! it's me, rach!
as the new year approaches, many of us set goals and resolutions - myself included. one of my goals for 2024 is to write a novel (I've been procrastinating on this for quite a long time now). i assume that some of you might have the same goal, that's why I'm writing this post today.
over 2023 i've been releasing some freebies for authors just like me, so I thought I could compile my favorites in this post. hope you find this useful :)
1) the writer's workbook
this workbook has over 60 exercises to help you develop characters, scenarios, etc. if you're ever stuck, I'm pretty sure this workbook will be your best friend.
2) author's corner (notion template)
this is the most downloaded freebie in my shop! it is a notion dashboard with everything you need to organize your writing and has some templates included (like scrivener)!!
3) another notion template
this one has two themes you can choose from: cottage-core and dark academia. they're very similar to the previous template, but this one is more recent and I added some new features. feel free to explore both and pick the one you like the most.
4) the author's journal
this is a cute printable with 20 pages that will help you stay on track and manage your social media accounts as a writer who shares their work online. you can also register what you're currently writing and your personal research and resources.
5) plan your book printable
this is a 6-page printable for you to fill out and plan your book easily and effectively.
6) excel sheet to organize tasks & word-count
this is a simple excel sheet, but it is very effective for keeping track of your tasks & word-count of your novels. also, it is 100% customizable to your liking!
that's all for now! feel free to explore my gumroad shop where I have plenty of freebies to grab! also, don't forget to subscribe so that you never miss any opportunity to get a goodie for free :)
hope this post was useful!
have a nice day,
rach
Etiquette of the Edwardian Era and La Belle Époque: Ball
This is a new set of posts focusing on the period of time stretching from the late 19th century to the early 20th Century right up to the start of WWI. I'll be going through different aspects of life. This series can be linked to my Great House series as well as my Season post and Debutant post.
Let's throw a ball, my darling. It is the age of elegance and opera gloves. Etiquette during these events was as intregal as the music. So let's delve in and dance the night away.
Preparing to host a Ball
Balls in this period weren't just little get-together with a little music in the corner. These were large productions and required the entire household to pitch in. The ballroom would have to be cleaned, chandeliers would need polishing. Any large halls would need to be cleared of any furniture to accommodate a large crowd. If throwing a ball, you need to set aside more rooms than just the ballroom. You will need a room to store any cloaks, coats and hats (a valet and lady's maid would have charge of this), a room for refreshments and sometimes a room set up for any other entertainment such as cards. The dining room would also be needed for a supper (yes, suppers are expected). A ball requires the best of the best. Musicians would be hired, the kitchens will be slaving all day, butlers will be decanting the best wines and select the finest liquor, and rooms made up for anybody thinking of staying the night. The kitchens will have to prepare light snacks as well as the late supper, so everything must be cooked at exactly the right time and kept in optimum condition until needed. A red carpet would be laid from the front door right down to the pavement with an awning to keep the worst of the weather off. Invites should be sent out a few weeks prior and should attempt not to clash with any other event, you may compete who has the best ball but you should never force guests to snub another to go to your ball. Servants should be prepared for a long night, so they may dine earlier in the day to sustain them. Footmen would wait outside to open carriage doors and direct guests to the door. The butler would have to greet them, announce their arrival (not by order of rank but simply in the order they arrive) in the hall and then toward the coat rooms to relieve themselves of any coats or hats. These balls were very expensive affairs. Between food, drink, entertainment, their clothes, wages and getting their house up the snuff, a host could expect to fork out thousands if not more. Alva Vanderbilt's great costume ball cost her $6 million in today's valuation ($250,000 in her era).
The Hosts on the Night of the Ball
The hosts of the ball should be ready to recieve guests promptly. The lady of the house should be downstairs an least an hour before kickoff to check the work of the servants and provide last minute commands. The hosts would wait in the hall and greet guests. The butler will announce every guest while valets and lady's maids take charge of any coats. After guests have shed their coats, they would then greet the host, usually exchanging a few words and thanking them for the invitation before being escorted into the ballroom. The hosts would usually begin the ball themselves or if there was a guest of honour, they would allow them to open the ball. Dancing is only meant to begin with the invitation of the hosts. If there's music playing, it's not an invitation to dance. Hosts have a duty to ensure everyone is having a good time. They will be expected to dance and ensure people are partnered.
Guests
Guests are expected to arrive in a certain time frame. Balls usually begin quite late into the night, usually around 10pm. It would do no good to arrive too early and ride to arrive midway without a viable reason. There may have been a previous event, such as a theatre engagement or an opera so if you are coming from there and everybody eksevgas arrived on time and you show up late, you had best apologise. Guests must only attend if they have been invited by the hosts. You can't just rock up to a ball and expect to be admitted. If a guests wishes to have a friend who is a stranger attend the ball, they can request for the host to invite them. Guests will arrive by carriage or on foot if they live nearby. If arriving by carriage, one must allow for appropriate space between coaches and room for them to pull out. Also, it is a good idea to remind your driver when to collect you. Guests are always expected to greet the hosts as soon as they can, thank them for the invitation and be courteous at all times. Guests should not comment negatively on anything the hosts have provided such as the food or music, it's better to reserve opinion until another less public event. Guests are encouraged to mingle but strangers must be introduced by a mutual acquaintance or even the host. Wandering off through any section of the house not designated as part of the ball is prohibited as is sneaking off into the gardens. Also if one expects to stay for the night (say you live far away and have travelled to get there) you must have requested it of the host a few days at least before.
Dancing Etiquette
Dancing is one of those things in this era that isn't just a pastime but a ritual. Men asked women for the privilege of a dance, a waltz perhaps. Women would not ask a man. Women would have dance cards where gentlemen could request to partner them for certain dances. If a woman has turned down a gentleman for any reason but has no designated partner for the dance, she must sit that particular dance out. A lady should limit dances with the same partner lest it be a root of scandal: it is not considered terrible to dance two dances with the same partner but questionable if you were to dance with the same partner for multiple dances in a row. It is frowned upon for a lady to reject a dance partner when it is his honour after accepting him earlier. And also highly insulting for a man to spurn a dance partner he has sworn to dance with. It is usually customary for the man to ask whether his partner would like a refreshment, wherein he can escort her to find it. They may chat until the next dance whereupon he must excuse himself with a bow and relieve her of his company so she may dance with her next partner. When supper is announced, the last partner is ecoected to escort his lady into the dining room.
Timeline of a Ball
As stated above, Balls usually start around 10pm (but can be held earlier). Once all the guests have arrived and the hosts enter the ballroom, the dancing can go on. Around 1am there would be a light supper. Small refreshments such as canapés would be available throughout usually offered by footmen stationed around the house. Servants would stay up around the clock to unsure that everything runs smoothly, fetching drinks and later after the ball studying up. Balls would end about 3-4am, whereupon carriages would return to fetch guests and ferry them home. Guests staying would head upstairs. Anybody staying over would be treated to a breakfast in the morning.
Theme
Many balls were themed. Themed balls were usually announced months in advance to allow costumes to be made. A guest should not arrive without having paid attention to the theme as it not only can show poor time management but may be seen as an insult to the host. All guests were expected to adhere to theme where it be a "servant's ball" where they would dress as servants or even a Costume balls are all about extravagance but it's better to rein yourself in (we're side eyeing you, Kate Strong). The grandest costume ball of all time was of course Alva Vanderbilt's grand affair of March 26, 1883. Costume balls were very expensive affairs, with some guests spending up close to thousands of pounds/dollars on their looks. At one ball in 1893, the infamous Bradley-Martin affair, guests spent nearly $400,000 on their costumes - during a particularly bad financial crisis. The overall party cost $10 million.
Dressing for a Ball
Dressing as you know from the previous post is a large part of etiquette of this era. The right costume for the right event is paramount if one wants to make the right impression. Newspapers often wrote about who wore what so it was important to dress your best.
Men must wear a suit or tailcoat, always black. A ball is white tie so he must dress accordingly. He would arrive with a top hat which he would surrender to a valet. He would keep his gloves on when dancing.
Ladies are encouraged to wear a gown usually of a subtle colour with with a décolleté that leaves the upper arms snf shoulders bare. A woman's gown was important as it not only helped her stand out.
A sensible woman for goes her heels and wears pumps to dance as she will be on her feet all night.
Tiaras are beautiful but when dancing all night, it's perhaps best to pick the lightest or go for a simpler headpiece such as a feather or a broach. Wearing a heavy tiara all night while dancing will give you a migraine (it's painful).
Also it's better not to over accessorize. You don't want to be mid spin and all your pearls go scattering across the floor or catch a bracelet in your partners' jacket. Minimalism is best.
A woman may even chose to decorate her gown with fresh flowers.
How to Behave at a ball
Gloves are to be worn at all times when dancing. You only remove your handling food or playing cards. White gloves are preferred but light shades can be forgiven. Gloves for women are worn to the elbow, men's to the wrist.
No lady should arrive at a ball without an escort, either an older woman or a family member.
Men who come to the dance and are unwillingly to dance despite being able to should stay away (I'm not kidding, this is in several etiquette books)
Married couples are not expected to dance together but it is not barred.
A man should always be careful of his lady's train and that of any other. Do not stand on them.
Outward PDA is not permitted. A kiss on the hand or kiss on the cheek is permitted, as is a hand tucked into the crook of an arm but one must swing out of people.
Don't hurry onto the dancefloor (even if it is your song)
When a gentleman seats a lady at the table, he must offer her thanks for her favour.
If a lady does refuse to partner a gentleman but then dances that dance with another without prior agreement, the gentleman is expected to restrain himself from confronting her. He is permitted to never offer her a dance again if this happens.
No lady should ever be unaccompanied at any time. They should have a companion or an escort to make sure they are kept in the loop at all times.
If dancing a set, your choices must be made swiftly and wisely.
A gentleman is without saying barred from going into the women's coat room. That's a no no, stay out of there.
If a gentleman wishes to partner a woman he doesn't know, he must have a mutual friend to introduce themselves and if they don't have one, the host would be on hand to introduce them.
When attending a ball, it's better to avoid heavy topics of conversation. It's better to stick to neutral smalltalk. No party is enjoyable with people standing on soap boxes.
When dancing, good posture is not only favourable but stops the body from any undue movements.
Try not to join in when the dance is midway or almost over. Be prompt.
If your partner is missing, you should not replace them. You should sit the dance out.
The hostess is in charge of ensuring that her female guests are provided with a partner if they wish to dance and gave not been asked.
If a man accompanies a woman to the ball, he's expected to dance with her on her first and last dances of the evening.
If one invites a lady to a ball, a carriage must be provided to ferry her.
Popular dances of the era
Waltz: The Waltz is seen by many as a reserved dance nowadays but in this era it struck many as a questionable dance because of how close the couple must get. It is a simple dance, requiring 6 steps all with a "box step". It's an elegant and popular dance of the time. A gentleman or whoever is leading should place their hand on the waist of their partner and their partner should rest their hand upon their shoulder.
Cakewalk: The Cakewalk had it's beginnings with enslaved peoples on American plantations. It was a satire poking fun of white plantation owners, mimicking the way they behaved at their own balls. It was later adopted into white society who did not get the joke. It was a group dance where multiple couples set themselves in a square (men on the inside), stepping and strutting to the music. In some instances, a cake was awarded to the most impressive couple which gives the dance it's name (also because it was a piece of cake to perform). The Cakewalk is seen by many as the seed of many of the jazz dances that would dominate the 20s.
Polka: A Polish dance. It requires 3 swift steps followed by a hop. The music is at is 2/4. The couples circle about the dance floor.
Krakowiak: A Polish dance for multiple couples. The leading male dancer (from the first pair) leads the steps for all the couples, and on approach to the band must tap his geeks and sing an improvised verse to his partner, the rhythm the band must match. The couples break up to form a circle. The leading couple will remain before the band. The couples would then dance around the room during the rest of the tune.
Mazurka: This is a lively dance, with it's beginnings in Polish folk dance. Couples gather in circles. The dance requires music with a forceful accent on its second beat, in time at 3/4 or 3/8. This dance has no set figure, relying on the skills of the couple yo improvise. However there are over 50 different steps.
Redowa: A Czech dance. The dance begins with a closed position, their clasped hands pointing the direction they will dance. A leader (the first couple) will take a slight leap around his partner with their left foot tmfollowed by a gliding step with their right. This foot must be pointed, the left leg slightly bent and the back straight. The next set turns the leader about toward the front line again, their left leg is now forward and straight, the right now bent. The left leg is now meant to tuck beneath the right leg with is extended backwards. Another leap to the right leg finishes the pattern. The next couple, the follower, begins movement on the early beats where the leader makes moves on the second set of beats
Castlewalk: The leader moves forward while their partner goes backward. The partner is guided around the room, the leader's arm around their right side under whilst their lest hand rests on the leaders opposite shoulder. Their other arms are clasped, held aloft. The leader begins on their left foot, their partner on their right. They will move with gliding steps, stepping on each beat of the music. They will dance in a circle, moving about the room with other couples, their circle gradually growing smaller and smaller on three very quick turns.
Quadrille: The Quadrille is an older dance but still very popular in Gilded Age America. It is made up with a series of 4-6 contredanses (country dances). The Quadrille is a group dance, made up of sets. The standard Quadrille is five parts, the Viennese contains six. Each section is danced with a combinations of figures. A combination was a set of steps and movements. Examples would be the ladies chain (chaîne des dames) or the two hand turn (tour de deux mains).
How to get into the mind of a character? Honestly this can be for your OWN character or a fictional character. I'm wanting to write for characters- headcanons and fanfictions- and I'm so afraid I'll write them so uncanny to how they actually are.
How to get into the mind of a character?
To get into the mind of a character, you have to understand that character, believe in that character, and even "live" the character's life. But we all know each individual is different, and we cannot live different lives. A normal person who grew up in peacetime cannot fully understand the hardships of a warrior, and a doctor cannot know the thoughts of a mafia boss.
So, how can writers create believable characters? How can they possibly offer a believable soldier, cop, detective, alcoholic, or any given character type if they themselves haven't lived as them? How can they possibly offer a believable character in a situation that they've never been in?
Here are some tips you can use to get into the minds of characters:
Tip 1: Observe real-life people
To create well-rounded characters, observe real people around you. Pay attention to their behaviors, mannerisms, speech patterns, and thought processes. Take note of how they express emotions, handle conflicts, and make decisions. Drawing from real-life observations can add depth and authenticity to your characters. You can also search for novels and movies with different themes, study how characters with different pasts, biographies, occupations, and personalities act, behave, gesture, and speak. The best way is to prepare a small notebook and a pen so you can carry it with you wherever you go.
Tip 2: Create a detailed character profile
Develop a detailed character profile that includes information such as their age, background, beliefs, values, goals, and fears. Consider their relationships with other characters and how these dynamics influence their thoughts and actions. Delve into the character's past and explore significant events that have shaped them. Consider their upbringing, traumas, successes, and failures. These can provide you with a roadmap for understanding the character's mindset.
Tip 3: Use internal monologues and journaling
Imagine the character's internal thoughts and dialogues with themselves. Consider what they might be thinking in different situations, their hopes, dreams, and fears. (And why do they dream of that? Why are they afraid of that thing? What in the past made them afraid? Always asking questions.) Writing internal monologues or journal entries from the character's perspective can help you delve into their mindset and gain insight into their unique voice.
Tip 4: Consider their external influences
Characters are influenced by their environment, culture, and society. Reflect on how external factors such as family, friends, societal norms, or even the story's setting impact their thoughts and behaviors. This will help you portray their worldview more accurately.
Tip 5: Study the source material
If you're writing about an existing character from a book, TV show, or movie, immerse yourself in the source material. Pay attention to their dialogue, actions, and interactions with other characters. Take note of their personality traits, motivations, and backstory. This will help you develop a strong foundation for understanding the character. For example, recently I suddenly became interested in Nightwing (do you know him? Nightwing from the Batman series!), and I wanted to write a few short stories about him. So I found all the comics and movies that featured Nightwing and watched them one by one. I don't take notes because I have a pretty good memory (especially for characters I like), but I still recommend taking notes on special things to note.
Tip 6: Practice free writing
Set aside time for free writing exercises where you write from the character's point of view. Allow your thoughts to flow without judgment or editing. Just write, write, and write. You can reread and make corrections after you're done. Remember to gather your posts in one place; otherwise, you'll lose or forget them (like me!).
Getting into the mind of a character is an ongoing process that requires continuous exploration and refinement. The more you invest in understanding your character's thoughts, feelings, and motivations, the more compelling and authentic your writing will become.
Additionally, you can read my articles on how to write an effective character here:
How to create a superbad villain
How to make a villain's appearance memorable
Basic questions for your character
Describing a villain's appearance in a natural way
Create an effectively past for character
Common character motivations
How to create a good main character
How to avoid the instance where a secondary character stands out more/ is more lovable?
Character flaws
Writing a good Anti-Hero
Character positive traits
How to write an elderly main character?
Protagonist who is a ballerina
How to write a believeable egotistical character
The Case for NOT Describing your Character’s Appearance
When I read a good novel, I identify so strongly with the main female character that I picture her as looking a lot like me—not necessarily the plump, little, old lady I am today, but the idealized version of me at the character’s age (maybe a little more voluptuous, taller, and put-together than my actual self).Continue reading Untitled
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How to Create Complex Character Outlines
Creating a three-dimensional character in a story can be one of the more difficult aspects of storytelling. Even if you base a fictional character off of someone you personally know, human beings are incredibly complex, and translating from real life to page isn’t always easy. Continue reading Untitled
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For fear of stumbling into the mess that is the stupid "depiction is endorsement" idea, novels have lost their weirdos and freaks.
Made this design based on the work of Carl Golden for whoever may need a little help with their character’s development
Here's a summary:
MILIEU: A milieu story concerns the world surrounding the characters you create.
IDEA: An idea story concerns the information you intend the reader to uncover or learn as they read your story.
CHARACTER: A character story concerns the nature of at least one of the characters in your story. Specifically, what this character does and why they do it.
EVENT: An event story concerns what happens and why it happens.
Let's examine each of these in turn.
Advice for writing relationships
Ship Dynamics
How to create quick chemistry
How to write a polyamorous relationship
How to write a wedding
How to write found family
How to write forbidden love
Introducing partner(s) to family
Honeymoon
Date gone wrong
Fluffy Kiss Scene
Love Language - Showing, not telling
Love Language - Showing you care
Affections without touching
Giving the reader butterflies with your characters
Reasons a couple would divorce on good terms
Reasons for breaking up while still loving each other
Relationship Problems
Relationship Changes
Milestones in a relationship
Platonic activities for friends
Settings for conversations
How to write a love-hate relationship
How to write enemies to lovers
How to write lovers to enemies to lovers
How to write academic rivals to lovers
How to write age difference
Reasons a couple would divorce on good terms
Reasons for having a crush on someone
Ways to sabotage someone else's relationship
Ways a wedding could go wrong
Arranged matrimony for royalty
If you like my blog and want to support me, you can buy me a coffee or become a member! And check out my Instagram! 🥰
In case you writers ever wondered. Made by Carrie Patrick on Facebook.
Eight Strategies for Improving Dialogue in Your Writing
Well, hi! Oh my… wow! It’s been a long time since I’ve posted! I’ve been very busy and I am genuinely sorry to all my followers, but that doesn’t mean I’ve forgotten about this account, but here is one final post for the year!
Hopefully next year I become consistent with it again!
Let’s begin!
One of the best ways to help a reader connect with your writing is by crafting excellent dialogue. Use these tips to learn how to write dialogue that showcases character development, defines your characters’ voices, and hooks readers.
Why Use Dialogue?
Good dialogue performs all sorts of functions in fiction writing. It defines your characters’ voices, establishes their speech patterns, exposes the inner emotions, and showcases their character development. Beyond mere characterization, effective dialogue can also establish the setting and time period of your story and reveal information in a way that doesn’t feel overly expository.
Authors use lines of dialogue to reveal a character’s personality and express their point of view. For instance, an archetypal football coach might speak in short, terse sentences peppered with exclamation points and quotations from famous war generals. By contrast, a nebbish lover with a broken heart might drone on endlessly to his therapist or best friend, speaking in run-on sentences that circle around his true motivations. When an author can reveal character traits through dialogue, it cuts down on exposition and makes a story flow briskly.
Eight Writing Tips for Improving Dialogue
The first time you write dialogue, you may find it quite difficult to replicate the patterns of normal speech. This can be compounded by the concurrent challenges of finding your own voice and telling a great story overall. Even bestselling authors can get stuck on how a particular character says a particular line of dialogue. With practice and hard work, however, lackluster dialogue can be elevated to great dialogue.
Here are some strategies for improving the dialogue in your own work:
Mimic the voices of people in your own life. Perhaps you’ve created a physician character with the same vocal inflections as your mother. Perhaps your hero soldier talks just like your old volleyball coach. If you want to ensure that your dialogue sounds the way real people speak, there’s no better resource than the real life people in your everyday world.
Mix dialogue with narration. Long runs of dialogue can dislodge a reader from the action of a scene. As your characters talk, interpolate some descriptions of their physical postures or other activity taking place in the room. This mimics the real-world experience of listening to someone speaking while simultaneously taking in visual and olfactory stimuli.
Give your main character a secret. Sometimes a line of dialogue is most notable for what it withholds. Even if your audience doesn’t realize it, you can build dynamic three-dimensionality by having your character withhold a key bit of information from their speech. For instance, you may draft a scene in which a museum curator speaks to an artist about how she wants her work displayed—but what the curator isn’t saying out loud is that she’s in love with the artist. You can use that secret to embed layers of tension into the character’s spoken phrases.
Use a layperson character to clarify technical language. When you need dialogue to convey technical information in approachable terms, split the conversation between two people. Have one character be an expert and one character be uninformed. The expert character can speak at a technical level, and the uninformed one can stop them, asking questions for clarification. Your readers will appreciate it.
Use authentic shorthand. Does your character call a gun a “piece” or a “Glock”? Whatever it is, be authentic and consistent in how your characters speak. If they all sound the same, your dialogue needs another pass.
Look to great examples of dialogue for inspiration. If you're looking for a dialogue example in the realm of novels or short stories, consider reading the great books written by Mark Twain, Judy Blume, or Toni Morrison. Within the world of screenwriting, Aaron Sorkin is renowned for his use of dialogue.
Ensure that you’re punctuating your dialogue properly. Remember that question marks and exclamation points go inside quotation marks. Enclose dialogue in double quotation marks and use single quotation marks when a character quotes another character within their dialogue. Knowing how to punctuate dialogue properly can ensure that your reader stays immersed in the story.
Use dialogue tags that are evocative. Repeating the word “said” over and over can make for dull writing and miss out on opportunities for added expressiveness. Consider replacing the word “said” with a more descriptive verb.
seeking out physical affection
comparing hand-sizes to hold their hand against the other's and then just holding hands
leaning against the other one in close spaces
acting like they're cold to have an excuse to cuddle or share clothes or blankets
brushing a strand of hair away
grabbing each other's hands in crowds or when crossing the street to "be safe"
turning their cheek to get the other one to give them a peck
brushing their arm against the other's, hoping the other would finally catch their arm and hold it close
fixing the other's hairstyle to let their hands run through their partner's hair
draping the arm around their shoulder while sitting next to each other
lightly tickling the other one, almost hoping it gets retaliated
reaching out with their hand without saying anything, wanting the other one to grab it
linking arms when walking around together
trying to get the other to dance with them
bumping shoulders into each other
wrapping arms around the other's neck when standing behind them
USEFUL WEBSITES FOR WRITERS
Writing With Color: Helps with writing about culture, ethnicity, and religion. Overall, it gives advice on how to write about diversity.
Name Generator: As the name says, it helps you build names for your characters. Very useful if you cannot think of names for your characters!
KathySteinemann: The 'archive.pdf' section helps you with synonyms in case you struggle to find the right word for your sentences (also to avoid using redundant words).
Spwickstrom: Similar to the previous one, this one provides grammar tips. Extremely helpful when finding phrases, verbs, conjunctions, adjectives, and so on.
Servicescape: The perfect website if you're experiencing writer's block. It provides writing prompts. It helps you spark creativity when it comes to writing.
reblog to help other writers !!
Sad things you can do in a book other than killing of a character
Character death is sad, but it also has huge consequences on your plot that can’t be reversed. Not to mention, depending on your genre, character deaths are often reserved for later in the series as a way of telling the reader that things are getting serious.
So, until that moment, here’s a quick list of things you can do to tug at your readers emotions:
1.- Destruction of an item of value. For this to work you’re going to have to set this up early on, it could be a childhood toy they need to sleep at night, a necklace they swear gives them good luck, and old family trinket or any number of things. The important thing is you show just how important it is to the character, make them happy and excited just to talk about it. Later on your character will feel loss and so will the audience.
2.- Arguing. Two characters with a strong bond arguing can be heartbreaking, even if you know the argument is going to resolve itself eventually, going from cuddles and banter to cold looks and the silent treatment, can easily hurt the audience just as much as the characters.
3.- Betrayal. When well done, it’s worst than character death. When you as a reader fall head over heels in love with a character, only for them to betray the rest, it’s heartbreaking, especially if when you read back the foreshadowing was there. It was so obvious yet you were all so blind! As blind as the other characters. Also, unlike character death, they’re still there, there to taunt you with their mere existence.
4.- Failure. We have probably all felt that emptiness, that feeling as the world crumbles around us, haplessness, when we failed an exam in school or just couldn’t get the house clean in time for that visit. Take that feeling and reflect it into your characters, it doesn’t have to be an exam, it can be anything, a task they’re parents asked them to do and they tried their best, a mission, anything. Just let them fail and feel the world crumble.
5.- Being forced to stay behind. Following from point four, if a character is not good enough they can be left behind, perhaps it comes from a place of love, an attempt to protect them from enemies too strong, yet it still hurts. Perhaps they haven’t failed, perhaps they are left behind for another reason, because they are “too valuable”, or because they’ll be more useful back home. Either way, watching those close to you go of to fight for what you believe in, without you, can be painful.
6.- Finding out something they believed in was a lie. It can be something relatively insignificant, an assumption they never bothered to question. Or something world shattering. Allow me to offer up an example with an unimportant spoiler from my second book (it’s not even out yet but oh well): in this book, while talking about some law, Henry realises his daughter believes he and her mother were married. This is an assumption Itazu made and never questioned. It affects nothing, nothing changes, yet finding out her mother and her father were not the happy married couple she’d always pictured, it’s painful.
This could also be something huge, finding out you’re adopted for example.
7.- History. Oh, history, how depressing it can be. And if you have a fantasy world you have many opportunities to go into this. From slaughters to slavery, finding out how society got to where it is, the base on which it is built. Well, it’s pretty depressing. Obviously be careful how much inspiration you take from real world history and always be respectful and do your research!
8.- Scarring. An injury can be painful, it can be scary. And depending on what caused it, leave you with traumatising memories. Now add to that a physical visible reminder on your skin you can never remove. Well, that can be pretty horrible. Imagine the scar came from a battle the protagonist longs to forget, but can’t because every night before going to sleep they can’t help but glance at their arm where the nasty scars forever lies.
As usual, check out my book, stories I’ve written plus other social medias: here.
This another post I could probably do a part two on someday. Can you think of any books where any of these are done effectively? Do any of these happen in your owns book? Please tell me! I love hearing from you all.
I was getting pretty fed up with links and generators with very general and overused weapons and superpowers and what have you for characters so:
Here is a page for premodern weapons, broken down into a ton of subcategories, with the weapon’s region of origin.
Here is a page of medieval weapons.
Here is a page of just about every conceived superpower.
Here is a page for legendary creatures and their regions of origin.
Here are some gemstones.
Here is a bunch of Greek legends, including monsters, gods, nymphs, heroes, and so on.
Here is a website with a ton of (legally attained, don’t worry) information about the black market.
Here is a website with information about forensic science and cases of death. Discretion advised.
Here is every religion in the world.
Here is every language in the world.
Here are methods of torture. Discretion advised.
Here are descriptions of the various methods used for the death penalty. Discretion advised.
Here are poisonous plants.
Here are plants in general.
Feel free to add more to this!