Botanical Names Part I

Botanical Names Part I

Names you can choose for your characters. Taken from the little signs in a botanical garden. So they are names of plants.

Adoxa

Potentilla

Fraxinus

Stellaria

Valeriana

Iris

Tulipa

Syringa

Danthonia

Avena

Silene

Irsine

Amaranthus

Barbarea

Cleome

Nigella

Erica

Arbutus

Malva

Calluna

Viola

Phyllis

Majorana

Salvia

Morina

Petunia

Calliandra

Veronica

Gilia

Juniper

More names!

when whumper is untouchable

powerful. a king, a general, a noble. they have the world’s resources at their fingertips 

beloved. rich, connected, influential. adoring fans who will rip you to shreds if you say a word against them

superpowered. hyper-intelligent, massively destructive, or a mind controller. the game is just too easy for them

an unstoppable force. a giant, a dragon, a god. an army couldn’t stop them. what are you going to do?

when the odds are stacked against you and you know it won’t be over until one of you is dead

Day 31: Bonus Day

Cape

“Your suit must include a cape,” cut the Designer dryly. “If you’re a Hero, you have to wear a cape.”

Hero squirmed uncomfortably:

“But- didn’t the Edna Mode School of Thought say-”

The end of this sentence died on their lips as Designer glared at them, waving dangerously with their scissors gliding in their hand:

“I know what they say. Do you fly?”

“N-no?”

“Then most of the risks are averted. All clothes have dangers, if you put it like that. You can trip on a scarf or on new shoes too.”

“But capes do nothing.”

“Excuse me? The propaganda has come too far!”

Designer rubbed their forehead:

“Look, if you’re cut from help and backup, trust me, you’ll be grateful for the extra fabric. You can carry things or a person with it. You can rip it apart for bandages. It can be used as a shock blanket or a way to protect anonymity. ”

“I-I didn’t think about that-”

“Exactly.”

Designer stepped forward and poked at their forehead:

“So you’re gonna walk out to the world with your shiny new suit, you’re going to heroically cover a citizen in need with your crazy useful cape, and you’re going to look damn good doing it. Understood?”

“Y-Yes, Designer.”

"Don't be ungrateful to the Cape and its wonders. Or it will end you."

*

Aaand that makes 10 snippets. Thanks for the event @augusnippets, it's been fun !

Back to the Hero x Villain Masterlist

Whump/Horror Masterlist

Writing extreme emotions

How to convey specific feelings in an in-character way

—Body language

How do they behave? Are they jumping around and cheering, or do they quietly shake their fist in rage as they stare through the other people? Depending on the character, one can mean a lot more than another. For example, a quiet, shy character getting worked up means a lot more to the audience because we get to see a new side to them

—Breathing

Obviously everyone breathes. But irregular breathing patterns (especially when they’re noticed by someone who’s not the MC) can tell a lot about what their reaction is. Are they losing their breath from laughing to the point where they begin to laugh and cry? Or is the world spinning around them as they begin to hyperventilate, going lightheaded and feeling overwhelmed?

—How they interact with their location

Are they throwing things, staring straight through all of the beautiful scenery, or are the bright colors blinding them? The more public and busy the location is, the less they may feel inclined to really act out, or maybe part of it is that they’re so emotional that they don’t care. Just try to keep the setting in mind for any dramatic, emotional scenes.

—Other people’s reactions

Consider how much the outburst is out-of-character when thinking about reactions. Do people run to console the anti-hero when they break down into tears, or do they stand there awkwardly not knowing what to do? Or, does this happen so often that others know exactly what to say and do, or are they so tired that they stand in the corner, defeated?

—Remember to stay in character

If you want this scene to stand out, you need to remember the characters themselves. Everybody gets emotional and breaks down, and when you can make it true to the character, you will make it real to the audience

characters on the run

always so tired. driving for hours and hours in whatever shitty beater they find or steal, downing caffeine and too many five-hour energy shots pickpocketed from some gas station

sleeping cramped up in some bus or train seat, slumped over in a transit terminal, hoodie pulled up tight in the hopes of not being recognized

nodding off but jerking awake every single time, exhausted but hardwired to be paranoid even with caretaker's gentle touch and quiet reassurances trying to get them to rest

so much time spent running or fighting they eventually just crash. stoic characters slumped and snoozing, trying to keep watch and instead getting some much needed rest

lurching awake in a cold sweat, gasping and trembling, bandages wrapped tight up and down their torso

"we're safe here. i promise."

"it's okay-- it was just a dream, i didn't hear anything..."

shot or stabbed while trying to lose a chase. limping through crowds, desperately acting causal, traces of blood left on everything they touch

collapsing and drawing a scene, strangers asking questions and touching all over. having to slip away from concerned bystanders before actual help (or trouble) arrives

washing off in some shitty public bathroom and leaving behind a horror show of bloodied paper towels and smeared fingers all over porcelain, too out of it and in a rush to actually bother cleaning up

character bleeding out and semiconscious and caretaker doesn't know what to do, has nowhere to go. desperately trying to drag them along as the threat gets closer and closer, or hiding and waiting and begging for them to wake up

when it's too dangerous to go to a hospital. makeshift first aid in the back of some car, breaking into a vet clinic after hours, slumped over in a dank alleyway or dirty bathroom. shaking fingers and dim lighting and nowhere comfortable to recover

all of the places to lie low are sketchy as hell. trap houses, back rooms, dive bars, strip clubs, late night joints where passing acquaintances are somehow okay with shady strangers crashing on their couch. always surrounded by a bad crowd and caught up in seedy shit

wearing the same clothes which get increasingly fucked up. fabric lost to makeshift bandages or tourniquets, blood stains and sweat, the same hoodie passed between characters getting worn and sentimental

long sleeves, oversized clothes, shitty makeup, hoods and sunglasses and hats, anything to hide their identity and all of the bruises and cuts

barely any money to their name. having to choose between filling up on gas or eating, counting remnants of change, stealing food or dine and dashing out of necessity. barely scrapping by and working any job on the low, just oh so easy to take advantage of

getting sick, but it's not like they get a break from running. feverishly wandering around, catching concerned looks from strangers, never getting the chance to rest properly so they just get worse and worse

getting so desperate they eventually call for help. trembling and hunched over in a phone booth, nervously knocking on caretaker's door, so rundown and pitiful of course they wouldn't be turned away, where the fuck have they been?

is “villain” the best word to use in a scene description or a dialogue prompt between characters?

since I came across this poll and gave my little opinion on the matter there, I thought I would make a separate post about it too.

now what I’m not gonna do is tell my fellow writers what to do or what not to do. however, if I may, I hope you’ll allow me to give you my advice.

writers — especially those who write about superheroes, fantasy, etc — you may have used the word “villain” in your works before, and you may have thought nothing of the word itself; I mean, it fits best, right? a bad guy in a story where characters have superpowers is a villain.

I mean that’s the word for it. because for us, these are fictional works about fictional characters.

but…

for those characters in your work, the world you created for them are real for them. I mean… your characters don’t know they are fictional characters in a fictional world, correct? (unless you specifically write a story in which the characters know they’re fictional characters in a fictional world).

therefore you might want to ask yourself how realistic it is for these characters — who have no idea they are fictional characters and think they are real people — to call bad people “villains”

how realistic it is for us — real people — to call real-life criminals “villains”

what are the chances of us reading the news with the headline “two villains caught and in custody after a robbery attempt”?

the word “villain” just… doesn’t sound realistic in real world.

ask yourself how realistic you want your stories to be, as a writer who created a world in which the characters don’t know they are fictional.

how realistic it is for your characters (who think they are real people) to say, “there’s a villain around. we have to go.”

for your characters, they aren’t fictional characters, they are real. and these fictional worlds are real for them. if we’re not calling real-life criminals villains because they are real people to us. would your characters call someone who were real to them villains because they were bad?

now ask yourself how realistic you want your stories to be, as a writer — of course, a story where characters have superpowers or the one where characters live in a fantasy world aren’t so “realistic” for us, but if, as a writer, you want your readers to feel as though they live in that world you created while they read your work, you might not want to subtly remind them they’re reading a fictional work by directly referring to the bad guys as “villains”.

the key to professionally writing a story is that you make your readers forget they are reading a fictional story.

the key to professionally writing a story is that you make your readers feel as though they actually live in that world you create and are a part of that story.

there’s a reason most (if not all) superhero movies we see don’t include a scene where the hero refers to the bad guy as “a villain”. and that reason is that, for these characters, what happens in the movie is real to them. and also because the studios want their audience — us — to feel as though we actually live in that world. they don’t want to keep reminding us that “hey, this is a movie, it’s not real” by having the hero call the bad guy villain.

reminder: the world you create are real for those characters, and it should feel real for your readers to.

words to use instead of “villain”

murderer

monster

bad people / bad person

killer

son of a bitch

dick

cunt

dickhead

convicted

abuser

prick

dangerous (person / people)

predator

rapist

violent (person / people / man)

manipulator

traitor

unreliable

liar

troublemaker

troubled

unstable

corrupted

psychopath

capable of horrible, violent things