First Of I Absolutely Adore Your Writing Prompts, You Have Really Helped Me With My Writing Projects.

First of I absolutely adore your writing prompts, you have really helped me with my writing projects. I do have some questions for you. I have a character in my book, she’s the main villain in the story. The story takes place in there Era’s, medieval, seventh century America (Salem Witch trials) and present time. My main villain was born in Salem Town, her father was a judge. She discovers she has powers and has to end up leaving her family and her town for fear of her being a witch. Her family is part of a ancient prophecy, and she believes that she is the girl it speaks of. Her powers have the ability to influence her choices and thoughts. I often think of it as Mr jeckle and the Hyde. The good vs evil. She ends up giving in to her selfish desires and becomes evil. The hero in my story is her ancestor; and she’s the girl in the prophecy. But I wanted to sort of use her as a sort of “cautionary tale” if that makes sense. My often think of my Villain, Alice her name is as very much like Lord Voldemort. She’s very clever and cunning. Manipulative. I’m on the part where my hero is learning about her, I want to make her infamous (sort of like when Harry asks dumbledore if he knew he had met the most evil wizard when he was just a child. And he replies with, no. If the monster was there it was buried deep within) do you have any dialogue that can help set the tone of how evil she is? ❤️❤️ ❤️

Anon, my love, I truly appreciate you, and you have no idea how much joy it brings that you both like my writing and it’s helped you. Absolutely wild.

Your story sounds absolutely delightful, and I adore the idea of a split timeline world building concept. I’m absolutely intrigued by it. Wether or not it’s simply flashbacks or short scenes that look back on the villain, or dual POV, I think it will be wonderful.

Now to actually answer your question:

I have a few suggestions, and you can shape them to what you want—I don’t know underlying motivations between the characters or actually events/scenes, so I’m going vague here.

“It was like walking into the ocean, surface calm and smooth, sun on your back. Until you step too far, too fast, and the current rips you under. There’s no escaping from that kind of hold—and eventually, you don’t want to, either, surrounded by such power. That was her. She was the sun and the riptide and the victim; and she was willing to drag us all down with her when she went.”

“People didn’t live through her—they survived in the aftermath.”

“It was never about forgiveness, or righteousness. At some point, she was a girl, scared and alone. All she had was herself, and her power, and at some point, one of those things won. And it wasn’t her.”

“Power is a thing you can love. It curls up in your heart, your mind, your soul, and it’s a beautiful thing. It’s easy. It gnaws at your bones until you forget the absence of it. She loved her power to absolution, and at that point, right or wrong didn’t matter to her. It just mattered if she was capable of whatever she wanted to do.”

“She didn’t hurt people because she craved their pain—she hurt people because they were in her way. They were casualties to her. A person who sees human beings as obstacles is no longer a person with humanity. And she saw people as obstacles.”

I hope that helps!

This next stuff is just general advice about dialogue, because I went off on a mini tangent while stuck on an airplane. I want to preface that my advice is based solely on how I write and other advice I’ve received—anything I do may not work for you, or go against something you prefer in your writing style. I’m not a professional, simply an individual who likes typing things.

When I’m writing dialogue, my main goal is to get it to flow well, which is my favorite part. Half the time when I start a scene, I have one very specific line fragment that I want to use, and I’m figuring out how the characters would naturally get there. For example, the lines “I need you to hang up,” “No, love, I’m going to turn you into another me,” and “Your brother isn’t alive, but he is living,” were big drivers for me within those scenes, but I have to get to them for them to make sense.

That being said, to write a good “evil” sounding dialogue/villain, don’t make it too outright, unless you’re going for, on some level, unhinged. Your villain lost the internal battle between good and evil, and is driven by her powers. So essentially, an outside force is pushing her to do these things, think these things, say these things. And since she’s manipulative, when she talks, you’re almost going to agree with her, and that’s what will make it more convincing. For example:

“I finally stood up and did something for myself for once—is that such a horrible thing?”

Which, depending on the situation, can be a gross oversimplification—but that’s what your villain would see it as. She did something she wanted, for herself, after leaving her town in fear. And anyone who has been pushed down by other people will relate to that, and the fact that they relate to it will make them uneasy.

Along with that, power dynamics. Not magic, but the way the characters interact. In improv, you need to have two characters on different levels. You can have a boss and an employee, a king and a joker, a mom and her child. There’s engrained power dynamics between those groups, and they make it interesting. If your main character isn’t at least a little bit afraid of the villain, it won’t be believable. Our main character isn’t afraid, why should we be? If Hagrid/Dumbledore/other adults weren’t at least slightly shaken by Voldemort, it wouldn’t matter. He’d just be a bad wizard—not someone who strikes such fear that people cannot say his name.

However, you can have people on the same level within writing, but it can sometimes make a scene lag. It all depends on the situation. But someone, somehow, will always have an upper hand. More resources, more power, less morality, ancestral sway, etc.

Woah, that got long. Anyways, I hope that helps, and if you need any more ideas, feel free to send me another ask, especially if it’s for a specific scene.

Six months ago, when the protagonist had first appeared in the middle of the villain’s compound, scrawny and half feral, the villain hadn’t thought much of it.

And then it happened again.

And again.

The villain thought something of it.

“Let me work with you,” they had begged. The villain was almost certain the protagonist was homeless. “Please, I have powers, I can—”

The villain said yes.

Maybe it had been whatever remnants were left of the villain’s stupid heart. Maybe it was the chocolate donut they had that morning. Maybe it was the desperation coming off the protagonist in waves.

Maybe they were just bored.

They paid it no mind.

The protagonist did have powers, but they were minor. The kind you see in small children, the first in a bloodline to mutate powers. Their great grand children would wield enough power to level buildings, be heroes and villains and everything in between. But for now, they sat in preschool classrooms and summoned the tiniest spark of flame.

The protagonist, trembling like a fawn, sweat slicking their brow, seemed to be one of those children. Albeit an older version.

Not useless, exactly. They had a startling affinity for picking locks—which explained the ability to get into the villain’s compound—a willingness to fight anyone, and a lack of fear. But they weren’t exactly the most useful sidekick the villain could have picked.

The villain wouldn’t trade them for anyone else, though.

Their stupid, half dead heart, it seemed, cared for the protagonist.

So, when the hero set out to kill the protagonist, the villain knew they would do anything to keep them safe.

They caught the hero’s hand, twisting to shove them backwards a step, and they felt rather than saw the protagonist wince.

“Violent today, aren’t we?”

The hero was seething, and it unsettled something in the villain. The hero was unstable, yes. But the villain had never seen them try to kill someone before; they hadn’t even considered the hero might try.

They dodged another blow, the hero’s power blasting apart a building behind them. Their spine prickled, and they dropped to avoid the next hit.

“Just itching to go to prison for homicide, hm?”

When the hero didn’t even attempt to respond to their half-assed banter, the villain’s gut roiled.

“Protagonist,” they said between breaths. “Leave. Now.”

“No.”

They managed to throw the hero to the ground, risking a glance at the protagonist. They were covered in dust, supersuit dirty and torn across one calf, but their feet remained planted, shoulders set. “You heard me. Go back to the compound—“

The protagonist’s eyes widened, and the villain knew they had turned away for too long.

The villain went down hard, ears ringing, as the hero shook out their fist.

“Stop it,” the protagonist’s voice cracked. They took a step forward, wavering like they weren’t sure if they should run or fight.

“Go,” the villain coughed, and the protagonist flinched. They rolled onto their back, struggling to stand as the hero’s power flickered dangerously.

The villain knew, innately, that the next hit would kill them.

The villain sucked in a painful breath.

The hero lunged.

And the protagonist, voice wrecked with fear, screamed, “Dad.”

The villain’s heart stuttered.

There was a flash of light.

In front of them, panting for air like they would never get enough, was the protagonist. The hero’s fist was planted against their chest still, and the villain could tell it had been a death blow. Anyone, even the villain, wouldn’t have survived.

And yet—

The protagonist stood, unharmed.

“Dad,” they said again, and the hero didn’t quite flinch, but it was close. “Stop.”

The silence was deafening.

Something in the hero’s jaw tightened.

“Move,” the hero said lowly. The protagonist didn’t falter.

“No.”

“Don’t make me say it again.”

“What exactly will you do to me if I don’t listen,” the protagonist gave a sharp laugh. “Hit me? You tried that already.”

The hero sucked in a breath.

“I am your—“

“You are my nothing,” the protagonist corrected. “Certainly not my father. You lost that right when I was eight.”

The villain managed to push themselves to their feet.

“That was stupid,” the villain murmured, but it didn’t have any heat to it. “You couldn’t have known that would work. You had no idea if you could survive a hit like that.”

The protagonist very pointedly did not turn around, shoulders tense.

“I did,” their voice was strained. “He lost the right to fatherhood when I was eight, remember?”

The hero didn’t say anything, but the villain thought that might have been shame creeping its way across their face.

Oh.

Oh.

The hero—

The villain had been harboring the child of the most powerful being on the planet for six months. A child the hero had tried to kill, or at the very least, hurt.

Their heart stuttered.

They had been harboring the most powerful being on the planet, their mind corrected. A drop of blood slid its way down their spine. Power grew with every generation, and with the hero already so powerful, any child they had would be something close to a god.

“You said you had mild telekinesis,” the villain said numbly. The protagonist half turned to look over their shoulder, eyes shiny.

“My mom,” the protagonist. “I got it from her. The rest…”

From the hero.

The protagonist scanned the villain’s face.

They were searching for signs of violence, the villain realized. The protagonist wasn’t afraid of the hero anymore; no, the protagonist had seen the worst they could do. But somehow, the protagonist had begun to care for the villain. And they were terrified the villain—the person they trusted the most—was going to hurt them over a secret. The villain could see it all, scrawled across the protagonist’s face clear as day.

The villain was going to kill the hero. Painfully.

“Protagonist,” the villain kept their voice even. Gentle. Slow. “I’m not mad. And I’m not going to hurt you.” Their eyes slipped past to the protagonist to the hero.

“Him, however, I will be.”

The protagonist worried their lip between their teeth, and the villain watched as their power—their true power—sparked along their shoulder blades.

The villain stepped forwards—

“Don’t,” it was little more than a whisper.

The villain stopped.

The protagonist slid in front of the villain once more. “Just,” they raised a hand, as if taking a moment to choose their next words. “Stay.”

The villain stayed.

When the protagonist’s attention turned back to the hero, it was bloodthirsty. It spoke of war, and hatred, and revenge.

“You’re going to leave,” the protagonist’s voice was sharp enough to cut skin. “And you aren’t going to come back. I don’t care if it’s because you don’t want to, or because you know that if you do, I will kill you and I’ll like it—you won’t come back.”

The hero swallowed.

“The city needs me.”

“You are a plague to this city, and I am ridding it of you. Get. Out.”

The hero stumbled a step backwards, as if they had been hit. Their expression twisted.

“You wouldn’t.”

“I would,” the protagonist seethed.

They all knew the protagonist meant it.

The hero was halfway down the block, news vans and reporters scrambling their way onto the scene with cameras raised, when the protagonist called after them.

“Oh, and Dad?” The cameras snapped to them, and the protagonist grinned. It was vicious—it looked like the villain’s. “Parents who abuse their children don’t get to be heroes. Especially not you.”

They waited a beat, two, three.

The press exploded.

Above the din, power crackling around them, the protagonist mouthed two words.

“I win.”

doot doot

IT WORKED

The hero was halfway home when they got the call.

“I’m sorry,” the person on the other end said, voice wet with tears, and the hero knew.

They knew that tone of voice, they knew this sinking in their stomach. They knew.

Their phone shattered against the ground, fingers numb.

Their friend was dead.

Again. Again, again, again again–

“Fuck,” the hero muttered, heart clenching. “Fuck.”

They were crying by the time the villain appeared next to them, and it took everything in the hero not to punch them.

“I don’t know why you do this to yourself,” the villain said, eyeing their tears.

“What, love?”

The villain tipped their head slightly. “No. Love things you can't keep.”

The hero was sure it would kill them this time, the heartbreak. They had thought after enough centuries, enough people loved, enough funerals attended, death would be an old friend and not a bullet wound. They had hoped it would hurt less.

But it still hurt, and death was chronic.

“What, you expect me to be you? Cold, killing people for fun?”

The villain raised an eyebrow at their tone.

“I don’t kill people for fun.”

“Don’t you?”

“No,” the villain shrugged a shoulder. “I just don’t care if there are casualties. Besides, not everyone is a good person in the first place. I’m doing the world a favor, half the time”

“How can you say something like that,” the hero hissed. “Do you hear yourself? Do you hear how awful you sound right now?”

The villain gave the hero a long look.

“Hero. You fight the worst people this world has to see for a living, and you’re standing here saying they deserve a second chance?”

“Yes,” the hero snapped. “I am.”

“You are a bleeding heart,” the villain observed. “It’s amazing you haven’t turned into me.”

“You and I, we are not the same.”

The villain half-smiled. “Aren’t we?”

“Shut up,” the hero looked away, chest tight. “These people, these lives, are so precious, so, so fragile, and you take them away like it is nothing.”

They were shaking, and they weren’t sure if it was rage or fear or something else. They couldn’t stop. The hero wondered if this was what death felt like. If this is what it felt like to have your body betray you, longing for the ground and solitude of a grave.

“I am not going to stand here and debate morality with you when you are breaking apart at the seams.”

“I’m fine,” the hero managed. They willed themself to stop crying.

“Death is inevitable, and you are hiding from the truth of that.”

The hero’s throat closed before they could respond.

“Your friend is dead, and no matter how much you fight, you will not win the war against death a second time. Do you hear me? You and me, we already won. We are time’s children. We will be here longer than ‘here’ will be. Death has no claim to us, and yet you keep pushing, and pushing, and pushing, because you cannot bear the weight of this gift.”

The hero’s knees gave out, and the villain caught them.

“Stop letting the guilt of being alive break you.”

“I don’t want this anymore.” It was a pitiful thing as it fell from their mouth. Something broken, worn out and tired.

The villain rested a hand on the back of the hero’s neck. “You cannot undo this any more than you could the last time you tried. I promise.”

It almost sounded like an apology.

“I am tired of loving precious, fleeting things.”

“So don’t,” the villain said easily.

The hero closed their eyes. “How?”

The villain hummed, voice soft. “Love me for a while. Until the burden of existence fades. I won’t leave.”

“You say that like loving you is easy.”

“It isn’t. But you’ve done it for centuries–what’s a few more?”

“You kill people.”

“No. I just don’t save them, and I don’t carry the guilt of not saving them, because it isn’t my job.”

“Yeah.”

“It isn’t your job either.”

The hero had known that, centuries ago. Somewhere along the way of funerals and eulogies, it had been hard to keep believing it wasn’t their fault when they were always the one left alive.

So they had stopped.

“Promise you won’t leave?”

“I couldn’t leave you if I tried.”

“Liar.”

“Yeah,” the villain agreed. “But never to you.”

Just like the hero had known it to be true when they were both fifteen, mortal, and wild, the hero knew it was true now.

And so, like every time this had happened before, across centuries and continents and deaths, the villain brushed away the hero’s tears; and they went home.

Hey!! How is your Thursday treating you? Very well I hope. I saw your writing advise and I was wondering if you could give me some pointers. I know your probably busy so answer this on your time. My story’s setting is a very high end posh all girls boarding school. My main character’s family has major and integral ties to the school unknown to her since she was basically raised by her mothers parents (her father is the son of the headmaster) and the school is funded by the “government”. All the parents say that there child had loved the school and curriculum, only every girl that walked out of the school changed. Their behavior, their thoughts, their morals…all changed. They became more isolated and more withdrawn. I say this because the school actually trains the young girls to be assassins. They believe cultivating young minds is crucial. The facade of the school is well done so much so that admission is a long and tedious process. They start recruiting slow. They have a group of young girls who have been through the process scout out for young girls they think would make a good fit. It’s the setting and overall feeling I’m having trouble writing. The school at first should seem like a dream. The school is set in this wonderful eighteen century like building with beautiful grounds and various rooms and various chambers. The new students board in a different wing than the young girls who are in training. It’s all very hush hush. I want it to be scary, riveting, keep you on your toes. What are some techniques you use to write unsettling atmospheres?? I want it to be unsettling. Like you know somethings wrong but you can’t put your finger on it. It’s dark and mysterious and fearful. The teachers are in on it as well. So i it gives “lamb to the slaughter vibes”. The girls who are part of the training and are the leaders are mean and cruel, they like to scare the recruits, make life hell for them. They’ve gone through a lot of trauma and are emotionally broken. Do you have any advice for writing the girls? I want them to come of menacing, but also have a odd sense of sympathy and pity for the girls. Because they know first hand how it will be. This project is proving harder to write 😂😂 I was about to give up on the whole thing but I figured I would ask my favorite author for help first. ❤️

Thank you for the ask, you’re very sweet!

For writing unsettling atmospheres, I normally rely a lot on subtlety, especially when the main character is in the dark.

For example, one of the short stories I wrote ended with the main character getting her identity stolen by a fae. I hinted at it all throughout, but I put it into the characters own thoughts—how the other girl’s laugh sounded like hers, how the other girls hair was the same color as hers but it was better somehow. Going through it, it gives childish envy, but on a second read, it becomes more clear that the fae was slowly transforming to look more and more like the MC.

Along with that, don’t draw attention to unnecessary things to make it seem more unsettling, because that doesn’t feel natural. State something that’s slightly off or unsettling, and leave it. People will think about the implications naturally. Why is that door locked? Why don’t we go on the second floor? Where did the girl from the first week of classes go too, since we can’t go home?

When thinking about the setting you described, with an older house you can make a lot of assumptions about what’s happening. People’s first reaction is never “bloodstain” it’s normally mud, or tea, or paint. So have your character notice some strange staining on the wall outside one of her rooms, and bring it up to a teacher/supervisor, completely innocently, like mentioning they think there’s a water leak. Have the supervisor draw the silence out, make it feel uncomfortable, like she thinks she did something wrong, and then have them dismiss it with a “I’ll have to fix that.”

Leaky roof? Sure. Is it under the training rooms and one of the baseboards leaked blood down the inner wall? We’ll find out, won’t we?

Silence freaks people out, but so does the abrupt change from sound to silence. Make information change on a whim. The character thought this is what the supervisor said, but everyone says she’s wrong—when the information did change, just in order to keep the peace. I think a lot of the unsettling atmosphere will come from subtle environment factors—blood stains and locked doors and a wall around the school to keep the horses in, but the protagonist hasn’t actually seen any horses yet….

Now, for the girls. They can be BIG contributors to the unsettling factor. But you have to decide how you want them involved. Are they mean to the new girls because they’re jealous of their innocence? Are they mean because they’re trying to provoke them into leaving the school before it’s too late? To have them have that kind of “menacing” aura, then any subsequent sympathy or pity will also be a bit gruffer. It sounds like they’re mean partly because that’s one of their only pieces of freedom they have, but also because they’re jealous. I hope I’m making sense, but if I’m not, here’s kind of a snippet my brain spat at me regarding your questions.

She had watched as they demonstrated knife throwing aptly, because scared as she was, she wanted to do it right.

She had listened to all of their advice, sharp tongued as it was, and studied the way the older girls fingers danced along the blades.

She had always been good at learning this kind of stuff by sight, so she had double checked her hand position, and threw.

And promptly sliced the palm of her hand clean open.

She didn’t even have the thought to gasp at the pain as she watched the blood begin to well. Her cheeks went red as one of the older girls snapped her gaze over, fixating on her bleeding palm.

She wasn’t supposed to screw up, she was supposed to be proving herself—

The older girls hands closed around her wrist with a startlingly efficiency, stretching her fingers out to view the wound. When she winced, the girl shushed her, half harsh and half distracted as she eyed the wound.

She just barely kept up as the older girl dragged her into the bathroom, rummaging in a cupboard for a box of bandages.

“Be quiet,” the older girl snapped as she opened her mouth, eyes dark. “I’m fixing your hand right now because you messed up. This is the only time you get to do this.”

She could only watch as the older girl wrapped a bandage through her fingers and around her wrist, leaving her capable of movement and still covered fully. She wondered how many times you had to get an injury like that to learn how to bandage it so well.

“Listen to me,” the older girl hissed. “I helped you this once, and it won’t happen again. You don’t get to make mistakes; we don’t get to make mistakes. So either you don’t make them, or you learn to hide them, do you understand me?”

She nodded, just once.

“This school has a 100% graduation rate.” The older girl’s eyes bore into hers. “And they will never let that change, so don’t try.”

The older girl left her in the bathroom, clutching her aching and bandaged hand, wondering just how many of the stains on the sink were blood.

I hope this helps!