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howtofightwrite · 1 day

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Hi fight writer! Longtime follower, I always enjoy seeing your work and the situations people put their characters in. X3 Could I ask you to look over an element of character backstory for me, to see how realistic it is?

Character is an itinerant-knight sort of fellow, fantasy setting, elven. He's missing a chunk of his ear on one side, having lost it in a fight -- but not in the usual way of getting it sliced. It's the reason he swears by using a helmet and will not let any of his students go ahead into battle without head protection. The premise I had was that somebody gave him a blow to the side of the head and the helmet he was wearing crumpled from the force, pinning the ear between skull and metal. When the helmet was peeled off, a chunk of the ear came with it, or was basically so pinched off and dead that it had to be amputated anyway. (It also gave him a whopper of a concussion, of course. ^^;) But if he hadn't been wearing the helmet? It wouldn't have just been the ear, it would have been the whole top of his head. Wear your helmets, kids.

Do you think the helmet would have had to be damaged in some way beforehand for this to happen? Or be of shoddy make? Or would the opponent have to be supernaturally strong? Thank you!

So, this question has been sitting in the inbox for a bit, and part of that is that I've had difficulty parsing the question. There's a few reasons for this, but a major element is how much of the above comment isn't part of the question.

I get that most of this is a setup for a simple, “what do you think of my idea?' and those are questions we generally avoid, simply because, “thumbs up, it works.” Or, if there are serious problems, it feels like punching down.

So, in answer, “it's fine.” You don't even really need to justify it with other factors. Someone swinging a hammer at your head can result in your head protection failing. I think we can safely scratch off the supernatural strength option, simply because that's more likely to turn the character's head into an improvised golf ball, rather than taking out an ear. This is a weirdly specific injury, but it's also the kind of injury that could, potentially, happen on the battlefield.

Ironically, the weakest part to this concept is just that a combat veteran wouldn't automatically value head protection unless they'd suffered a disfiguring injury which would have been dramatically worse if they weren't wearing a helmet.

Helmets get into a weird place for a lot of writers. A lot of visual media hates putting characters in helmets (even when they really should be wearing one), because it hides the character's face. There is a legitimate concern here (specifically in visual media), because if multiple characters are wearing uniform helmets, they will become visually interchangeable, so skipping the helmet is about keeping the characters more recognizable. This creates a situation where, in a lot of cases, a helmet is treated like an alternate haircut option, completely glazing over the part where it's extremely important safety equipment.

To a certain extent, the treatment of helmets as cosmetics also extends to the entirety of a character's armor. You see this anytime you have partially armored characters going into battle. In some cases, there may be legitimate reasons for omitting specific armor pieces, and not having the resources to be fully armored is always a real possibility, but skipping the head or torso armor are extremely questionable decisions.

The, “pinched off,” comment always struck me as a bit strange. It sounds like the ear was held away from the skull, with part of the helm inserted between the ear and skull, rather than held up against the head. This would be a bad idea, and a structural weakness, though depending on the exact physiology of your elves, it might not be possible for them to pin their ears against their skull. In which case their armor would need to be specifically designed around their physiology. That might mean a much broader helmet structure. For example similar to something like large flared guard on Japanese helmets, or even the ACH. Depending on the overall tech level, it's possible that the best solution would to simply have ear holes in the helmet, though this could result in a situation where ears could be cut off on rare occasions.

I suppose there'd also be some consideration for rigidity and how uncomfortable it would be to bind down their ears under a helmet. So there might be some kind of structural cutout to accommodate their ears, but again, you really wouldn't want your ears being encased in metal away from the head. Even in the worst case, with horizontal ear tips, you'd probably see helmet designs that fit over the ear, possibly even leaving the underside exposed for better hearing, rather than full metal encasement.

Ironically, having just brought up the ACH, the one place where fully encased ears wouldn't surprise me is with electronic headsets. Though, again, that's more likely to be plastic and softer materials, and would likely fit over the ear and seal against the scalp, rather than just encasing the ear itself.

Also, he'd be partially deaf in that ear. This is not, “deaf by human standards,” but impaired hearing by elven standards. Unless their ears really are just magical, and the tips are performative, it's extremely likely that their ear structure would result in improved hearing, and that's something he would lack if most of the external ear had been destroyed.

-Starke

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#writing reference #writing advice #writing tips #writing fantasy #howtofightwrite #Starke answers #Starke does not have an ear collection

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imastoryteller · 2 days

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Creating a main character with depth requires a careful selection of traits

Avoid the temptation to overload them with a plethora of flaws, wounds, and virtues. Instead, focus on developing one dominant positive trait, one glaring flaw, and one profound pain. This approach allows you to delve deeply into each aspect, creating a character who is not only realistic but also compelling. By embodying these three elements to the fullest, your protagonist will be more than just a collection of traits—they will be a multifaceted individual with a clear, meaningful story arc. Embrace this approach, and your hero will stand out as truly unique in the literary landscape.

#writing tips #writing advice #writers on tumblr #writeblr #creative writing #fiction writing #writerscommunity #writing #writing help #writing resources

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3hks · 2 days

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Writing Character CHANGE

Character development is absolutely CRUCIAL to a story, but having spent more time thinking about this topic, I came to the realization that I misunderstood a lot of points other people have made when teaching how to write character development.

There are a lot of factors that play into character development, but in this post, I'll cover some overall, but the main thing concerns any change to your character! (Which is also a huge part in development, really.)

So with this post, I'll be teaching you MY personal tips regarding this subject!

*The Basics*

Before we really get into the developmental stage, there are some things you want to establish, in which I'll explain later!

A couple of flaws.

How your character views themselves at first.

Your character's morals/ideals and how they think.

These things may vary, but you want your readers to be able to at least roughly predict how your character will act during specific events!

*Change*

Character development is just about how your character changes throughout the story. I like to say that there are several different ways one may change, (we'll get into that later on) but your character should NOT stay the same as the same person during the exposition and during the resolution!

"During character development, your character should grow."

This is a common piece of advice; your character needs to grow. And while I've assumed for the longest time that I understood what it meant, it never truly clicked.

While they will use words such as grow, what they really mean is that your character should mature. By the end of your story, your character may not always end up as a better person. When I say mature, I mean that they have reflected back on their life and have understood the consequences that came with their actions (if any) or how they could've done things differently.

Your character will not always end up as a better, fixed person, but they should understand their world and themselves better.

*Negative/Passive Change*

Alright then, so how does a character develop if they don't necessarily change for the better? Well, I'll get into that!

No matter what, your character should have learned a lesson through their experience. Even if they haven't exactly improved as a person, there should be a moral they can learn from what they have gone through.

If not, then did they really grow?

Additionally, how did their qualities negatively impact themselves? If they are bad traits, then it needs to be clear. And the best way to achieve this is by demonstrating how it hurts your character! However, it is rather uncommon for a character to undergo little to no change after a story!

*Positive Change*

Let's circle back to the basics, real quick. Remember how I said that before any development takes place, your character should be anything but perfect? That same thing applies to after the change.

Do NOT create a flawless character by the end of your story. Instead, focus on one or two flaws that get fixed as the story continues. These don't have to be huge, life-changing imperfections, but they can be minor ones that still shape their life in one way or another.

"Fixing" too many shortcomings can make your character seem, well, out of character, producing a character development that's more forced. The same thing applies if you're attempting to FULLY alter a fault that's just too big. The change will be too noticeable.

What am I talking about? Here's an example!

Imagine a character who's incredibly closed off to other people, wanting to ensure that he never gets too close to others.

That's a pretty sizable flaw, no? By the end of your story, you do not want to completely change because you need to preserve character, but you can change it a bit. Does he have a few friends now? Does he understand that there are some people worth trusting?

He may still be closed off to majority of people, but at least it's not everyone, and that's a realistic change.

*Different Changes*

As I continue to read more stories and watch more shows, I have realized that character development is not always about fixing flaws or personality, but it can extend far past that line.

So listen up, because I feel like no one really talks about this.

Your character can change their IDEALS, MORALS, and how they VIEW THEMSELVES.

Hear that? If your character has strong morals, they will hardly stay the same as they reach the end. Remember the requirements I mentioned at the beginning?

See how it connects now? There is SO much more to character development than changing a few imperfections. Like I said in the start, your character needs to grow and mature. Things like new morals or ideals assist with that!

*SUMMARY*

In order to start character development, you need a couple of flaws, an idea of how your character looks at themselves, and their morals. This is because those are the main parts of you character that may change through time.

Growth = Maturing (gaining a better sense of who they are and the world they live in.)

NOT ALL CHARACTER DEVELOPMENT IS POSITIVE!

For negative or passive change, make sure to clarify how their imperfections affected or hurt them and have some sort of moral that follows.

YOUR CHARACTER SHOULD NOT BE PERFECT!

They should not be perfect in the beginning, and not perfect in the end! Do not 'fix' too many traits because you want to preserve character.

I think that's all! It's quite the post for something so simple, eh? But hey, character development is absolutely PIVOTAL to a story so I hope I at least explained the 'change' part of that well!

Happy writing~

3hks <3

#writing #writeblr #writerscommunity #writing tips #creative writing #writing inspo #writing advice #character writing #writing characters development #character development #character change #writing characters change #character building #tips on character development #tips on character building #advice on character building #advice on character development

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clarafyer · 3 days

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A worldbuilding tip for making your fictional nation interesting: choose a crime, taboo, etc. and make it legal, perhaps even engraved in the culture.

For example, cannibalism. It could be tradition to hold a feast in the honor of the recently deceased, devouring them as a way to signify their sacrifice will not be wasted. That could be not only the main way of holding a funeral, but it could be embedded in the culture. Perhaps it arose from the early days of the nation, when the founders resorted to cannibalism to survive.

#worldbuilding #worldbuilding tips #writing ideas #writing inspiration #writing tips #writing advice #writing help #worldbuilding ideas

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batfambrainrotbeloved · 3 days

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How to Writing multiple characters in a scene!!

Writing tips w/ Sunny (part 1, because I ramble and im positive ill end up doing this again if people want or for my own satisfaction)

This is just my methodology put in a way I think makes sense, if this doesnt apply to you thats okay everyone has different stradegies that work for them <33

SO lets begin.

"Rules" of writing multi character scenes + arcs, (First half is how to add them into a scene, second half is maintaining and not letting them vanish)

AHEM- Well there are four ways to place a character in a scene

Narration POV Aka the protagonist, this is the perspective ever present unless you CLARIFY the story is now through the lens of another character (Take for example my fic, while I play with multiple perspectives- a bulk is from Tims POV)

Secondary POV This is the character that DIRECTLY interacts with the narrator aka their "first point of contact" so to speak, they ground the narrator in the scene as not alone and is actually interacting with other people. (This DOES NOT have to be a speaking role, it can be purely observational if need be- but its the character that gets the most attention via the narrators perspective SIDE NOTE- THIS CAN SWITCH AS WELL)

Interactive POV Now we get to the "filling"- since Secondary doesn't need a direct tie to the narrator, you can have another character interact with the secondary character. But since they are not the focus of the scene its good to have a REASON they "Enter" or else if you spend so long giving the narrators perspective on #2 then you risk having someone "Materialize" in thin air. (This isnt really a concern unless you wait too long into the scene to go "Oh this guy exists-" you have time as you paint the reader a picture of the new enviornment/scene)

Enviorment POV Last but most certainly not least (and the one i've seen people struggle with the most) is the character that is PRESENT A N D NAMED- But serves no plot importance/relevance (to the narrator) during the opening part of the scene.

To put in better perspective- think of being in a room, The Narrator is you observing your surroundings (depending on POV style how "into the mind" of the narrator we go)

Secondary is the person you focus on, you hear their conversation, see their body language, expression, clothing, etc. They are the personal "focus" (there can be multiple as well)

Interactive is people SURROUNDING the focus, those who still play a semi active and visible role. They can either be within your line of sight interacting with the enviorment or speaking to a secondary/narrator character.

Enviorment is the person in the back of class that you know, but don't really register unless they do/say something- but you are still AWARE of their presence. CAREFUL NOT TO INTRODUCE THEM TOO LATE, OR ELSE YOU HAVE THE "MATERIALIZE" PROBLEM AGAIN

Now into a scene(aka recycling an old one)

Tim starred ahead silently from his side of the couch, watching Jason fidget with the soda tab on his shitty off brand Doctor Pepper he always insisted on getting. Around and around over and over, it was giving him second hand anxiety.

Thankfully they weren't forced to stay in the moment as Dick leaned over and pressed his shoulder into Jasons with a beaming smile "Oh come on it'll be fun"!

"Says you golden boy" Steph teased, half hanging off her chair and a foot almost knocking over Cass chip bag, only stopped by the fact Duke snatched it and moved it further along the table.

Well at least Damian seemed to be reacting rationally, seeming intent on slouching in on himself the more Dick tried to pull him and Jason together into a "group hug". It was a wonder his arms could even reach that far- even more so that they were still intact.

But Jason, like the rest of them, was weak to Dicks puppy dog eyes. Tim saw the moment he gave up a losing battle and his shoulders slumped in defeat, though his scowl ever present. "If I say yes will you fuck off"

"Ah ah language, we have children here"! Dick gasped, placing his ears on Damians ears which only earned him a snarl in return.

"I don't think Damian counts as a kid- and I just turned 16 which is basically an adult" Duke tried to defend, but his 'fierce glare' had less effect with his hand stuck in a bag of gummy worms.

Tim huffed- if Dick kept it up, they would end up with "family night", and he doubted all of them would come back alive.

(END SCENE)

Now to break down- Tim was of course the "Narrator" perspective that was viewing the scene, we get his insight even while not directly interacting with the characters just by his description tone.

Jason was of course the main "Secondary"character (though Dick was a mix as well) where the scene introduced by Tims perpective and tone by someone else in the enviornment.

Then you have Dick who is a perfect mix of Interactive character (how he entered the scene via movement, placing himself in perspective to the established other two) while shifting to have the most "scene impact" whilst still not being Tims focus.

Finally you have everyone else serving as Enviornment characters, with either a simple Line-action (ex-Steph) or a name drop in general placement (Cass) or establishment through movement, and only relevent later in the scene (Duke).

Damian kind of floats between, he is introduced via a reaction + Narrator observation, but then is mostly just an eviornment character. He is THERE but not really awknowleged beyond that.

NEXT- If that doesn't help much you can rely on "Environment rule"

Aka everyone is always doing something in any space they occupy- apply that to your characters. It can be as simple as when you have one character speak loudly to the narrating POV, another character shifts away or laughs.

They didn't need to speak nor did you need to detract from the tension/pacing of a scene by describing in detail their expression, positon, etc.

BUT in that moment your reader just clues in to "Oh okay x is here-" that is established, and whether or not x plays a role in a future scene within that enviornment doesnt matter much.

This is also the PERFECT oppertunity to give characterization. If a tense moment is going on you can have the narrator notice another character stiffen/flinch (aka affected by the conflict, even if not an active participant)

FINAL PART- MAINTAINING

This is where shit can hit the fan f a s t- getting a bunch of characters in a scene is one thing but keeping them there?? Hell at times.

But once again this all relies on "Narrator perspective" and unless you are switching narrators, you need a "cone of vision" to determine what is or isn't important unless you might break the tension of a scene.

Methods include-

Reactions

Two+ background characters interact (verbal or not)

Interact with enviornment

Enter/Leave a space (of note)

A sound registered but not explored (a chair creaking back, a glass dropping, snack bag rustling, or even my favorite which is the sudden absense of sound implying an audience)

"Incidents" (Someone drops something, attention goes to them for a sec- apology/oneliners, then switch back)

Check ins from NON NARRATOR, (or narrator, but usually works better to keep track of who is focused on who)

Characters don't need to be "ever present" just remind your reader they exist somewhere generally in the scene (and keep them in your back pocket)

But The best possible tool at your disposal?? BANTER.

Let characters interact, feel out their dyanmics- If you dont know how they interact in non tense situations, how does that change when tension amps up. Have a background character throw in a one liner- or the narrator observe a conversation they aren't a part of.

LET PEOPLE BE PEOPLE- And they basically write themselves

Last but not least- if you feel stuck or lost?? Treat EVERYONE like a narrator.

Who are they paying attention to? What are they seeing? How do they REACT to that? Do they speak up, do they tense, do they try and slip away or stay strong?

You don't need to know this for EVERY scene- but sometimes it helps out of a rut moment

ANYWAYYSS- This is my rant and personal methodology of how I place/maintain multiple characters. I hope this helps for anyone interested, if not find what works for you!!

My Asks are open if anyone wants me to give any other advice, tips, or just general ramblings about writing.

Otherwise,

Happy writing!!

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ahb-writes · 2 days

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Fantasy Worldbuilding Questions (Technology)

Technology Worldbuilding Questions:

What is the level of technological development in the world? Is it roughly as developed as ours, or closer to a past feudal system or a futuristic system where tech such as AI, robotics, communication, transportation and healthcare are more advanced?

What is the impact of each technological development on others (for example, how have advances in AI affected communication or transportation)?

Who developed or discovered a specific technology important in your world, and what impact did its invention or discovery have?

Who benefits the most from technology in this world, or is access and benefit equal? Why is that (for either answer)?

Where is key technology produced or developed? What advantages and disadvantages might this give the producer?

Where is the greatest technological innovation happening in the world, and what are its benefits and risks to society?

When did certain technologies become obsolete (or will they), and who will that affect?

When technology breaks, glitches, or behaves unexpectedly, what are the possible consequences? What margin is there for error?

Why is a technology important to a specific group of people in your world – what benefits or advantages does it confer?

Why is specific technology restricted or prohibited, and by whom? (For example, many kids are forbidden cell phone access due to low access control for adult content in our world).

❯ ❯ ❯ Read other writing masterposts in this series: Worldbuilding Questions for Deeper Settings

#writeblr #novel writing #writing tips #writing advice #fiction writing #writing #worldbuilding #writing research #technological development #obsolete tech #who benefits #fwq

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sweetiepeabooks · 2 days

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A simple beginner's guide to creating characters ✨️

#writers on tumblr #writing community #writer stuff #writing tips #creative writing #original character #creating characters #writing wip #beginner writer #writing advice

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deception-united · 3 days

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Before you kill a character...

Consider the following.

Does it advance the plot?

Killing off a character should serve a purpose in propelling the story forward. It could introduce a new conflict, escalate existing tensions, or trigger a series of events that drive the plot in a new direction. If the character's death doesn't contribute to the overall narrative arc, it might feel gratuitous or unnecessary.

Does it fulfil their personal goal?

Each character has their own arcs and objectives within the story. If the character's death aligns with or resolves their personal journey or goal, it can add depth and closure to their character arc. Conversely, if their death feels disconnected from their goals or character development, it may come across as arbitrary or unsatisfying.

Does it emphasise the theme?

The death of a character can highlight or support key themes by demonstrating their consequences or illustrating the moral dilemmas faced by the remaining characters. A well-executed death can deepen the audience's understanding of the story's themes and add layers of complexity to the narrative.

Does it motivate other characters?

Character deaths can serve as catalysts for growth or change in other characters. The loss of a loved one or ally can drive characters to reevaluate their beliefs, make difficult decisions, or embark on new paths. The impact of the death on other characters can reveal their strengths, weaknesses, and relationships, adding depth to the story's interpersonal dynamics.

Does it create realism?

The inclusion of death can lend authenticity to the story world. If the character's death feels earned and plausible within the context of the narrative, it can enhance the story's credibility and emotional resonance. However, if the death feels contrived or forced, it may strain the reader's suspension of disbelief.

Is it a fitting recompense?

In some cases, characters may meet their demise as a consequence of their actions or decisions. If the character's death serves as a form of justice or retribution for their deeds, it can feel narratively satisfying and thematically resonant. However, if the death feels arbitrary or disconnected from the character's arc or the story's events, it may feel unsatisfying or even unjustified.

Don't kill off a character for the sake of shocking the reader or invoking sadness; when considering whether to kill off a character in your story, it's crucial to ensure their demise serves a purpose beyond mere shock value or convenience. Ensure each character serves a purpose that enriches and enhances the story to avoid having to eliminate them solely for convenience. Don't use death as a means to remove an extra or irrelevant character—you shouldn't have them in the first place, if they're disposable. Doing so will undermine the depth and integrity of the narrative.

Hope this was helpful! Happy writing ❤

#writeblr #writing #writing tips #writing advice #writing help #writing resources #creative writing #character writing #plot development #deception-united

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novlr · 3 days

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Where do you get your writing inspiration from?

Writing inspiration is a deeply personal thing, and everyone will find their inspiration differently. For some, it could be from their personal experiences, from their favourite TV show, or a book they just read, while for others, they might rely solely on their imaginations without looking to outside influences.

That said, there are lots of places you can go to for inspiration that aren't just about the act of writing. Sometimes, it's just about finding something that will spark an idea, or even just get you in a creative headspace. And for that, we've got some tips in the Reading Room today to show you how to use real life to find creative inspiration.

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physalian · 2 days

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Villain Power Scaling (It's over 9000!)

@sarah-sandwich ask and you shall receive

Quick! We wrote an insanely, unexpectedly successful one-off fantasy series! How do we top the villain?

A bigger, badder giant space laser

The villain’s secret jealous sister

The same power, but purple now

The True Mastermind you’ve never heard of

JK, they’re not actually dead!

When you choose to continue on a series and have already committed to possibly destroying the legacy of the characters who fought and died to save the world once by undoing it for money, you had better have a damn good story to tell.

So if you decide your new threat is any of the above, you have quite the uphill battle ahead of you, my friend.

What is Power Scaling?

Power scaling is the nature of the ability of the heroes and the villains to grow more competent over the course of the story via new skills, new powers, or more training. Protagonist’s first fight (that they win, at least) will generally be against a baby, tier-one mook and not up against the main antagonist (*cough* Force Awakens *cough*)

As the story progresses, the mook that was so scary and so hard to beat oh so very long ago will become unnamed cannon fodder in the climax of the story. Generally speaking, this is a linear event and the hero and the villain are constantly one-upping each other until they come head to head in the unavoidable final fight.

Sometimes, things run askew. Maybe the hero’s super special power that saved them last time was a fluke, possible only in those specific circumstances, or one-time use.

Maybe they have amnesia, or the being that gave them that power revoked it, or using it cost them too much. Maybe they got seriously injured in the last fight using it and can no longer go near it if they want to not get hospitalized. Maybe the super power was another character that won the final fight for them last time, but died in the process.

It doesn’t have to be linear, but if you’re going to regress your character without creating a “why didn’t you do what you did last time” plot hole, you will need an ironclad excuse.

So, feast your eyes while I summon the Supernatural fandom back from the dead.

What not to do, as told by Supernatural

This show was originally written to last five seasons and five seasons only. No matter how die hard a fan you are or were, you cannot escape this fact, and neither could the writers.

Season one villain: A demon and her demonic minions

Season two villain: Psychic demon children and Papa Demon Yellow-Eyes

Season three villain: OG Demon Lilith, and Dean’s ticking demon-deal clock

Season four villain: OG Demon Lilith and preventing the rise of Satan

Season five villain: Satan and some douchebag Angels

Then you have Ten. More. Seasons. trying to do better than Satan and the douchebag angels to… varying levels of success and stupidity.

The problem: Supernatural tried to be linear with their power scaling, focusing on ramping up the threat level to nonsensical ends while undermining the threat level of all who came before.

The other problem: Sam, Dean, and Cas never stayed dead long enough for any of these threats to matter.

What I mean is this: In making the threat of the season so impossibly strong, by threatening the world over and over again no matter how many times they save it, by never committing to killing your three most important characters, by never letting the world go a little unsaved in the end, you’re left with a story that *says* it’s bigger, badder, bolder, but is really just a rinse and repeat that goes blander and blander each time.

Coming off Satan and the Douchebag Angels to… Cas and Crowley conspiring over the souls of Purgatory and the unseen war in Heaven because they didn’t have the budget for that, without any of the thematic weight of *why* it was angels and demons? Talk about a loss of momentum.

I rewatch a grand total of one episode of season six, “The French Mistake”. I have lost all context for the plot surrounding this episode and it’s virtually independent of the rest of the season because Sam and Dean get transported into the Real World as Jensen and Jared and poke fun at each other for 52 minutes. This episode is timeless.

The show wasn’t a complete disappointment for the remaining ten seasons or it wouldn’t have lasted that long. It had good beats, but they shot their load in Season Five. After five whole years of buildup to this main event it never recovered.

Alternatives to Linear Power Scaling

Anyone who has or even hasn’t seen Dragon Ball should know that series is famous for infinite power scaling. There’s always someone stronger, always some new secret powerup to unlock with the power of Screaming, always some new Super Sayan color that we promise is more powerful this time, for realsies.

That show is so dedicated to the bit that it’s gone full circle to being loved, not despite it, but because it’s so ridiculous.

You did not write Dragon Ball. Do not do this.

Instead of the infamous clashing multicolored power beams, what other ways can you up the ante of this new threat after your heroes have conquered all they thought stood in their way?

Give a damn good reason why this villain, who is no different than the last schmuck, is unbeatable by the macguffin this time.

As stated above, there’s no need to make the villain More Powerful* if your heroes have lost the world-saving abilities that helped them last time.

Exploit the hero’s other weaknesses

More Powerful* is never as exciting as you think it is. Often times, especially in superhero sequels, the villain isn’t necessarily stronger, but the niche power that they do have finds the chink in the hero’s armor that they didn’t have to worry about last time.

Make the hero’s niche skillset completely irrelevant

This time, the threat might not be something they can punch or shoot or smack with a hammer. This time, it’s their reputation at stake, or the villain is un-punchable because they’re simply unreachable, causing havoc the hero is helpless to stop.

Make the issue not the villain at all, but the hero or their team

Maybe the villain is just a schmuck that would be beatable on any other day, but team infighting means that they make utter asses of themselves and the villain doesn’t have to lift a finger to win because they’ve taken themselves out.

This can get very dramatic like in Captain America: Civil War or the Teen Titans epside "Divide and Conquer". Or, to comedic effect in the Spongebob Episode "Mermaid Man and Barnacle Boy V" (the one with the International Justice League of Super Acquaintances).

Some would argue that the above options aren’t power scaling at all if it’s not linear, and that’s fair. You’re telling a story though—is your story going to be about the superpowers and how cool they are, or the people who wield them?

3. It’s not actually power scaling, it’s about stakes

Supernatural began to feel so stale because even though we were told the villain this time was bigger, badder, bolder, the stakes were always the same. OSP has talked about this, how threatening to end the world has a foregone conclusion of “never actually gonna happen” because what author is crazy enough to let the world get blown up and all their characters murdered?

Raising the stakes, too, is not linear. Last time it was the world, this time, it’s the life of the love interest, it’s someone’s sanity, it’s a ticking clock on a secret that’s about to go public.

That’s why the first five seasons of Supernatural were so engaging. Were Demons the problem every time? Yes. The Demons were causing the problem, but they were causing five different problems. It was finding and saving their missing dad, then it was uncovering the sinister plan of the psychic demon children, then it was trying to escape Dean’s deal, then it was trying to stop the rise of Satan, then it was trying to stop the apocalypse. It was not five seasons of demons trying to destroy the world.

The more personal the stakes, the more likely your audience will believe the hero could actually lose this time. That’s what will keep them engaged. Dean died at the end of season 3! They lost! There was no escaping that deal. Sure he came back in the pilot of season 4, but the entire 4th and 5th seasons are haunted by Dean’s PTSD and new pessimism about the world given what he’s seen and done in Hell.

4. Threatening the world without destroying a legacy

Covered in this post about timeskips and this post about sequels but it’s too important to not keep repeating.

So. The Star Wars sequels. Rain down your wrath like snow on a hot desert—these movies were a giant mess. The audience sat through six entire movies following the rise, fall, and redemption of one man who died to save his son and the galaxy.

Then, what, twenty years later, absolutely none of it mattered? New space Nazis are out for blood with the same equipment, same weapons, same soldiers, same reach, same motives. Within the theatrical release (because I am not paying money to buy content to do homework to understand a movie made for a layman audience) these movies undermined the legacy of the six that came before it.

It didn’t have to be a new galaxy-ending regime and the same rebels still rebelling for the same reasons—how the heck did they let another empire rise so fast?—it could have started small, inconsequential, and then the actions of the new cast then undermined everything Anakin worked for.

I feel like Mr. Incredible wondering why the world can’t just stay saved for ten minutes.

All of this is salvageable. End the world again if you want. There will always be bad actors out to do bad things, you can’t expect a utopia to last forever. But that bleak reality is for the real world, not fantasy. In fantasy, the sacrifice of beloved characters must matter. Otherwise, what’s the point of their story?

How do you do this?

Make the utopia the old characters died for last up until the new inciting incident, and make sure it’s the new characters’ fault, not just due to the passage of time

Make the villain threaten something other than their legacy

Make that legacy the banner behind which the new cast rallies, determined to make sure it wasn’t in vain

5. Or, burn the world down this time

Some of the best middle beats of a story feature a “did we just lose” moment a la Infinity War. The villain has won, fan favorites are dead, their home is in ashes, and now they’re not only starting from the bottom, they’re doing it with righteous vengeance.

Then the loss of the original character’s legacy *is* the tragedy, instead of a side effect. Then, in a way, they’re still part of the story, a ghost on the sidelines cheering on their successors, and we, the audience, are right beside them.

—

I have a shiny, fresh-off-the-press Insta @chloe_barnes_books now for this blog and my upcoming novel. Go check it out!

#writing advice #writing resources #writing tips #writing tools #writing a book #writing #writeblr #fantasy #sci fi #heroes and villains #power scaling

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ivaspinoza · 8 hours

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Does a writer love to write?

Oh, to be a writer! A poet, an artist. What a blessing — or a curse? I said this before, as a joke, that "writers are cursed to write, no matter what" happens or how long it takes between intervals. Writers will write. They might struggle, mostly inside their own heads, but they will write. And they will feel accomplished for doing that.

During my block time, I used to try and try to write, not because I had to, but because I couldn't help but to keep trying and writing the weirdest words, absolutely nonsense shit — until one day, I went back on track. Not writing was never an option. I tried to give up this, many times when I was at a bad place mentally. I felt that I wasn't a writer because I wasn't writing, but this only led me to this previously shared conclusion I keep as a mantra:

"I do not write because I want to be a writer, I write because I am one."

Some people will lick an artist's shoes and treat them as their saviour. This is the same type of people who might think having a degree makes them automatically smart, that every doctor knows what they are doing, and that artists are somehow a superior class of people. I was talking with my beloved @goodluckclove about it today (the main reason I'm writing this), about how being an Artist, or a Writer, is just another job, like being a Teacher, a Baker, a Parent, a CEO or a Janitor. Some artists will even tell you they had no "talent" at all, they just decided to commit and learn. I can draw and I always tell people that it is pure muscle memory. Just practice. Just commit.

But there is also that sparkle, that inspiration, that epiphany, right? That thing that art causes. What makes some works of art shine and hit you with eternal impact? Just practice? This is a long, deep, crazy, boring, infinite debate, but to me the answer is simple.

It's the soul.

That's why AI will never be able to do it. The soul carries memory, information, patterns, feelings, mysteries, and language (unspoken, holy, different languages, that we don't know much about). Some works are technically fantastic but soulless. Some are full of soul, but lack skill. However, the soul is always a part of it, as it is for a doctor when their soul shakes in grief after putting everything they had in for a 72-hour surgery just to lose their patient. Everything goes through the soul. Have you met a soulless doctor? I have.

What about a teacher helping a student to overcome their difficulties? A mother in a 72-hour labour to deliver her baby, with a father who didn't leave her side? Parents that actually take their time and energy to raise conscious, cared for and loved human beings? When a CEO thinks of what is best for the team, and comes up with a brilliant idea, instead of just caring about money? When a janitor makes a place clean and tidy for others, instead of neglecting it? It is not the job itself that is important, but the motivation, the intention, and the heart behind it. That is what makes it valuable.

Our trades will always affect the ones around us. Human nature is deeply connected to the desire to be useful and serve. Not to be stuck at this point forever, but to me, a big reason for so much pain and depression in the modern world is how self-centred our culture pushes us to be. "All about me"! Too much thinking in your head will make you crazy (I would know). But when we are useful, we find peace and rest from ourselves, we connect, and we are in reality, grounded in the present.

Will you love it every time? Nope. Not naturally. But do we have to hate it?

As an artist, poetess, writer, I can tell you that I didn't always love to do it. Sometimes, it was painful. Sometimes, it brings me physical discomfort or it can be disturbing because of my own limitations and issues — the artist himself is in his work (I will die on this hill, because of the soul). But I don't believe and I won't ever advocate for the tortured artist figure, for the "I hate being a poet", although I can't think I ever got these words from any poet.

"I hate making art!" "I hate my kids!" "I hate to live!"

I think it's time to wake up to the levels of desensitisation we have come to. These contemporary times unfold in absolute glorification of evil as if everything painful and ugly was "more artistic". We don't have to avoid hard themes and make it taboo out of them, but we do need a counterbalance. We also need responsibility and honesty when choosing our themes and our artistic or literary approach. And we do need to stop hating things all the time. We need a mature creative world.

It is easier and faster to break than it is to build. It's easier to hurt than to heal. Look around. We have almost nothing left to "break" at this point. I'm in search of beauty again. Out with lanterns. The beauty in you and in me. Not for the glorification of the artist, or of the art itself, but for the Love that keeps me going, that designed me for a particular job, and that I plan to execute in love.

"Let all you do be done in love", it's written. But because I know Love is not only feeling, even when I don't feel like doing it, I will go back into Love, into humility, and do it to the best of my strength. I will do it so that when I have the opportunity to serve someone by it, they feel love. We put our soul into it, and it's not an aesthetic, not a fancy ethereal trend; there is no need for applause. I will do it like that because in that doing is the reward itself, not in the praise or the prize.

All is vanity. Love is the reward.

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deoidesign · 10 months

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A general cane guide for writers and artists (from a cane user, writer, and artist!)

Disclaimer: Though I have been using a cane for 6 years, I am not a doctor, nor am I by any means an expert. This guide is true to my experience, but there are as many ways to use a cane as there are cane users!

This guide will not include: White canes for blindness, crutches, walkers, or wheelchairs as I have no personal experience with these.

This is meant to be a general guide to get you started and avoid some common mishaps/misconceptions in your writing, but you absolutely should continue to do your own research outside of this guide!

This is NOT a medical resource!!! And never tell a real person you think they're using a cane wrong!

The biggest recurring problem I've seen is using the cane on the wrong side. The cane goes on the opposite side of the pain! If your character has even-sided pain or needs it for balance/weakness, then use the cane in the non-dominant hand to keep the dominant hand free. Some cane users also switch sides to give their arm a rest!

A cane takes about 20% of your weight off the opposite leg. It should fit within your natural gait and become something of an extension of your body. If you need more weight off than 20%, then crutches, a walker, or a wheelchair is needed.

Putting more pressure on the cane, using it on the wrong side, or having it at the wrong height can make it less effective, and can cause long term damage to your body from improper pressure and posture. (Hugh Laurie genuinely hurt his body from years of using a cane wrong on House!)

(some people elect to use a cane wrong for their personal situation despite this, everyone is different!)

(an animated GIF of a cane matching the natural walking gait. It turns red when pressure is placed on it.)

When going up and down stairs, there is an ideal standard: You want to use the handrail and the cane at the same time, or prioritize the handrail if it's only on one side. When going up stairs you lead with your good leg and follow with the cane and hurt leg together. When going down stairs you lead with the cane and the bad leg and follow with the good leg!

Realistically though, many people don't move out of the way for cane users to access the railing, many stairs don't have railings, and many are wet, rusty, or generally not ideal to grip.

In these cases, if you have a friend nearby, holding on to them is a good idea. Or, take it one step at a time carefully if you're alone.

Now we come to a very common mistake I see... Using fashion canes for medical use!

(These are 4 broad shapes, but there is INCREDIBLE variation in cane handles. Research heavily what will be best for your character's specific needs!)

The handle is the contact point for all the weight you're putting on your cane, and that pressure is being put onto your hand, wrist, and shoulder. So the shape is very important for long term use!

Knob handles (and very decorative handles) are not used for medical use for this reason. It adds extra stress to the body and can damage your hand to put constant pressure onto these painful shapes.

The weight of a cane is also incredibly important, as a heavier cane will cause wear on your body much faster. When you're using it all day, it gets heavy fast! If your character struggles with weakness, then they won't want a heavy cane if they can help it!

This is also part of why sword canes aren't usually very viable for medical use (along with them usually being knob handles) is that swords are extra weight!

However, a small knife or perhaps a retractable blade hidden within the base might be viable even for weak characters.

Bases have a lot of variability as well, and the modern standard is generally adjustable bases. Adjustable canes are very handy if your character regularly changes shoe height, for instance (gotta keep the height at your hip!)

Canes help on most terrain with their standard base and structure. But for some terrain, you might want a different base, or to forego the cane entirely! This article covers it pretty well.

Many cane users decorate their canes! Stickers are incredibly common, and painting canes is relatively common as well! You'll also see people replacing the standard wrist strap with a personalized one, or even adding a small charm to the ring the strap connects to. (nothing too large, or it gets annoying as the cane is swinging around everywhere)

(my canes, for reference)

If your character uses a cane full time, then they might also have multiple canes that look different aesthetically to match their outfits!

When it comes to practical things outside of the cane, you reasonably only have one hand available while it's being used. Many people will hook their cane onto their arm or let it dangle on the strap (if they have one) while using their cane arm, but it's often significantly less convenient than 2 hands. But, if you need 2 hands, then it's either setting the cane down or letting it hang!

For this reason, optimizing one handed use is ideal! Keeping bags/items on the side of your free hand helps keep your items accessible.

When sitting, the cane either leans against a wall or table, goes under the chair, or hooks onto the back of the chair. (It often falls when hanging off of a chair, in my experience)

When getting up, the user will either use their cane to help them balance/support as they stand, or get up and then grab their cane. This depends on what it's being used for (balance vs pain when walking, for instance!)

That's everything I can think of for now. Thank you for reading my long-but-absolutely-not-comprehensive list of things to keep in mind when writing or drawing a cane user!

Happy disability pride month! Go forth and make more characters use canes!!!

#mobility aid #cane user #writing tips #writing advice #drawing tips #art tutorial #art tips #art reference #art resources #art help #my art #long post

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