I feel like many people have a fundamental misconception of what unreliable narrator means. It's simply a narrative vehicle not a character flaw, a sign that the character is a bad person. There are also many different types of unreliable narrators in fiction. Being an unreliable narrator doesn't necessarily mean that the character is 'wrong', it definitely doesn't mean that they're wrong about everything even if some aspects in their story are inaccurate, and only some unreliable narrators actively and consciously lie. Stories that have unreliable narrators also tend to deal with perception and memory and they often don't even have one objective truth, just different versions. It reflects real life where we know human memory is highly unreliable and vague and people can interpret same events very differently
Writing Advice: How to Create Conflict when Your Characters are Competent.
Featuring Leverage, the ultimate in Competency Porn.
Make them so good it gets them in trouble. So you've got a hacker and he's the best, definitively. Okay, well, one of his fake IDs just got called for jury duty. You pretended to be a psychic so well, someone kidnapped you to talk to a dead crime lord.
Make them targets. You're so good, enemies you didn't even know about are trying to kill you just so they won't have to take you on in your element. You're being blackmailed into doing a thing because you're the only one that can.
Limit the scope of competency. Sure, you're competent as a fighter, but your hacker is in jail and now you have to do his job and you are not competent in that. Yeah, you can climb a building, but do you know what you need to do to not end up in a crevasse while climbing a mountain?
Raise the stakes. Can you handle extracting a orphan being used by a washed up actress to fund her extravagant lifestyle? Yes. But can you handle extracting 30 orphans being used by the Slovenian mob to fund gunrunning? Maybe all you wanted was to get enough money to buy back a house, but instead you have to ruin the company so that all houses they illegally obtained are returned to their rightful owners.
Make others competent, too. Your characters are the best, but are they the best of the best? If you take you enemy down, do you go, too? If you win, does it make them win? Does it get out of hand and make other people start noticing when you're trying to keep your head down? Do they know every trick in the book and know the next move before you make it?
Make others painfully incompetent. Your characters are the best, but are they woefully unprepared for people who are not even good? Can your hologram hacker roll with it when the vital information is on a casset tape? Is the old mentor up to date on the recent technology, or is he going to screw you because he assumes the cops are just as corrupt/incompetent as when he was young?
Have some standards. Specifically, morals that make it impossible for your characters to back out or gets them in trouble for doing things "off-script." You can't leave on the train someone just stole for you because you've got to go back and stop the bad guys from bombing the IRS (even if we don't like them). You wish you could just say no to that assassin contract and leave, but someone's getting assassinated and you have to stop it because you're a good guy.
Bring up the past. Do you think that bad guy you brutally scarred a decade ago is going to carry a grudge? Do you have to save your ex-wife from the bad guy, who may also be her boyfriend, and if you suggest that she'll shut you out and you won't be able to save her or get paid? It's Draaamaaaa, babee.
[ID: a lavender book cover with two white women in Victorian gowns giving each other side glances and holding hands. The title reads "Don't Want You Like a Best Friend" and the author is "Emma R. Alban." end ID]
A swoon-worthy debut queer Victorian romance in which two debutantes distract themselves from having to seek husbands by setting up their widowed parents, and instead find their perfect match in each otherâthe lesbian Bridgerton/Parent Trap you never knew you needed!
I'm so proud of Emma!! If you like queer historical romance like The Queer Principles of Kit Webb, you should pick up this book.
oh so when the reader knows something i donât itâs âdramatic ironyâ but when i know something the reader doesnât suddenly iâm an âunreliable narratorâ đ
1. If a werewolf has locked onto your scent, it is best to let them get as much of it as they can. If they are in shifted form, it might mean a wet nose to your face or a tongue in your hair. Fear not! They are, in a way, like a large dog, if a large dog were capable of human wants and whims. If you find yourself in such a position, do not move! Let the werewolf finish its scent-marking. It could take anywhere from five minutes to six days, so get comfortable!
2. Should you find yourself in possession of a dead animal left upon your doorstep, donât scream and/or vomit! Chances are, it is from the same werewolf who sniffed you, wanting to make sure you are provided for. This is how a lycanthrope expresses interest. Be careful not to offend the wolf, as they might be watching from behind a tree or a bush. If you are averse to blood and gore, pretend someone dropped a cherry pie filled with bones on your porch.
(On the off chance that the dead animal was left by a cult and not a werewolf, please be prepared in case you are marked for a ritual sacrifice.)
3. Going on a date with a werewolf can be a fun event! Given that you might be in public, it would be best not to ask your werewolf suitor to âshift in the middle of an Applebeeâs just to see if it scares the server into giving free appetizers.â While many people enjoy mozzarella sticks (especially when given under threat of fangs), using your werewolf in such a way to get fried cheese is considered bad form. Your werewolf has feelings, and no one likes to be used.
(If your werewolf does shift to get you cheese, reward them by telling them you think they are the greatest creature in existence. Positive reinforcement goes a long way!)
4. Uh oh. Your werewolf has driven you home, arches a single, devastating eyebrow, and says, âAre you going to invite me inside?â
Remember, werewolves arenât vampires, meaning they do not need permission to enter your residence. However, good wolves always wait for permission before entering a dwelling that is not their own.
In this case, given the arched eyebrow, the werewolf is hoping to be invited inside for âadult activities.â This might include rolling on the carpet or having sex in the kitchen and/or up against a wall. If you choose to do this, you might see the werewolfâs eyes flashing. Good news! This means the wolf is having a wonderful time.
5. Your wolf stayed the night! How lucky are you? If you wake up the next morning with the shifter lying on top of you, it is very important that you do not move until they have decided to move on their own. Waking up a sleeping wolf can sometimes be difficult work, but if you keep a squeaky ball next to your bed, now is the time to put it to good use. Squeeze it near the wolfâs ear and ask, âWhoâs a good boy? Who wants to play with the ball? Is it you? Is it you?â Your wolf will most likely glower at you and threaten your life, but if you squeeze the ball three times, the wolf will be distracted. Throw it to the floor, and as the wolf chases after it, consider making waffles! Werewolves love waffles.
(God help you if you make pancakes. You have been warned.)
If you have survived these first five steps, you are to be commended! That means you most likely will have a werewolf for the rest of your life. A werewolf is a commitment. Adopt, donât shop!
bĂĄn â pure white, used of a person if theyâre very fair-haired, also means âblankâ and âfallowâ by extension
geal â used for pale or very light unsaturated colours, shades just short of white, such as for horses, dazzling sunlight, pale skin, also used as a positive word roughly similar to the sense of âshining / radiantâ in English, e.g. mo ghrĂĄ geal, my radiant love
fionn â used for whites and pale yellows in nature, like blonde hair, white wine, muddy-pale animal fur (as dark as fallow deer), sapwood (the soft white layer under bark), and the bark of trees like silverbirch
buĂ â yellow, used for both natural and artificial shades
buĂdhonn â lit. yellow-brown, means âfawnyâ
flannbhuĂ â natural and low saturation shades of orange, especially, but also used for the bright colour on the tricolour flag
orĂĄiste â âartificialâ-seeming orange colours, but also used for the fruit and in similar places
dearg â red, also used as an intensifier, e.g. ar dheargmheisce, very drunk
rua â natural reds and russets / browny-oranges / rich coppery colours, e.g. ginger to auburn hair, also used for roe deer (= fia rua) and of foxes
bĂĄndhearg â [white][red] = pink (note that in a compound word, the second element will take a h after the initial consonant)
corca â purple, usually the darker sort (derived from Latin purpura)
glas â primarily green, but can be used for many natural green and blue and grey colours, e.g. of pale eyes, grey cows, and also is used of metallic lustres, the sea, and the air in stormy weather (in Welsh, glas is generally blue, although itâs also used for verdant greens in older language)
gorm â blue, especially darker blues / azures and for blue-ish dark greys, (e.g. seabhac ghorm, peregrine falcon) ; also used of black skin to avoid using dubh (duine dubh = âperson with black hairâ)
gormghlas â literally means âblue-greenâ, can mean turquoise, or an intense azure
uaine â artificial green colours
liath â grey, particularly light greys, and very pale blues, often connected with unpleasant things, bainne liath = watery or curdled milk
donn â dark brown, brunette
dubh â pure black, can be used of hair colour, origin of word dĂşcha, ink