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queer-ragnelle · 9 hours

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Hi! I was wondering if you had any advice on how to craft a well-written, compelling Arthurian OC that isn't obnoxious or out of place but is still unique. I recognize the difficulty in doing so with so many different source texts (I'm most familiar with Le Morte, so that's usually my go-to) and the vast list of already existing characters. I'm just curious about your thoughts on the matter, since you're an author and also very knowledgeable about Arthuriana 💖

Hello there!

This is a tough question to answer! I think it's important to note that everyone will have a different opinion on this, but that shouldn't alter you writing your story how you want to. Some think adding any characters at all is too big of a change, while others write a full cast of original characters and then Merlin shows up randomly and makes the story "Arthurian."

I'm going to say something controversial.

Every Arthurian character is an OC.

Even King Arthur himself is an OC.

I'm going to elaborate on this quite a bit, as it's very important to me. But the TL;DR is that reading more will definitely help you conceptualize the boundaries of what's possible. Le Morte d'Arthur is a great start, but there's so much out there, both medieval and modern, that'll undoubtedly aid in your Arthuriana writing journey! :^)

While I do say things like "I love Arthurian OCs" as a means to convey that I view everyone's new creations as valid and interesting, I actually don't believe in a strong differentiation between Chretien de Troyes' Sir Lancelot or Marie of France's Sir Lanval and what you or I are writing today. We're participating in a tradition which can, at times, necessitate the creation of a new character or repurposing of an existing one. I think as soon as you create a character for your Arthurian story, they're an Arthurian character. Some refer to Lancelot or Galahad as "French OCs" or call Knight of the Cart or the Vulgate "fanfiction" as a means to degrade it's validity. Some seem to have an arbitrary timeline on which the full body of Arthurian works is measured, and the more recently something was written, the less authentic it becomes. I think they're wrong. I believe that whether or not we enjoy an installment in the ever expanding Arthurian tradition is irrelevant; it's all equally entitled to a measure of respect, even the new characters. No character or story is lesser than another by virtue of its age or language of origin or target audience or medium. I disdain the excess of scrutiny put upon certain arbitrary groupings of Arthurian tradition. Each story is full of original characters and building on the foundations of what came before. That's the nature of creative influence. Whether or not Arthur was a real person at some point in history is moot. The guy in the Mabinogion or the Vulgate or Le Morte d'Arthur or BBC Merlin is a character. He's a tool to tell a story. Such as your creation will be! Your brand new Arthurian character stands equally with all the rest who preceded them. :^)

Now, it can be helpful to distinguish between a medieval character and a modern one, sure, as they may represent different things depending on what point in history (or part of the world) they were created in. But Arthuriana isn't a franchise one must obtain express permission to contribute to, and it doesn't have a "canon," so therefore differentiating a character as "other" can be counter productive when developing a story. I don't believe Sir Robin from Monty Python and The Holy Grail (1975) or Brian from The Adventures of Sir Lancelot (1956-1957) are any less valuable as characters, even if they do draw on traits of existing Arthurian motifs in order to commentate on them or otherwise expand. In fact I think they're great characters and serve their narrative roles beautifully. One simple and one complex. I recommend watching those to see how it's done well and that may help you develop your own characters. But I'll delve into it a bit here to illustrate what I mean.

Sir Robin carries the coat of arms of a chicken, he's a cowardly knight followed around by a troupe of musicians that sing songs about all of his exploits. That is, the things he's run away from. Rather than use an existing Arthurian character and degrading them, Monty Python developed Sir Robin in order to tell their joke.

The flipside is Brian, a bona fide kitchen boy, who attaches himself to Sir Lancelot and desires to squire for him. Brian's narrative purpose is to deconstruct the nobility in a way that Gareth Beaumains, whom Brian is plainly inspired by, could not. Brian begins as a true serf forced to endear himself to Sir Lancelot to elevate his station. Merlin forges papers of nobility to convince King Arthur that Brian is worthy of this privilege. Even after that, Brian must face the brutality of his fellows while living in the barracks with them, as they don't take kindly to a "smelly kitchen boy" in their midst, plotting to get Brian to incriminate himself as a thief and get evicted from Camelot by Sir Kay. This role is incongruous with Gareth as Sir Gawain's brother, who was always noble, always a prince, and merely cloaked himself in the guise of poverty to prove a point. Gareth could return to the comforts of wealth whenever it suited him and his reason for going stealth was to intentionally distance himself from that privilege. The character Brian exists in order to commentate on the injustice of the upper class's oppression and dehumanization of the lower class in a way Gareth, or even Tor, could not, as they are of noble blood, even if it came by way of reveal. That's why Brian is a great addition to the Arthurian tradition.

Really, it comes down to treating the creation of your new Arthurian character like you would developing one for any other work, one entirely separate from the tradition. If they're a good character, they're a good character! Try not to get hung up too much on whether or not they're going to mesh well with the rest of the cast. For centuries, writers have transformed historical figures into Arthurian characters. (See: King Mark of Kernow better known as the Cuckhold King from the Prose Tristan, Owain mab Urien better known as Sir Yvain from Knight of the Lion by Chretien de Troyes, Saint Derfel better known as Derfel Gadarn from The Warlord Chronicles by Bernard Cornwell, etc.)

Speaking of Prose Tristan, would anyone consider Sir Dinadan an OC? Or Sir Palomides? They're characters added to a story drawing from a much, much older tradition, and I think they enrich the story. I feel likewise about the many Perceval Continuations, including the German Parzival by Wolfram von Eschenbach, which adds a half brother named Sir Feirefiz, or names Chretien's anonymous haughty maiden Orgeluse. What about Sir Aglovale's son Moriaen in the Dutch tradition? Amurfina in German Diu Krone by Heinrich von dem Türlin? Morgan le Fay's daughter Puzella Gaia in Italian La Tavola Ritonda? Not to mention the countless Middle English additions. The Green Knight and his wife? Dame Ragnelle and Sir Gromer? Or how about everyone's favorite Savage Damsel, Lynette of Castle Perilous? Is she not a late-era addition to the tradition courtesy of the man, the myth, the legend, Sir Thomas Malory himself? And then here comes Tennyson, who read Le Morte d'Arthur, and got to the end of dear Gareth Beaumains' story and had the same reaction we all did: "What the hell? He marries her sister?" And then he went about changing that in Idylls of the King. Speaking of Lynette, what's up with her niece Laurel? She's just a name on a page, the vast majority of retellings choose to ignore her, even if they do keep Lynette and Lyonesse. Laurel can scarcely be called a character, after all. She doesn't even have dialogue. So as I've gone out of my way to make her a prominent, fully developed character, with her own culture and back story and motivations, does that make her an OC of mine? And Henry Newbolt who included Laurel in his play Mordred: A Tragedy. And Sarah Zettel, who wrote from Laurel's point of view in Camelot's Blood. We did all the work, but we threw an Arthurian name on the character, so therefore, she isn't ours? But if we changed her name, she would be? Who gets to decide?

All of the Arthurian characters belong to all of us. That's the beauty of writing in a long-standing tradition, which exists apart from all other forms of writing. We have complete creative liberty to do what we want and refer to it how we want and no person or corporation or anyone can dictate otherwise. The intellectual property of Arthuriana belongs to the people. So invent a brand new wife for Gawain, and well, you're only the millionth author to do it! Just make sure she's an interesting character and that's literally the only requirement. Can't wait to meet her. (And all others you create!)

Have a great day!

#arthurian legend #arthurian legends #arthuriana #arthurian mythology #arthurian literature #writing #writers of tumblr #writers on tumblr #writeblr #ask #merilles

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crvida · 21 days

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i think dead boy detectives would have really suited a longer season format

#more in between cases with less major plot happening #and more character development and delving into character #as well as a chance for them to bond #like #slight spoiler but when did crystal find out how they both died #just stuff like that would be explained with slightly more filler #in my opinion obviously #like i loved it but it seemed quite rushed #dead boy detectives #dead boy detective agency #dead gay detectives #ghost post #it was good for setting up the premise though

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anarchy-and-piglins · 1 year

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OKAY NO WAIT we can have one discourse post as a treat because I just realized something:

I love people who like c!Techno/are c!Techno sympathizers

I respect people who dislike c!Techno for the right reasons (because he’s certainly not a flawless character and has made mistakes that I understand can subjectively make him unlikable to people)

BUT as soon as somebody dislikes c!Techno because ‘he has no character development’/‘he never learned from his mistakes’/’he never faces narrative consequences for his actions’ I will automatically distrust them for showing a fundamental misunderstanding of c!Techno’s entire character that betrays they either haven’t watched his pov at all (most likely) or they have watched but their narrative analysis is just a new low

#technoblade #thoughts #in other words #hating c!techno for the right reasons is understandable #hating c!techno for the wrong reasons will get u my blade #like there's plenty of valid reasons why c!techno doesn't vibe with you he's an antagonist for a large portion of the story for a reason #and even after his more significant character development it's not like he's perfect yaknow #tho that's arguably something I uphold for every single dsmp character #hence why I don't think there's a single dsmp character u can't dislike #but the amount of c!techno dislikers who hate him for reasons that either like #1) did not happen in canon and are just made up by other dislikers #2) show they have only seen c!techno from another character's pov and refuse to delve deeper #discourse

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nicojoe · 2 years

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#1) it's not the fact that it's about the crusades it's the huge red flag that apparently flashbacks are the first thing on the #chopping block when netflix wants to tighten the budget while major action sequences go untouched #(think about how Netflix has prioritized its original films since RED NOTICE and since their stock started tumbling...)#(as I type this the action-bloated THE GRAY MAN is barely over 56% on RT)#2) character development/relationship dynamics is what made TOG stand out in a sea of sludge and flashbacks are a major #source of character-development particularly when dealing with beings who are CENTURIES old (show me... don't tell me)#3) nicky and joe are obviously not the main characters but they are very much part of the main group and their mere existence #(particularly joe's) often feels revolutionary in this shitty industry; every other old immortal getting a character-building flashback #except them doesn't sit right... i don't care about battlefields i just want a moment of them connecting/their relationship evolving #and after TTT i'm a bit wary of how often Yusuf's *history* as a queer MENA muslim immortal has been overlooked #(why wouldn't you want more flashbacks if they're used efficiently and show the sheer amount of time this group has spent together?)#(why even make a movie about immortal characters if you're not going to delve into the dizzying span of their respective lives even a bit?)#(it's not about the crusades being in the movie or not - it's that this suggests that netflix has de-prioritized flashbacks *in general*)#personal #will probably delete later #(i don't want my complete lack of faith in netflix to bring y'all down lol)

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goodobservationshirley · 1 year

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I hadn’t read His Dark Materials in years (well over a decade), but I watched the show with my mom who hadn’t read the books, and I think the only change that I noticed that kind of bugged me (again assuming I’m remembering right) is Roger’s attitude in the land of the dead upon first seeing Lyra. That said, I completely understand why they made that change since I had to look up his actor to make sure it was the same kid, and clearly they needed a reason why he’s now like the same size as Lyra, but I do miss his unwavering faith in her that was in the books. I’m now planning on re-reading the books and am very curious if I am remembering the mulefa description correctly because the show is not how I pictured their legs at all.

the whole land of the dead thing is very different in the book

part of it i would say is just that it's a different form of storytelling and they had to rethink it to make it work in the time frame they had

but also the land of the dead, in the book, is kinda a huge moment for lyra's journey. she suddenly can't rely on what she does best (lie) and finds herself completely out of her depth. the problem is that we can spend a lot of time on this in the book because lyra lying almost by default and in a sort of childish easy way has been well established by that point, it's basically her defining characteristic

in the show? not so much. it is mentioned a few times that she's a liar, yes, but show!lyra is a bit older, hence less childish from the get go, and she's not so much of a fanciful liar as her book counterpart is. all these changes make sense for the show, but lyra-not-lying is only a meaningful part of the story if lyra-lying was an important part of it. it is in the book, but it isn't in the show

all that to say, yes the land of the dead scene is very different and i understand how it's the point where your memory would have been like 'wait a minute'. because of other changes they made, they kinda had to rework this moment to give it a bit of a different emotional weight. the change in roger's attitude to lyra is part of it

#it's actually the main scene that makes me feel like lyra and will's journey is less developed in the show #but that's okay #these are different mediums #and quite frankly a book should be able to delve deeper in the innermost changes a character is going through imo #as for the mulefa their legs are in a sort of losange in the books #considering no animal on earth works like this #i can't blame visual artists for being like okay maybe we don't keep this part #lol #they kept the wheels and the trunks and added even more cuteness than i thought possible #so they're all right for me

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lieutenant-amuel · 2 years

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The funny thing is that I remember how much I struggled with the title for the fourth chapter of "Was Born To Lead" (A New Beginning) and was never quite satisfied with it, but now, I realize it does make sense, considering I actually began to write a completely new story with this chapter.

#Was Born To Lead #I make way too many posts about this fic now it deserves its own tag #I mean originally 'Was Born To Lead' was supposed to be a drabble collection about Gabe's past #but the fourth chapter implied there was supposed to be a continuation so I wrote it #and then I wrote an absolutely random Ángel chapter and delved into Valerio's past....#I mean Valerio was supposed to be important in the orginal concept as well but having his own storyline.... no I didn't expect that #Honestly I'm still not quite sure if I went in the right direction developing my own characters and creating an ongoing storyline #basically having nothing to do with canon and maybe at some points not even looking realistic enough for Gabe's actual backstory #And I'm pretty sure my OCs are one of the reasons for many people not to read it because you know when you read fanfiction #you want to read about the characters you already know and love #And my OCs may be just not interesting enough for that #But I... like what I'm doing?#Honestly looking back I realize that I wouldn't be able to make it drabble collection because we freaking nothing know about Gabe's past #I highlighted all the main CANON aspects in those first three chapters so continuation of it would imply writing headcanon ideas either way #And I made Gabe the actual main character of his story being surrounded by his friends family and other characters #who have their own lives as well #He has his own adventures fitting his personality and attitude #I try to highlight different aspects of his character bringing up some small details like him loving Antonia Agama or being bad at riddles #and more major ones like his conflict with Roberto and his subtle leadership makings #I mean I understand reading about OCs may be a bit annoying especially if you don't like them but there's still enough Gabe #and of the points of this story was to make it multi-layered so if you don't like one thing you may like another #I don't I'm probably too narcissistic and biased towards this fic but I genuinely enjoy working on it #Maybe it would be interesting for more people if I made it as a drabble collection #But I'm glad how it turned out eventually #There's supposed to be 'I know I'm probably' I'm just too lazy to fix it

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naomisyamada · 2 years

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P I A N O A N D M U G I C H A [self-para]

please be aware that his para contains mentions of death though no explicit descriptions.

When she thinks of her brother, Naomi thinks of the piano. It was an easy association to make. Akira used to play and was exceptionally talented, mastering all the greats from Chopin to Billy Joel, Bach to Elton John. She also thinks of the glass of mugicha he drank in the sweltering summer months, precariously balanced on the piano lid as he practiced. Naomi was always sure it would spill due to how vigorously he pounded the keys, particularly when he banged out a favorite such as Mendelssohn's Lieder ohne Worte or No. 5 of Brahms' Hungarian Dances. And yet, it never did. It would slide closer and closer to the edge of the lid with every heavy G or C but never fell. Never even slopped over.

What got Naomi thinking about all of this again was the pianist at the mall. She heard him playing a spirited rendition of a Prince song as she headed to her late afternoon shift at Donna's. The man at the piano looked nothing like her brother. He was white and balding, about twice the age her brother had been when he died, but there was something about how he played, the way his agile fingers curled over the keys that screamed Akira. It stole the breath from her windpipe.

Naomi had the urge to speak to this man but didn't know what she would say. Maybe something about the song he was playing. Do you know any Brahms? Have you ever balanced a cup of tea on the piano as you played?

She kept on walking until she reached the roller rink and jangly disco drowned out the sound of the piano.

Instead of driving back to her apartment after work, Naomi went in the opposite direction. For fifteen minutes, her Oldsmobile Cutlass shot westward through a sleepy and often derelict-looking sprawl of shopping plazas and squat office buildings. Eventually, the scenery leveled out into empty lots dotted with trees that looked like shadow creatures. Crooked telephone poles lined the road, droopy power lines like strings of fate leading Naomi ever onward. She slowed the car as she turned into a neighborhood.

The community was well organized, with tidy plots in tidy rows and streets with names like Red Pepper Loop and Sugar Loaf Court. As she drove past the neat houses, that kitschy Malvina Reynolds song from the sixties sprung to mind. Little boxes made of ticky tacky, little boxes on the hillside, little boxes all the same...

Naomi parked on the street and stared at her childhood home through the car window. She took it all in. The oatmeal-colored wood slating. The old oak tree reaching for the sky with its sprawling, sturdy branches. Looped around one of those branches was a swing she'd never seen before, swaying gently in a gust of evening wind. A stone path led to the front door. Naomi's lips flattened in a hard line.

There was the wide driveway where she and Akira used to color with chalk, tracing the outlines of each other's bodies and drawing in features with stubby nubs of chalk in colors like flamingo pink and alligator green. Akira accused her of drawing him ugly on purpose, which was true. Naomi vividly remembered how the chalk dust felt between her palms.

Naomi imagined getting out of her car and taking the stone path up to the house. Her mom opening the door for her. Saying welcome home in her yellow apron, the smell of coxinhas wafting through the whole house. She would see Akira's baseball bat leaning against the wall, the rug with its little black burn mark on the upper lefthand corner, the collection of plastic floral cups in the cupboard. This is where they laughed, where they slept. She'd see the wood post in the kitchen where they charted their heights over the years. The Sears couch they piled on in their pajamas, watching cartoons or listening to their dad tell colorful stories about his childhood in Okinawa. His description of his quaint beachside town had been so illustrative that Naomi was sure she could hear the waves, taste the salt on her lips.

Akira would emerge from his room when he heard her walk through the door. He'd smile at her with the too-long incisors that made him look like a fox. She'd pull him into a hug and refuse to let go even when he protested, even when he called her cruel names and yelled at her for squeezing too tight. Maybe everything would be the way it used to be. The way it was supposed to be.

Even though that glass of mugicha on the piano had never tipped over, Naomi could picture it happening so clearly in her mind it was as though it was a genuine memory. She could hear the clank of plastic against tile, the puddle of brown tea next to the bench. She supposed this non-memory appeared when she learned about the car crash. Or was it after the drunk driver who killed her brother had gotten off scot-free? She couldn't remember and realized it did not matter. It wasn't a real memory, and her baby brother was still dead.

All of a sudden, Naomi heard music. She assumed it must be the car radio but saw that it wasn't switched on. The music was distant, but she knew right away what it was: the sound of a somber piano ballad. Naomi felt like she had been punched in the gut. She put a hand over her stomach.

Naomi's parents divorced shortly after Akira's passing, their marriage unable to bear the massive weight of a dead child. Naomi alone was not enough to keep it together. She understood. Akira had been the glue that bound their family together. He'd been the talented one, the one destined for greatness. Her role as big sister had been to make way for him. Protect him. And she'd failed.

She thought again of the mugicha that had never spilled. She saw it in a floral cup at the edge of the piano lid.

Worrying at her bottom lip, she peered at the house - her family's house that was no longer theirs - and stared at it until her vision blurred with tears.

The ballad marched on.

#━━ ⟢ self para #━━ ⟢ character development #ft. akira #death mention tw #i'm not crazy about this so soz about the quality #but i figured i ought to delve a bit more into her bro

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oopsallmabari · 2 years

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dskjfnadfjn i’m not done with the ramble about my hawkes but a) i enjoy having diff versions of the PCs/different universes for my characters because it’s neat to have the same Character but not the same Person in a situation and how much it can change dynamics b) i made myself very sad about my hawkes.

#ari speaks #like. i have not done much delving into malcolm and leandra as characters specifically #but the way i've developed levi's relationship w leandra vs jelani's relationship with leandra #they're definitely different leandras. like they both have their issues but i feel like the more i tease out #the more i think that jelani's relationship w leandra as a parent crosses the line from troubled to toxic #anyway i made myself think about jelani's relationship with carver and how it blows up after the deep roads #and the absolute fog that hits levi when leandra dies #and now i am sad and i did this to myself.

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dangoulains-devotion · 2 months

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every time I have to wade through inane ship wars where people are willfully ignorant to the depth and facets of cloud strife's character, circumstance, and story just so I can find some cool screenshots or fanart my 'cloud is ace' agenda simply grows more potent out of spite

#rebirth literally said in bold letters he has multiple feelings. like humans do #and yet in the year 2024 i am still forced to see 'this ship was canon since 1997 unlike the other one'#do you have a brain that you use #are you capable of actually delving into the details of a character #without reducing them to barbie dolls that get smacked off one another #i just want to look at cool fanart man #dont even get me STARTED on how zack slots into all this #my boy has not haunted the narrative for you to go and ignore character developments like this #this is all coming out more blunt than i would normally try to write things #but brother i am so tired #i could write a whole post on how it is very real and normal for humans to feel affection for more than 1 person #and how it manifests in cloud and the whys #if the game itself is somehow not clear enough to you then you are simply choosing to close your eyes at that point #trying to act superior and objective about your ship while ignoring the material you claim to have gotten your Objective Facts™ from...#good gravy.#shipping is supposed to be a fun thing secondary to enjoying the content #not a primary objective to use it to argue with people #i would say peace and love on planet gaia but im sure some people would read it as peace and you can only love one person at a time forever #on planet gaia. haha.#anyway...... now that that's out my system i can be at peace again #shout out 2 my fellow multishippers who take this bountiful wealth of content and have fun with it #i think im gonna replay rebirth's story soon #want to see how much more i can pick out about new/updated approaches to characterization #rocket town will be very interesting in part 3 i think #yuffie too with wutai supposedly becoming a much more fleshed out thing #if this post somehow breaches containment:#if your first thought is to um actually me and whip out 'evidence'. i am not going to give you rhe time of day #because my rambling clearly went over your head and im not interested in 1sided discussion where i am being talked at rather than to #anyway have fun stop wasting time arguing and pls look forward to remake part 3 where i lose my mind over vincents waist. again #look what you did you raised my blood pressure enough to hit the tag limit. anyway peace and love on planet g-

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vincenteuniverse · 10 months

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Ken's progression OUT of color

This is kinda a cornplate thought that I had nowhere else to put but I love how in the Barbie movie(SPOILERS), Ryan Gosling's Ken's outfits symbolically showcase his "descent" into full patriarchy mode over time.

At the beginning of the film Ken's beach outfit (his default) has an equal balance of pink and blue. Pink is obviously Barbie's color, and shows Ken as fitting well into the femininity and style of Barbieland, while blue could be argued to be Ken's color (a scene later when he's especially confident features him wearing all denim blue, and the stereotypical gender of these colors, especially when found in kid's toys, supports these basic binaries as associated with these colors).

When Ken decides to leave Barbieland with Barbie to delve into the outside world, his color scheme goes full pink, desperate enough to be with Barbie that his attire reflects how dependent his identity is on hers at this stage.

However, it isn't long before Ken's exploration of the real world leads him to exciting new discoveries about the patriarchy and what it can do for him. Here he is introduced to a newfound sense of self independent from barbie, and while he still carries a pink scarf around his neck, the rest of his outfit has devolved into black and white while hers has remained colorful. As he pursues this new-to-him idea further, his worldview is becoming less unique, pretty, and vibrant(in addition to becoming much more masculine).

It is only his scarf that ties him to Barbie now, and upon making the choice not to follow her to Mattel, he becomes fully independent, losing the scarf and any trace of pink in his attire the next time we see him in his mojo dojo casa house coat and beach off outfit underneath.

In his most masculine moment during "Just Ken", he and the other Kens all wear a uniform of the most traditionally male ben shapiro outfit ever: A T-Shirt, belt, and dress pants. All black(and no white either to contrast like the previous 2 outfits). It's fitting that the Kens, in their destructive warpath, imagine themselves as perfectly cleaned up yet violently masculine dancers in their heads, their outfits devoid of all of the flair and character of Barbieland.

(excuse the shitty picture) After Ken has his little self-growth moment, his new sweatshirt reflects the changed and much more balanced man he has become, much more accepting of himself and a life where he can co-exist with Barbie without being with her. This outfit is again an almost perfect balance of pink and blue, both sides of Ken now a bit more at peace, his colors not pushed out by the LITERALLY black hole of toxic masculinity.

The color scheme also matches the roller blading outfit, so perhaps it shows a somewhat intermediary stage of Ken's development wherein he is still attached to and at peace with Barbieland, but where he is starting to become more independent as well. anyway these are all fun and i genuinely have no fucking idea why Mattel didn't cash in on literally making dolls of all the characters and their outfits these would be so fun to own

#barbie #barbenheimer #barbie movie #barbie 2023 #ken barbie #kenergy

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saraswritingtipps · 7 days

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The Villain Checklist!

Creating a villain is a delicate art, much like crafting a masterpiece. To ensure your antagonist leaps off the page with depth, consider these essential elements for your villain checklist:

Motivation: Every great villain is driven by a potent motivation, one that fuels their actions and sets them on their dark path. Explore their backstory and unearth the core reason behind their villainy. Are they seeking power, revenge, redemption, or something more sinister?

Complexity: Gone are the days of one-dimensional villains twirling mustaches and cackling maniacally. Infuse your antagonist with layers of complexity and nuance. Perhaps they possess redeeming qualities or wrestle with inner conflicts that humanize their actions.

Flaws and Vulnerabilities: Despite their nefarious intentions, villains should be flawed beings with vulnerabilities. These weaknesses not only add depth to their character but also create opportunities for conflict and growth throughout your story.

Backstory: Delve into your villain's past to uncover formative experiences that shaped their present disposition. Trauma, betrayal, or societal pressures can all contribute to their descent into villainy, providing rich narrative fodder for exploration.

Goals and Ambitions: Just as heroes strive for noble objectives, villains pursue their own twisted goals with fervor and determination. Define what your antagonist hopes to achieve and the lengths they're willing to go to attain it, even if it means sacrificing everything in their path.

Antagonistic Traits: From cunning intellect to ruthless brutality, equip your villain with traits that make them a formidable adversary for your protagonist. Consider how their strengths and weaknesses complement each other, creating dynamic conflicts that propel your story forward.

Relationships and Alliances: Villains don't operate in isolation; they forge alliances, manipulate allies, and cultivate relationships to further their agendas. Develop the connections your antagonist shares with other characters, be they loyal minions or reluctant collaborators, to add depth to their character dynamics.

Moral Justification (from their perspective): While their actions may be abhorrent to society, villains often believe they're justified in their pursuits. Explore your antagonist's moral code and the twisted logic that rationalizes their behavior, offering readers insight into their twisted worldview.

Arc of Transformation: Just as protagonists undergo arcs of growth and change, villains should experience their own journey of transformation. Whether it's redemption, downfall, or something altogether unexpected, chart the evolution of your antagonist throughout the narrative.

Memorable Traits: Give your villain distinctive traits or quirks that leave a lasting impression on readers. Whether it's a chilling catchphrase, a distinctive appearance, or a haunting backstory, give your antagonist elements that linger in the minds of your audience long after they've closed the book.

#writing #writer on tumblr #writerscommunity #writing tips #character development #writing help #write villain #writing villains #my ocs #creative writing #oc character #writing block

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deception-united · 2 months

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Let's talk about character development.

Creating multidimensional characters make them more relatable to your readers. They add richness and complexity to the narrative, enhancing its overall depth and resonance.

So. How?

Complex Motivations: Characters should have motivations that go beyond simple desires or goals. Delve deep into their past experiences, fears, and desires to understand what truly drives them. Keep them consistent yet nuanced for realistic character growth and change throughout the story.

Flaws and Vulnerabilities: Avoid creating characters who are too perfect or flawless. Imperfections make characters relatable and interesting. Give them vulnerabilities, weaknesses, and struggles to overcome. This adds depth to their personalities and creates opportunities for character development.

Internal Conflict: Explore the internal conflicts within your characters. This could be moral dilemmas, inner turmoil, or conflicting emotions. Internal struggles can be just as compelling, if not more so, than external conflicts, and they add layers to your characters' development. (See my previous post about this!)

Consistent Behavior: Make sure to keep your characters' actions, reactions, and decisions consistent with their established personalities, backgrounds, and motivations. Inconsistencies can break the reader's immersion and credibility in the story. And the fandom will hunt you down mercilessly.

Unique Voice: Each character should have a distinct voice and mannerisms that reflect their personality, background, and worldview. Pay attention to the way they speak, their vocabulary, and their gestures. This will really help to bring your characters to life.

Dynamic Relationships: Develop dynamic relationships between your characters. Interactions with other characters should reveal new facets of their personalities and contribute to their growth or downfalls. Explore different types of relationships (friendships, romances, rivalries, family dynamics, etc.) to add depth to your characters' experiences.

Arc of Change: Consider how your characters evolve over the course of the story. What lessons do they learn? How do their experiences shape them? Every significant event should impact your characters in some way, leading to growth, transformation, or regression.

Happy writing ❤

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hayatheauthor · 11 months

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The Writer's Guide to Authentic Wounds and Fatalities

Writing fatal injuries in a story requires a delicate balance between realism and narrative impact. The portrayal of these life-altering events can evoke strong emotions in readers and shape the trajectory of your characters' journeys. In this blog, I will explore the intricacies of depicting fatal injuries in a manner that feels authentic, engaging, and respectful to the gravity of such circumstances. By understanding the nuances of fatal injuries, you will be equipped to craft compelling narratives that resonate with your readers.

Writing Fatal Injuries

When it comes to writing fatal injuries, it is crucial to approach the subject with care and accuracy. Fatal injuries carry immense consequences for your characters and can shape the trajectory of your story. By delving into the intricacies of portraying fatal injuries authentically, you can ensure that the gravity and impact of such events are effectively conveyed to your readers.

Choosing the right injuries for your story

Selecting the appropriate fatal injuries for your narrative involves considering various factors. Ask yourself: What purpose does this injury serve within the story? How does it affect the characters and the overall plot? Conduct thorough research to identify injuries that align with your story's context and resonate with the emotional journey of your characters.

For example, in a historical drama, you may research common fatal injuries during a particular era, such as battlefield injuries, diseases, or accidents prevalent at the time. In a crime thriller, you might explore the portrayal of fatal gunshot wounds or traumatic injuries resulting from violent encounters. By aligning the injuries with the context and themes of your story, you create a more immersive and believable experience for your readers.

Researching the mechanics of fatal injuries

To portray fatal injuries convincingly, it is essential to delve into the mechanics behind them. Understand the specific anatomical structures and systems involved, as well as the forces or mechanisms that can lead to fatal outcomes. Explore medical resources, consult experts if possible, and gather insights into the physiological and psychological implications of such injuries.

For instance, if your character suffers a fatal stab wound, research the anatomy involved, the potential organs affected, and the potential consequences such as internal bleeding or organ failure. By understanding the specific details and implications of the injury, you can describe the physical and emotional toll it takes on the character with greater accuracy and depth.

Depicting the immediate aftermath

When writing about fatal injuries, vividly describe the immediate aftermath to capture the intense emotions and physical realities. Consider the sensory details, the shock and disbelief experienced by characters, and the chaotic environment that often surrounds such events. Balancing realism with the needs of your story, create a scene that immerses readers and evokes empathy.

For example, if a character experiences a fatal car accident, you can depict the chaos at the scene, the character's disorientation, and the reactions of witnesses. Emphasize the sensory details such as the sound of screeching tires or the smell of burning rubber, creating a visceral experience for your readers.

Emotional and dramatic impact on the narrative

The impact of fatal injuries extends beyond the immediate moment. Explore the ripple effects on other characters, relationships, and the overall plot. Delve into the emotional responses, grief, guilt, anger, or determination that arises in the aftermath of loss. Utilize these emotional arcs to deepen character development and drive the narrative forward.

For instance, the loss of a loved one due to a fatal illness might lead to grief and strained relationships among the remaining family members. The emotional journey of a character grappling with guilt and seeking redemption after causing a fatal accident can become a central theme in your story. By delving into these emotional arcs and their consequences, you add depth and resonance to your narrative.

Writing Minor Injuries

While fatal injuries may capture our attention with their dramatic impact, it is equally important to pay attention to the portrayal of minor injuries in your writing. Minor injuries, though less severe, can still significantly affect your characters and contribute to the authenticity of your story. In this section, we will explore the art of depicting minor injuries, ensuring that they are not overlooked or trivialized. By delving into the nuances of minor injuries, you can add depth and realism to your characters' experiences.

Types of minor injuries to consider

When crafting your story, it is essential to consider a range of minor injuries that can occur. These injuries can include cuts, bruises, sprains, minor burns, or even minor fractures. Each type of injury carries its own unique characteristics, associated pain levels, and recovery processes. By understanding these distinctions, you can create accurate and believable depictions that resonate with your readers.

For example, a character who sustains a cut on their hand may experience sharp pain, the sight of blood, and the need for immediate first aid. On the other hand, a character with a sprained ankle may struggle with mobility, experience swelling, and require rest and care for a few days. By paying attention to these specific details, you can enhance the realism of your storytelling.

Conveying pain and discomfort

When writing about minor injuries, it is important to effectively convey the pain and discomfort experienced by your characters. Consider describing the sensation of pain, the throbbing or stinging feeling, and how it affects their daily activities or interactions. Showcasing the emotional impact of pain, such as frustration, irritation, or vulnerability, can deepen the readers' connection to the character's experience.

For instance, if a character suffers from a sprained wrist, you can describe the dull ache that persists, making simple tasks like typing or holding objects challenging. By capturing these small but significant moments, you immerse readers in the character's struggle and create a more realistic portrayal.

Balancing realism with narrative pace

While it is important to depict minor injuries realistically, it is also crucial to strike a balance with the overall pace and momentum of your story. Consider the significance of the injury within the larger context of your narrative. Some injuries may require more detailed attention and impact the plot, while others may serve as background elements. Adjust the level of detail and focus accordingly, ensuring that the portrayal of minor injuries aligns with the narrative's flow.

For example, a small cut on a character's finger may not require an extensive description unless it becomes infected or triggers an unexpected consequence. By aligning the portrayal of minor injuries with their narrative relevance, you maintain a consistent pace while still acknowledging their impact on your characters' lives.

Writing Bloodshed And Realistic Blood Loss

When writing about wounds and injuries, it is essential to consider the amount of blood loss your characters may experience. Realistic portrayal of bloodshed can enhance the authenticity of your scenes and immerse readers in the gravity of the situation. In this section, we will explore the factors influencing blood loss and techniques for accurately depicting it in your writing.

Understanding blood loss and its impact on the body

To authentically portray blood loss, it's crucial to have a basic understanding of how the human body responds to injury. Research the circulatory system and the role of blood in transporting oxygen and nutrients throughout the body. Consider the different types of blood vessels and their potential for bleeding when injured. This knowledge will help you create realistic scenarios and determine the appropriate level of blood loss for specific injuries.

Factors influencing blood loss in different injury scenarios

The amount of blood loss can vary depending on the severity and location of the injury. Factors such as the size of blood vessels, the rate of bleeding, and the body's ability to clot play a significant role. For example, a deep laceration in an artery will result in more substantial blood loss compared to a superficial cut on the skin. Consider these factors when describing injuries and their resulting bloodshed.

Techniques for accurately portraying blood loss in writing

There are several techniques you can use to convey the realistic impact of blood loss in your writing. Describing the color, consistency, and flow of blood can provide vivid imagery. You can also include physical symptoms such as dizziness, weakness, or fainting that may accompany significant blood loss. Additionally, consider the emotional response of your characters and how they react to the sight of blood or their own injuries.

By incorporating these techniques, you can create scenes that evoke a visceral response in readers and enhance the authenticity of your writing.

Bruises: Colors, Progression, and Pain

Bruises are a common result of injuries, and understanding how they form, change in color, and cause discomfort can greatly enhance the realism of your writing. By accurately describing bruises, you can bring depth to your characters' injuries and portray their healing process convincingly.

Understanding the stages and colors of bruises

Bruises go through distinct stages of color as they heal. Initially, they may appear red or purple due to the broken blood vessels beneath the skin. Over time, the color changes to blue, green, yellow, and eventually fades to a brown or yellowish hue. Understanding this color progression can help you accurately describe the age of a bruise and the healing process.

For example, a fresh bruise might be vivid purple, indicating recent trauma, while a fading bruise may have a yellowish tinge, suggesting that healing has begun. By incorporating these color details, you can add realism to your characters' injuries and track the passage of time within your narrative.

Depicting the progression of bruises over time

As bruises heal, they often change in appearance and size. Initially, a bruise may be small and localized, but it can gradually spread and become more extensive. Describing this progression can provide a sense of the healing process and the passage of time within your story.

For instance, a character who sustains a significant blow to the face may develop a bruise that starts as a small spot near the eye but expands to cover a larger area over the next few days. By accurately portraying the progression of bruises, you enhance the authenticity of your characters' injuries and their recovery.

Conveying the pain and sensitivity associated with bruises

Bruises can be painful, sensitive to touch, and affect a character's movement and daily activities. Describing the pain and discomfort experienced by your characters can create empathy and immerse readers in their physical ordeals.

Consider conveying the tenderness of a bruise when pressure is applied, the throbbing sensation, or the limitation of movement due to the pain.

Remember The Side Effects

Injuries, whether minor or severe, often come with a range of side effects that can significantly impact your characters' lives. These side effects can extend beyond the physical realm and encompass emotional, psychological, and social aspects.

Physical side effects

Injuries can have profound physical side effects that go beyond the immediate pain and discomfort. Consider the potential consequences such as limited mobility, impaired coordination, chronic pain, or the need for assistive devices like crutches or braces. Describing these physical side effects can add depth to your characters' struggles and provide a realistic portrayal of their healing journey.

For example, a character who sustains a leg injury may experience difficulty walking, require physical therapy, or have long-term complications that affect their day-to-day activities. By addressing these physical side effects, you create a more nuanced depiction of the aftermath of injuries.

Emotional and psychological side effects

Injuries can have a profound emotional and psychological impact on characters. They may experience fear, anxiety, trauma, or a loss of confidence. Consider how the injury affects their self-image, relationships, or mental well-being. Explore the emotional journey your characters undergo as they navigate the aftermath of their injuries.

For instance, a character who survives a near-fatal accident may develop post-traumatic stress disorder (PTSD) and struggle with recurring nightmares or panic attacks. By incorporating these emotional and psychological side effects, you can deepen the complexity of your characters and their responses to traumatic experiences.

Social implications and changes

Injuries can also lead to significant social changes for your characters. They may face challenges in their personal relationships, encounter stigma or discrimination, or experience changes in their roles or identities. Explore how the injury affects their interactions with others and their sense of belonging in the world.

For example, a character who sustains a facial injury may encounter judgment or stares from others, leading to self-consciousness or isolation. By addressing the social implications and changes resulting from injuries, you can create multi-dimensional characters and explore the impact of their injuries on their social dynamics.

By incorporating these various side effects into your writing, you bring depth and authenticity to your characters' experiences and showcase the wide-ranging impact of injuries.

Conclusion

Writing authentic wounds and fatalities requires attention to detail and a deep understanding of the physical, emotional, and psychological aspects involved. By following the guidelines and exploring the subheadings discussed in this guide, you can create compelling and realistic portrayals of injuries in your writing.

Remember to conduct thorough research on the specific injuries you want to depict, understanding their mechanics, symptoms, and potential outcomes. Consider the immediate and long-term effects on your characters, both physically and emotionally. Incorporate sensory details to immerse readers in the experience, describing the pain, bloodshed, colors of bruises, and the progression of healing.

Additionally, don't forget to address the side effects that injuries can have on your characters' lives. Explore the physical limitations, emotional struggles, and social implications that arise from their injuries. By delving into these aspects, you can create well-rounded characters and compelling narratives that resonate with readers.

I hope this blog on forging epic battles will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.

Looking For More Writing Tips And Tricks?

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

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