sparklingsilvermagnolias
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Latest Posts by sparklingsilvermagnolias
How to Write Better Villains (Because Your Story Deserves One)
There’s nothing worse than a forgettable villain. You know the type: cartoonishly evil for no reason, monologuing their master plan to no one in particular, and vanishing from memory the second you finish the book. A great villain, though? They haunt your thoughts, challenge your hero, and—sometimes—you catch yourself *agreeing with them*. If you want to level up your storytelling, here’s how to craft villains that stick.
1. Give them a reason to be bad (and make it make sense)
Nobody wakes up one day and just decides to be evil (unless they’re in a Saturday morning cartoon). Real people are shaped by their pasts, fears, and desires—and your villains should be, too. Maybe they believe they’re saving the world, just in a way that costs too much. Maybe they were betrayed and now trust no one. Whatever the case, give them a *why*. Even better? Make your readers *understand* that why, even if they don’t agree with it.
2. Avoid the evil-for-evil’s-sake trope
Mustache twirling is out. Complexity is in. A villain who kicks puppies just to prove they’re the bad guy is boring. But a villain who feeds stray dogs while orchestrating a political coup? *That’s* compelling. The best antagonists aren’t evil—they’re driven. And when their goals put them in direct conflict with the hero, *that’s* where the tension comes from. Let them think they’re the hero of their own story.
3. Let your villain challenge the protagonist in meaningful ways
Your villain shouldn’t just be a physical threat—they should challenge your hero’s beliefs, force them to make hard choices, and maybe even make them question themselves. When the antagonist represents a deeper, thematic opposite to the protagonist, you’ve got literary gold. Think of how The Joker unravels Batman’s moral code, or how Killmonger forces T’Challa to reconsider Wakanda’s isolationism. Conflict isn’t just punches—it’s philosophy.
4. Make them unforgettable
Whether it’s a chilling line of dialogue, an eerie calmness, or a twisted sense of humor, give your villain something *distinct*. Personality matters. A unique voice, a specific mannerism, or an unexpected vulnerability can elevate your villain from “meh” to “iconic.” Think about what makes them tick—and what makes them *memorable*.
5. Don’t be afraid to make them right
The scariest villains are the ones who are *almost* right. When a reader can see where they’re coming from—or even agree with some of their points—that’s powerful. It creates tension not just in the story, but in the reader’s own mind. And that’s exactly what a good villain should do: make you question, make you uncomfortable, and make the story impossible to forget.
What are some of your favorite villains in fiction? Drop your favs (or your own villain WIPs) in the tags or replies—I’d love to see them!
Writing Platonic Relationships
When writing relationships between characters, one of the best things you can do as a writer is master the art of platonic relationships. Not every relationship has to turn romantic—and when done right, platonic bonds can hit harder than love stories.
But writing them well? That takes a lot of intentionally-written cues and dialogue. Here are just a few tips:
1. Establish emotional intimacy early
Platonic doesn’t mean distant. Let them see each other. Let one character be the first person the other calls when things go wrong. Show moments of vulnerability, casual care, and trust without flirty undertones. Let them have traditions, inside jokes, or quiet routines together.
2. Don’t hint at romance “just in case”
If you’re going for a purely platonic vibe, don’t toss in romantic tension as bait. It cheapens the relationship. Let them have chemistry that’s based in compatibility, not attraction. Not every deep bond needs a romantic subplot. Avoid unnecessary lingering glances or “almost touch” moments unless it’s 100% platonic context (e.g., comforting after a trauma).
3. Give them shared history or shared growth
Platonic duos feel real when we see how they’ve been through things together. Maybe they survived something. Maybe they just grew up side by side. What matters is that their connection isn’t shallow. Flashbacks, casual references to “remember when,” or unspoken teamwork go a long way.
4. Let them be physically close without it meaning more
One character leaning on the other’s shoulder. Braiding hair. Holding hands in a high-stress moment. All of this can be platonic when framed right. Normalize physical affection without romantic framing. You could show how each character interprets the touch. If it’s comfort or instinct—not attraction—it’s platonic.
5. Use other characters to reinforce it
Have others in the story acknowledge the bond without assuming it’s romantic. It helps the reader accept it as non-romantic, too. Maybe someone can say, “You two are like siblings” or “You always have each other’s back.” Reinforce the type of love.
6. Give them conflict—but let them choose each other
Don’t make it perfect. Platonic love, like any bond, includes disagreement. But when they still come through for each other, that’s what makes it powerful. Maybe one apologizes without ego. The other forgives without resentment. That’s platonic strength.
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Platonic relationships aren’t the backup to romance—they’re their own kind of energy. They don’t need to be slow-burn romances in disguise. Let them be bold, soft, loud, or quiet—but most of all, real. Because at the end of the day, platonic love deserves to be written with the same depth, stakes, and tenderness as any love story.
How to Write SIBLING Relationships
If you're looking to write a sibling relationship but don't fully understand how a sibling relationship actually works, this is for you! As someone who has a younger brother, here are some points you'll want to consider when writing siblings!
Oldest, Middle, and Youngest
First, let's talk about the three types of siblings and explore their general roles, expectations, and characterization within a family!
*Oldest*
Starting with the oldest child, oftentimes, the eldest child is expected to act as the most responsible and as the role model. This doesn't mean they will go out of their way to set an example, but typically, no matter their personality and relationship with their younger siblings, they will have an innate sense of duty and protectiveness over their siblings. They want their siblings to enter the right path.
As the role model, the oldest child normally feels the most stress and anxiety, yet they also try not to show it to avoid worry from others. They highly value independence.
*Middle*
I'm sure you've heard of the jokes that the middle child is invisible child, and while those jokes are often exaggerated, the truth isn't terribly far off.
Between the eldest and youngest child, the middle child has a more difficult time standing out, which may lead to more reckless behavior for attention. They are characterized as more free-spirited and might act as a mediator between the youngest and oldest.
They will likely be more responsible and experienced than the youngest but can act similarly to the youngest.
*Youngest*
The youngest child can look like many things. Sometimes, you'll see the youngest is the most spoiled because they're the parents' favorite, and sometimes they're ignored because they have the least experience. Despite that, they have their fair share of pressures and burdens because they are often expected to meet, if not surpass, the achievements of their older siblings.
The General Dynamic
A sibling relationship differs from a typical friendship. They WILL find each other more annoying, but that doesn't mean they can't get along.
Siblings are also more honest and nit-pickier with each other. For example, if a friend changes the radio without asking, the character might not think too much of it. However, if their brother changes the radio without asking, then the character will likely feel irritated and call them out for it.
And when I say honest, I don't mean that they're super honest with each other emotionally, because that's not always the case. When I mean honest, I mean they're rather honest with each other at a surface, verbal level. They hardly hesitate to say their thoughts and can be pushy about them.
They will have an opinion on everything.
Personalities
If you've ever had some friends that have siblings, I'm sure that you're aware sometimes siblings can be similar and sometimes they're total opposites.
However, this doesn't mean that a pair of "opposite" siblings are ying and yang. While they may seem visibly different, such as fashion sense, and whether they're an introvert or extrovert, there are still shared traits that they hold. This is especially true if they're biological siblings and/or raised in the same environment together.
They influence each other, so there's bound to be some similarities in personality or values no matter how distinct each one is.
Love, Even If Unseen
No matter what, siblings love each other. They might not say it, they might not express it, or they might show it in a toxic and unhealthy way, but there's always an underlying sense of familial love. These are the people that your character has (or was supposed to) grown up with, after all.
There's going to be attachment, they will defend each other, even if they claim to hate the other.
Parents
Okay guys, now let's move on to parents and how they might play a part in sibling relationships!
*Comparisons*
Regardless of whether you have a sibling or not, you've likely experienced what it feels like to be compared to someone else. I'm not saying people with siblings have it worse, but they do have a wider range of people to be compared with.
It's not uncommon for parents to compare their children to each other, and it's not uncommon either for a child to compare themselves to their siblings. Sometimes, outsiders and/or distant family members will also compare the siblings, causing feelings of inferiority and envy.
When siblings have a poor relationship, it can sometimes be because of the parents.
*Fighting and Arguments*
Siblings fight and argue a LOT. However, you'd be mistaken if you thought a parent resolves all of these fights.
The truth is, after a certain age is reached, parents won't step in or resolve a fight unless it's right in front of them. They expect their children to be mature enough to solve their issues out, and honestly? They were tired of breaking up conflicts years ago.
Bonus point: yes, siblings can fight often, but the quarrels are usually forgotten pretty quick too. I've had several fights with my brother in which we were back to normal literally a few hours later the spat. Will I remember it for the next year? Absolutely. But do I care anymore? Not really.
Conclusion
This post may not apply to all siblings--everyone has different types of relationships--but here are some good points to start at!
TL;DR: The eldest sibling has the most responsibility, the middle sibling is a blend between the oldest and youngest and often strives for attention, and while the youngest sibling may look like they have it the easiest, they have their pressures too. Sibling relationship does not mimic a friendship, and they will have similar traits despite distinct personalities. They love and care for each other, even if it doesn't look that way. Having siblings sets up for many comparisons between them, and parents won't always resolve sibling spats.
I'll likely release some posts detailing how to write specific sibling relationships, so let me know if you want to see one in particular! Thank you for making it here!
Happy writing~
3hks <3
Repressed Emotion Scene Prompts
»» Saying “I’m fine” while their hands shake.
»» Laughing a little too loudly at something not funny.
»» Keeping their posture perfect while their jaw clenches.
»» Dodging emotional questions with charm or sarcasm.
»» “It’s not a big deal,” said like a prayer and a lie.
»» Crying alone in a bathroom stall.
»» Changing the subject every time it gets personal.
»» Numb silence after something devastating.
»» Scrubbing their hands like they can wash away a feeling.
»» Suddenly cleaning or organizing something—anything.
»» Avoiding mirrors.
»» Letting anger slip in where sadness lives.
»» Staring into space with their mouth slightly open, lost in it.
»» A tight smile that doesn’t even reach their cheeks.
»» Hugging someone stiffly—like they don’t know how anymore.
»» Not reacting when they should.
»» Punching a wall.
»» Pressing fingers to their temple like they're trying to hold their head together.
»» Keeping a secret so deep they forgot it was there.
»» “No, really. I’m good.” Said like a lie they need to believe.
Questions Your Character Is Too Afraid to Ask
(But desperately needs the answer to) Because these are the thoughts they won’t say out loud, but they shape everything they do.
If I stopped trying, would anyone notice?
Do they actually like me, or do I just make their life easier?
Am I hard to love?
What would they say about me if I left the room?
Would they stay if they saw the real me?
What if I’m only good at pretending to be good?
Was it actually love, or just obligation?
What happens if I fail again? What’s left of me then?
How long until they get tired of me?
What if I deserve the things I’m afraid of?
Am I healing or just hiding better?
Why do I feel more myself when I’m alone?
Do I want to be forgiven or just forget?
What if I never become the person they believe I am?
Am I still angry, or just numb?
Why can’t I let go of them, even after everything?
If they hurt me, and I stayed, did I hurt myself more?
Am I building a future, or just distracting myself from the past?
Is this what I want, or just what I’ve been told to want?
What if I was never meant to survive this, but I did anyway? Now what?
Emotional Confession Scene Prompts
♡ Voice trembling on the edge of something bigger.
♡ A truth blurted out mid-argument, raw and unpolished.
♡ Avoiding eye contact, but finally saying it anyway.
♡ A confession disguised as a joke.
♡ “I wasn’t going to say anything but...”
♡ Whispered during a moment when they think the other person is asleep.
♡ A tearful outburst after staying calm for far too long.
♡ “You weren’t supposed to find out like this.”
♡ Telling the truth while staring at the ground.
♡ Letting it slip accidentally, then freezing.
♡ Writing it down instead of saying it.
♡ Starting a sentence three times before finishing it.
♡ “I didn’t know how to say it until now.”
♡ Sending a message, deleting it, sending it again.
♡ “You asked how I’m doing. I lied.”
♡ Finally saying what’s been obvious to everyone else.
♡ Speaking in metaphors because the truth feels too vulnerable.
♡ Telling someone else first.
♡ Breaking down halfway through the sentence.
♡ “I’m scared you’ll hate me if I tell you.”
i think people (men and men-simps) miss a crucial aspect of women hating men.
the harm it inflicts.
if a woman hates men and is vocal about it, the worst that happens is she alienates the men in her life and hurts some feelings.
but that's the extent of it. our society doesn't discriminate against men. our society doesn't value women's contributions over men's. our society doesn't sexualize men the way it sexualizes women. men aren't generally viewed by society as a commodity or a prize at the end of the battle or a reward for being a decent person. our society doesn't view men as tools for sexual gratification and nothing more. "misandry" is low-stakes.
and it's borne of misogyny. men hate us, men oppress us, men violate us, men have built the world to tear down our self-esteem and minimize our worth, men assault us, men are in charge and then they pay us less and don't promote us, men control our bodies and send us to prison if we don't act as incubators against our will, men view us as free maids and mothers and shoulders to cry on before using our holes for their own enjoyment. we don't know which man will hurt us like this by looking, we act suspicious and they tell us we're paranoid we trust them and get hurt and they tell us we should've known better.
of course we hate men. men oppress us in all facets of society and despite decades of progress we're still suffering under them, and it's getting worse with the overturn of Roe v. Wade and the election of a rapist into our nation's highest office because America hates women more than it hates rapists. it's to be expected that we would hate men.
when we hate men, we hurt feelings. when men hate us, we are murdered and violated and exploited and imprisoned.
and before the terf accusations pile on, i do not count trans women as men. i support anyone joining Team Woman. my goal is to smash the patriarchy, not other women.
yeah, it’s like that atwood quote about how men are afraid that women will laugh at them while women are afraid that men will murder them
Emotional Walls Your Character Has Built (And What Might Finally Break Them)
(How your character defends their soft core and what could shatter it) Because protection becomes prison real fast.
✶ Sarcasm as armor. (Break it with someone who laughs gently, not mockingly.) ✶ Hyper-independence. (Break it with someone who shows up even when they’re told not to.) ✶ Stoicism. (Break it with a safe space to fall apart.) ✶ Flirting to avoid intimacy. (Break it with real vulnerability they didn’t see coming.) ✶ Ghosting everyone. (Break it with someone who won’t take silence as an answer.) ✶ Lying for convenience. (Break it with someone who sees through them but stays anyway.) ✶ Avoiding touch. (Break it with accidental, gentle contact that feels like home.) ✶ Oversharing meaningless things to hide real depth. (Break it with someone who asks the second question.) ✶ Overworking. (Break it with forced stillness and the terrifying sound of their own thoughts.) ✶ Pretending not to care. (Break it with a loss they can’t fake their way through.) ✶ Avoiding mirrors. (Break it with a quiet compliment that hits too hard.) ✶ Turning every conversation into a joke. (Break it with someone who doesn’t laugh.) ✶ Being everyone’s helper. (Break it when someone asks what they need, and waits for an answer.) ✶ Constantly saying “I’m fine.” (Break it when they finally scream that they’re not.) ✶ Running. Always running. (Break it with someone who doesn’t chase, but doesn’t leave, either.) ✶ Intellectualizing every feeling. (Break it with raw, messy emotion they can’t logic away.) ✶ Trying to be the strong one. (Break it when someone sees the weight they’re carrying, and offers to help.) ✶ Hiding behind success. (Break it when they succeed and still feel empty.) ✶ Avoiding conflict at all costs. (Break it when silence causes more pain than the truth.) ✶ Focusing on everyone else’s healing but their own. (Break it when they hit emotional burnout.)
How a Character’s Anger Can Show Up Quietly
Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.
╰ They go still. Not calm... still. Like something is pulling tight inside them.
╰ They smile, but their eyes? Cold. Flat. Done.
╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.
╰ They ask questions they already know the answers to, just to watch someone squirm.
╰ Their words are clipped. Polite. But razor-sharp.
╰ They laugh once. Without humor. You know the one.
╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.
When Should You Describe a Character’s Appearance? (And When You Really, Really Shouldn’t)
It’s one of the first instincts writers have: describe your character. What they look like, what they wear, how they move. But the truth is — readers don’t need to know everything. And more importantly, they don’t want to know everything. At least, not all at once. Not without reason.
Let’s talk about when to describe a character’s appearance, how to do it meaningfully, and why less often says more.
1. Ask: Who Is Seeing Them? And Why Now?
The best descriptions are filtered through a perspective. Who’s noticing this character, and what do they see first? What do they expect to see, and what surprises them?
She looked like someone who owned every book you were supposed to have read in school. Glasses slipping down her nose. Sharp navy coat, sensible shoes, and an air of knowing too much too soon.
Now we’re not just learning what she looks like — we’re learning how she comes across. That tells us more than eye color ever could.
2. Use Appearance to Suggest Character, Not List Facts
Avoid long physical checklists. Instead, choose a few details that do double work — they imply personality, history, class, mood, or context.
Ineffective: She had long, wavy brown hair, green eyes, a small nose, and full lips. She wore jeans and a white shirt.
Better: Her hair was tied back like she hadn’t had time to think about it. Jeans cuffed, a shirt buttoned wrong. Tired, maybe. Or just disinterested.
You don’t need to know her exact features — you feel who she is in that moment.
3. Know When It’s Not the Moment
Introducing a character in the middle of action? Emotion? Conflict? Don’t stop the story for a physical description. It kills momentum.
Instead, thread it through where it matters.
He was pacing. Long-legged, sharp-shouldered — he didn’t seem built for waiting. His jaw kept twitching like he was chewing on the words he wasn’t allowed to say.
We learn about his build and his mood and his internal tension — all in motion.
4. Use Clothing and Gesture as Extension of Self
What someone chooses to wear, or how they move in it, says more than just what’s on their body.
Her sleeves were too long, and she kept tucking her hands inside them. When she spoke, she looked at the floor. Not shy, exactly — more like someone used to being half-disbelieved.
This is visual storytelling with emotional weight.
5. Finally: Describe When It Matters to the Story, Not Just the Reader
Are they hiding something? Trying to impress? Standing out in a crowd? Use appearance when it helps shape plot, stakes, or power dynamics.
He wore black to the funeral. Everyone else in grey. And somehow, he still looked like the loudest voice in the room.
That detail matters — it changes how we see him, and how others react to him.
TL;DR:
Don’t info-dump descriptions.
Filter visuals through a point of view.
Prioritize impression over inventory.
Describe only what tells us more than just what they look like — describe what shows who they are.
Because no one remembers a checklist.
But everyone remembers the girl who looked like she’d walked out of a forgotten poem.
10 Traits That Make a Character Secretly Dangerous
❥ Disarming Humor. They’re the life of the party. Everyone’s laughing. No one’s noticing how much they aren’tsaying.
❥ Laser-Sharp Observation. They see everything. Who’s nervous. Who’s lying. Who would be easiest to break. And they don’t miss.
❥ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.
❥ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.
❥ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.
❥ Controlling Niceness. The kind of kindness that’s sharp-edged. You feel guilty for not loving them.
❥ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. It’s survival—or manipulation.
❥ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.
❥ History of “Bad Luck”. Ex-friends, ex-lovers, ex-colleagues… they all left under “unfortunate” circumstances. But the pattern says otherwise.
❥ Unshakeable Confidence in Their Morality. They don’t think they’re the villain. That makes them scarier.
Avoiding the “Mary Sue” trap while creating characters.
A “Mary Sue” is that charact. Perfect; bends the story to their will, faces no meaningful struggles, and often feels too idealized to be relatable. The thing I like most is when an author makes a character, a situation, a scene, realistic. I like heavy realism in my books. I know we read to escape reality, but there's a way to do that.
1. Give Them Flaws Not the checklist kind. Not "clumsy" or "bad at math" unless that genuinely bleeds into who they are and how they move through the world. I mean the kind of flaws that crack open relationships. That drive certain choices. That make you want to shake them. Flaws should cost them something. Otherwise, they’re decoration.
2. Let Them Fail Failure is the most human thing. It brings shame, doubt, growth, all the stuff that makes a character feel alive. Let them try, and stumble. Let them mess up something important. Let them hurt people and not know how to fix it. Failure opens narrative doors that perfection just slams shut.
3. Don’t Make Everyone Love Them If every side character is just there to admire your MC, you’re not writing a story—you’re writing propaganda. Let people mistrust them. Let some hate them. Not everyone sees the same version of a person. Maybe someone sees behind their act, maybe someone’s immune to their charm. That gives perspective.
4. Make Their Skills Believable A skill with no backstory is just plot armor. If they're good at something, show why. Time. Training. Failure. Maybe they’re not even the best—just someone who works harder than they should have to. That’s infinitely more compelling than someone who just is talented for no reason.
5. Avoid Overloading Them With Traits They don’t need to be smart, funny, hot, tragic, a prodigy, a rebel, and an empath who bakes when sad. Choose what matters. Strip it down to the few traits that define them, the ones they carry into every scene. Complexity is about layers, not a pile of labels.
6. Give Them Internal Conflict We all contradict ourselves. That’s the beauty of it. Your character should wrestle with decisions. Regret them. Say one thing and feel another. Inner conflict is what separates a walking trope from a person we believe in.
7. Let the Plot Push Back The world shouldn’t bend for your character. The plot should push them, break them, make them bleed for the win. Their goals should cost something. The story isn’t just their playground—it’s the pressure cooker where they get tested. If they’re never cornered, what’s the point?
8. Ensure They Don’t Eclipse the Entire Cast Other characters are not props. Give them wants, voices, limits. They don’t exist to spotlight the protagonist—they exist to breathe life into the story. And your MC is more interesting when they’re surrounded by people who push them, contradict them, challenge them.
9. Avoid Unrealistic Morality Nobody’s always right. And honestly, it’s annoying when they are. Let them justify things that aren’t justifiable. Let them fail to see another perspective. Let them believe they’re in the right—until they’re not. Give them a compass that doesn’t always point true north.
10. Make Them Struggle to Earn Trust Trust is a slow build. People remember hurt. They hesitate. Let your MC do the work—prove themselves, fail, rebuild. Trust earned over time is more satisfying than instant loyalty that comes out of nowhere.
I hate perfect characters. Especially when it’s pretend perfection. Like what do you mean he has abs when he has no time to workout? Like what do you mean she is so put together all the time? In this economy?
let's write something raw, something realistic.
Tender, Subtle Ways to Show a Character Cares
For the characters who will literally die before saying it out loud, but their body and habits scream devotion.
Letting them walk on the inside of the sidewalk
Memorizing their coffee order
Keeping extra gloves/scarves/snacks just in case they forget theirs
Texting: “Are you home safe?” instead of “I miss you”
Tucking their hair tag in
Offering the last bite, even if they really wanted it
Taking mental notes on what makes them nervous or happy
Saying “Call me if you need anything” and meaning it
Sitting close enough that their shoulders brush
Keeping an umbrella in their bag. Just. In. Case.
Being the first to notice when something’s off
Defending them behind their back
Refusing to let them feel dumb, even for a second
Remembering little details from a single offhand comment
Turning down the music when they walk in without asking
Write Tension that isn't just Yelling or Guns
Listen, not all tension is someone holding a knife or screaming “I’ve had enough, Derek!” at a dinner party. Real, edge-of-your-seat tension can be quiet, slow, awkward, and still make your reader grip the page like it owes them money. So here are my favorite ways to sneak tension in like a gremlin under the bed...
╰ Unanswered Questions (That the Character is Actively Avoiding)
Tension isn’t always about what’s said—it’s about what’s not said. Let your character dodge questions, interrupt, change subjects. Let readers feel the silence humming between the lines. + Great for: secrets, internal conflict, emotional gut-punches.
╰ Time Pressure Without Action Pressure
A clock ticking doesn’t always mean bombs. Sometimes it means waiting for a test result. A letter. A phone call. A knock on the door. Tension = knowing something’s coming but not knowing when. + Great for: psychological suspense, horror, relationship drama.
╰ Small Talk That’s Not Really Small Talk
When two characters are talking about the weather, but both are secretly screaming inside? That’s tension. Give one character a goal (say the thing, don’t say the thing) and the other a defense mechanism. Now sit back and watch the discomfort bloom. + Great for: slow burns, rivalries, “we’re not talking about that night, are we?”
╰ Two Characters Who Want Opposite Things But Are Pretending They Don’t
Someone wants to leave. Someone wants them to stay. Someone wants to confess. Someone is acting like nothing’s wrong. Make your characters polite when they want to scream. + Great for: emotionally repressed chaos, family drama, enemies-to-lovers.
╰ One Character Realizes Something The Other Doesn’t
A power shift = instant tension. One person knows the truth. The other’s still talking like everything’s fine. Let that dread slow-cook. Readers love being in on the secret. + Great for: betrayal, secrets, foreshadowing plot twists.
╰ Body Language That Contradicts the Dialogue
They say “I’m fine,” but they’re picking their thumbnail raw. They laugh too hard. Their smile doesn’t reach their eyes. Show the cracks forming. Let the reader sense the dissonance. + Great for: all genres. Especially emotionally loaded scenes.
╰ Echoed Phrases or Reused Words That Hit Differently the Second Time
When a character repeats something someone else said—but now it’s laced with bitterness or grief? Chills. Callback dialogue is your best friend for building subtle dread or emotional weight. + Great for: heartbreak scenes, arcs coming full circle, psychological unraveling.
╰ Characters Performing a Role to Keep the Peace
Pretending to be “the good sibling.” Faking confidence in a boardroom. Playing therapist when they’re not okay themselves. Tension thrives when someone’s holding it together with duct tape and fake smiles. + Great for: internal conflict, layered characterization, slow unravelings.
How Your Characters Might Flirt Using Food (Because Food = Love)
Because sometimes “I love you” sounds like “did you eat?”
“I saved the last piece for you.” → Literal affection disguised as generosity.
“This isn’t as good as the one you like, but it’s close.” → Translation: I pay attention.
“Try this. No, just—trust me.” → Feeding them is flirting. End of story.
“I remembered you don’t like onions, so I left them out.” → That’s a love letter.
“I burned it. You’re eating it anyway.” → Domestic chaos = love language unlocked.
“You always steal bites, so I got you your own.” → He saw, he adapted. Soulmate.
“You’re not allowed to fall in love with anyone who cooks better than me.” → Petty? Maybe. Adorable? Absolutely.
fandomite-brained “progressive” and “queer positive” intellectuals will tell you with a straight face that certain pieces of fictional art like rap songs or comedic jokes or fifty shades of grey can socially sanction or enshrine rape culture, but their 25 chapter gay noncon omegaverse ao3 fanfiction that is publicly available on the world wide web is somehow ontologically different. They think they can hide their contradictions from me, lol. they are so cute hehe you’re so bad at obscuring your affinities behind flimsy platitudes you little freak (steps on them with my steel toed boot).
The funny thing with abusive misogynists is that however much they hate women who defy them, they always seem to find ways to absolutely loathe the obedient ones
"For fuck's sake, this song and dance again? Every single generation complains about the youth, going back to Aristotle and ancient Chinese philosophers. And it's always some grandstanding about their inherent moral character and never the fault of parents. You know what my fucking generation did? They fucked when they were 13 and became drug addicts at 11. You steered clear of teenagers in groups because they would fucking shank you and rob you. And nobody ever read. You ASSUME cooking an egg is easy, because it's a skill you already have. As someone who had to consciously teach himself this skill as a teenager due to family bullshit, IT'S NOT. There's tons of fiddling involved if you want your boiling egg to taste nice. I didn't know you're supposed to salt the water until years later because it just never occurred to me. And you bet your ass there are tons of skills that you struggle with that are effortless to your parents and that they complain that 'kids these days' can't even do. Humans will always choose the easiest path. The fuckers who mastered cooking tapioca were either desperately hungry with nothing else to eat or lonely autistic weirdos who just do these things because they can. Same as it ever was. Take a step back, look at yourself and learn some goddamn humility. How often are YOU on the second page of the newspaper?"
— Goncharov, Goncharov (1973)
Write Characters Who Feel Dangerous (Even If They’re "Good")
╰ Make their unpredictability a feature, not a bug
A dangerous character isn’t just the guy with the gun. It’s the one you can’t quite predict. Maybe they’re chaotic-good. Maybe they’re lawful-evil. Maybe they’re smiling while they’re plotting the next five ways to ruin your day. If the reader can’t tell exactly what they’ll do next — congrats, you’ve made them dangerous.
╰ Give them a weapon that's personal
Anyone can have a sword. Yawn. Give your character a weapon that says something about them. A violin bow turned garrote. A candy tin full of arsenic. Their own charisma as a leash. The weapon isn’t just what they fight with, it’s how they are.
╰ Let them choose not to strike and make that scarier
Sometimes not acting is the biggest flex. A truly dangerous character doesn’t need to explode to be terrifying. They can sit back, cross their legs, sip their coffee, and say, “Not yet.” Instant chills.
╰ Layer their menace with something else, humor, kindness, sadness
One-note villains (or heroes!) are boring. A dangerous character should make you like them right up until you realize you shouldn’t have. Let them charm. Let them save the kitten. Let them do something that makes the eventual threat feel like betrayal.
╰ Show how other characters react to them
If every character treats them like a nuclear bomb in the room, your reader will, too. Even if your dangerous character is polite and quiet, the dog that won’t go near them or the boss who flinches when they smile will sell the danger harder than a blood-soaked axe.
╰ Make their danger internal as well as external
It’s not just what they can do to others. It’s what they’re fighting inside themselves. The anger. The boredom. The itch for chaos. Make them a little bit scary even to themselves, and suddenly they’re alive in ways pure external "baddies" never are.
╰ Don't make them immune to consequences
Even the most dangerous characters should get hit—physically, emotionally, socially. Otherwise, they turn into invincible cartoons. Let them lose sometimes. Let them bleed. It’ll make every moment they win feel twice as earned (and twice as scary).
╰ Tie their danger to what they love
Real threats aren't powered by anger; they're powered by love. Protectiveness can be feral. Loyalty can turn into violence. A character who's dangerous because they care about something? That's a nuclear reactor in a leather jacket.
╰ Remember: danger is a vibe, not a body count
Your character doesn’t have to kill anyone to be dangerous. Sometimes just a glance. A whispered rumor. A quiet, calculated decision to leave you alive — for now. Dangerous characters control the room without ever raising their voice.
Ways I Show a Character Is Grieving
They say "It’s fine, I’ve processed it" while clearly processing it through spreadsheets, sarcasm, or passive-aggressive emails.
They treat memories like landmines. They avoid certain songs, places, and foods like they bite and they kind of do.
They hoard weird things. A receipt. A voicemail. A cracked mug. Objects that wouldn’t matter to anyone else but now feel sacred.
They laugh at really inappropriate times. At funerals. In therapy. During serious conversations. It’s not funny, they just don’t know what else to do.
They forget things. Not just dates. Entire days. Their brain is buffering because it’s too full of everything they don’t want to feel.
They get too angry at tiny things. The pen runs out? Full mental breakdown. It’s never about the pen.
They say “they wouldn’t want me to be sad” as a way to guilt-trip themselves into pretending they’re not actively falling apart.
20 Subtle Ways a Character Shows They're Not Okay (But Won’t Say It)
(For the emotionally repressed, the quiet imploders, the “I’m fine” liars.)
✧ Cancels plans they were excited for.
✧ Sleeps too much—or barely at all.
✧ Snaps at tiny things, then immediately regrets it.
✧ Can’t stand silence, suddenly always has noise on.
✧ Dresses in oversized clothes to hide their body.
✧ Laughs too loudly. Smiles too tightly.
✧ Picks at their nails, lips, or skin.
✧ Constantly checks their phone, even though no one is texting.
✧ Stops answering messages altogether.
✧ Forgets to eat—or pretends they already did.
✧ Eyes scan the room like they’re waiting for something bad.
✧ Overcommits. Can’t say no. Burns out quietly.
✧ Stops doing the things they love “just because.”
✧ Apologizes too often.
✧ Avoids mirrors.
✧ Can’t sit still—but won’t go outside.
✧ Says “I’m tired” instead of “I’m hurting.”
✧ Tries to clean everything when their life feels out of control.
✧ Uses sarcasm as armor.
✧ Hugs people just a second too long—and then acts like nothing happened.
Habits That Reveal Deep Character
(A.K.A. the quiet stuff that says everything without screaming it)
❥ The “I Always Sit Facing the Exit” Quirk They don’t talk about their childhood much, but they always know where the exits are. Every restaurant. Every train. Trauma has muscle memory. Your job is to notice what it’s saying without needing a monologue about it.
❥ The “I Can’t Sleep Until I Hear You Lock the Door” Habit It's not controlling. It's care shaped like paranoia. They say “Goodnight” like it’s casual, but they’re counting the clicks of the lock like a lullaby. Let that show more than “I love you.”
❥ The “I Keep Everything You’ve Ever Given Me” Thing Not just gifts. Receipts with your doodles. The crumpled note you wrote when you were mad. Every bit of you that felt real. It’s borderline hoarder behavior, but also? It’s devotion.
❥ The “I Cook When I’m Sad” Pattern Their world’s falling apart, but suddenly everyone has banana bread. It’s not about food—it’s about control, about creating something warm when everything else is cold. And they won’t say it out loud, but they're asking, “Will you stay?”
❥ The “I Practice Conversations in the Mirror” Secret Before big moments, hard talks, or just answering the phone. They're rehearsing being okay. They're trying to be the version of themselves people expect. That’s not weakness—it’s survival wrapped in performance art.
❥ The “I Fix Other People’s Problems to Ignore My Own” Reflex Everyone calls them “strong,” but no one notices how fast they redirect. “How are you doing though?” they ask, one heartbeat after breaking down. Let your reader see how exhaustion wears a smile.
❥ The “I Never Miss A Birthday” Rule Even for people who forgot theirs. Even for exes. It’s not about being remembered—it’s about being someone who remembers. That’s character.
❥ The “I Clean When I Feel Powerless” Mechanism That sparkling sink? Not about hygiene. That’s grief control. That’s despair in a Clorox wipe. Let it speak volumes in the silence of a spotless room.
❥ The “I Pretend I Don’t Need Help” Lie They say, “I’m fine” like it’s a full stop. But their hands shake when they think no one’s looking. Let your other characters notice. Let someone care, even when they don’t ask for it.
❥ The “I Watch People When They’re Not Watching Me” Curiosity Not in a creepy way. In a poet’s way. In a “who are you when no one’s clapping” way. They love the in-between moments: laughter in elevators, fidgeting before speeches. That's who they are—observers, not performers.
Subtle Ways a Smart Character Shows They're Smart
✧ They notice what isn’t said. The gap. The silence. The missing piece.
✧ They explain complex things in the simplest words. No ego, just clarity.
✧ They pause before answering, not because they’re unsure, but because they’re calculating what not to say.
✧ They remember names. Tiny details. The kind of stuff people don’t expect anyone to keep.
✧ They don’t correct people when they’re wrong. Unless it matters. Then it’s precise.
✧ They ask smart questions and actually listen to the answers.
✧ They use sarcasm as camouflage, people underestimate snarky geniuses.
Ways I Show a Character is Emotionally Burned Out (Before They Even Realize It Themselves)
I love writing characters who think they’re fine but are actually walking emotional house fires with bad coping mechanisms.
They stop doing the things they used to love and don’t even notice. Their guitar gathers dust. Their favorite podcast becomes background noise. Their hobbies feel like homework now.
They pick the path of least resistance every time, even when it hurts them. No, they don’t want to go to that thing. No, they don’t want to talk to that person. But whatever’s easier. That’s the motto now.
They’re tired but can’t sleep. Or they sleep but wake up more tired. Classic burnout move: lying in bed with their brain racing like a toddler on espresso.
They give other people emotional advice they refuse to take themselves. “You have to set boundaries!” they say—while ignoring 8 texts from someone they should’ve cut off three emotional breakdowns ago.
They cry at something stupidly small. Like spilling soup. Or a dog in a commercial. Or losing their pen. The soup is never just soup.
They say “I’m just tired” like it’s a personality trait now. And not like… emotionally drained to the bone but afraid to admit it out loud.
They ghost people they love, not out of malice, but because even replying feels like too much. Social battery? Absolutely obliterated. Texting back feels like filing taxes.
They stop reacting to big things. Catastrophes get a blank stare. Disasters feel like “just another Tuesday.” The well of feeling is running dry.
They avoid being alone with their own thoughts. Constant noise. TV always on. Music blasting. Because silence = reckoning, and reckoning is terrifying.
They start hoping something will force them to stop. An accident. A missed deadline. Someone else finally telling them, “You need a break.” Because asking for help? Unthinkable.
Things Your Character Pretends to Be (But Isn’t, At Least Not Yet)
(Identity masks, coping roles, survival personas.)
The caretaker (but no one’s ever taken care of them).
The brave one (but they’re terrified all the time).
The flirt (because real intimacy is terrifying).
The funny one (because laughter hides the panic).
The overachiever (but they feel like a fraud).
The chill one (but they’re screaming inside).
The leader (but they never wanted the spotlight).
The rebel (but they just want to belong).
The calm one (but their thoughts race nonstop).
The loyal one (even when people don’t deserve it).
The loner (but they’re starving for connection).
The tough one (but they’ve never been allowed to cry).
The problem-solver (but can’t fix their own mess).
The grounded one (but they feel completely lost).
The logical one (because feeling has always gotten them hurt).
The “together” one (but they’re falling apart in secret).
The “nice” one (but they’re boiling with resentment).
The free spirit (but they crave structure).
The peacemaker (but they never say what they need).
The heartbreaker (but they’re terrified of being left first).
some essays to fill your time
Just a bunch of things I've read recently.
The Authoritarian Roots of India's Democracy by Tripurdaman Singh
Why is Everything So Ugly?
Casual Viewing by Will Tavlin
“You are Next”: Unmarried Urban Women in India and the “Marriage Talk” by Shilpa Phadke
Crossing Days by Thomas Dai
Inside the Indian Manosphere by Lhendup Bhatia
Optimism and Desperation by Camilla Grudova
Everyone is Cheating Their Way Through College by James Walsh
Blunt-Force Ethnic Credibility by Som-Mai Nguyen
When My Authentic is Your Exotic by Soniah Kamal
The discontent of Russia by Joy Neumeyer
On anti-political projects by Kat Rosenfield
'Correcting' historical wrongs is a slippery slope by Manu Pillai
Hey, look at me. Look at me. I’ve said it once and I’ll say it again: you need to condition yourself to being okay with being inconvenienced by things. The first time I spoke about this I meant it in a mental health way- it is good to go out to the store and see people versus just ordering alone at home- but there is another more pressing societal issue you should be more concerned about as well.
Any service you rely on for convenience can be weaponized against you the moment you begin to rely on it. Streaming used to be a cheap and convenient way to see movies at home. It is now exorbitantly expensive, you need multiple accounts just to get what you want, and any of those movies can be taken from you at any time. And unless you have gotten used to going through the “inconvenience” of owning physical media, you can do nothing about it. Same goes for buying things on Amazon. Same goes for any service like DoorDash etc. These companies WANT you to be reliant on them for convenience so they can do whatever they want to you because, well, what else are you gonna do?
Same thing goes for the uptick in AI. If you train yourself to become reliant on AI for doing basic things, you will be taken advantage of. It is only a matter of a couple years before there are no free AI services. Not only that, but in the usage of AI’s case, it is robbing you of valuable skills that you need to curate that you will be helpless without the moment the AI companies drive in the knife the way they have done with streaming. Delivery. Cable. Internet. Etc. It will happen to AI too. And if you are not practicing skills such as. Writing. You are not only going to be at the mercy of AI companies in the digital world, but you are going to be extremely easy to take advantage of in real life too.
I am begging you to let go of learned helplessness. I am begging you to stop letting these companies TEACH you helplessness. Do something like learn to pirate. It is way more inconvenient at the beginning, but once you know how, it is one less way companies can take advantage of you. Garden. Go to the thrift store (older clothes hold up better anyway). These things take more time and effort, yes, but using time and effort are muscles you need to stretch to keep yourself from being flattened under the weight of our capitalist hellscape.
Inconvenience yourself. Please. Start with only the ways you are able. Do a little bit at a time. But do something.
money is such an underrated accessibility option.
like people want to think any disabled person who is after money is morally suspect some way, because they're not asking for "treatments" or "accommodations" like a lot of our issues can be fixed way more easily with money. can't drive? paying for a taxi is often one of the more accessible alternatives. can't cook? you can pay more to have prepared food delivered to you. food restrictions? that food straight up costs more money. can't clean? you can pay for someone to do that. house inaccessible? having (lots) of money can help with that, you get the gist.
having money won't make us abled. it also won't stop our symptoms from being distressing, painful, or debilitating. but there's a huge gap in experience between the average poor disabled person and someone who's actually wealthy. you can buy your way out of some of the difficult situations most disabled people are left to rot in. wanting money, needing money, asking for money is pretty natural when it's such a useful tool. why get so weird about disabled people wanting money like i'm pretty sure everyone wants money anyway