REVERSE TROPE WRITING PROMPTS

I haven't posted in a long time. I'm getting busy these days huhuhu

The hero stared down at the villain, who was surrounded in a pool of their own blood. There were cheers coming from their fellow allies, but their heart twinged with regret.

They crouched down, gently picking them up.

 “Hey, it’s over.” They said, voice quivering with fear. “Y-you can wake up now.”

They gazed into the villain’s dull eyes, and felt for a pulse. “Wake up.” They repeated, growing more desperate.

The happiness of the villain’s defeat died down, as the hero’s allies saw them holding them close.

“Wake up, dammit!” Tears started to slide down their face. “How am I supposed to save the world if you’re not there to stop me?!”

Writing Prompt #2949

"We...we survived?"

"What the fuck do we do now? I really thought we were going to end up in the die trying part."

I did this instead of writing

We need more images like these i think

A Complete(?) PIDW Timeline Resource

Hello everyone, the next chapter is currently in editing, but I received a request on twitter for a PIDW timeline compilation, so I thought I’d drop it here as well. This is PIDW only, so anything caused by SY transmigrating in is not included. Beware of spoilers for anyone still reading the novel!

Most of these are stated in text, a couple (how Shen Jiu and Yue Qi’s events coincide with Su Xiyan’s and Tianlang-Jun’s, the timing of Shen Jiu’s trial) were placed because I felt I could deduce them with very high confidence. The one thing I couldn’t was exactly when Xin Mo’s first backlash occurred: the only information I could find was SY saying that it took place after the Demon Realm arc started.

Anyway, I hope this is useful!

“You’re injured,” the hero said, hurriedly. They hadn’t expected to hurt the villain so badly, to have blood running down their chest. 

“Injured? No, it’s a… a…” The villain couldn’t breathe. 

A panic attack. They hated the sight of blood. 

The hero gently put a hand over the wound, blocking the sight of it. 

do you have any tips on how to write for a quiet character living a comfortable life abruptly being forced to adapt to a rowdy and somewhat violent environment?

Writing Ideas: Quiet Characters

common literary & character tropes

Beware the Quiet Ones: When the character who is hardly ever upset about something, suddenly raises their voice, the world turns upside down and seems to come to an end. There is an unleashed raging or cold speech of epic proportions that not even the most demented character in the story would want to sit through. This rage is almost always expressed verbally, though violence can also be included. Another version could be when the heroes' team is in low spirits, and The Quiet One, fed up with all the sulking, throws the table (or something else) to the side and gives a Rousing Speech to their comrades.

Elective Mute: It turns out that a character assumed to be unable to talk actually can speak, they just choose to be silent most of the time.

Emotionless Girl: An enigmatic female character who appears to be entirely emotionless. Whether she actually is emotionless depends on the story and often on her level of characterization.

Heroic Mime: A hero who never speaks.

Silent Scapegoat: Somebody who willingly takes the blame for everyone else's wrongdoings.

Suddenly Speaking: A character who was initially silent eventually reveals that they can speak after all.

The Quiet One: A character who does speak, but not as much as the other characters.

The Stoic: Quiet demeanor tends towards the brusque or outright rudeness, though there are a few polite Stoics. Some stoics may try to give the impression of a lot going on inside, cultivate an air of mystery and confuse other characters with cryptic one-liners. The Stoic sometimes displays emotion when under extreme stress or in other highly emotional situations, but their usual repertoire consists of mild boredom, detached interest, Dull Surprise or dignified disdain. The Stoics in ancient Greece were philosophers who believed that self-control is the highest virtue, and detachment from strong emotions and passion would give them greater insight in their quest for truth. They also thought that emotional reactions to the inevitable were silly; given that We All Die Someday, what is grieving over death but a judgment that the inevitable was somehow wrong? Stoics would later be criticized for fatalism and apathy.

The Voiceless: A character isn't shown speaking, but might still be capable of speech.

Tranquil Fury: This character can range from happy or stoic, but their anger is more quiet (but still dangerous). What defines this trope is the tendency to become deadly serious when it gets deadly serious.

Examples

In the story "The Six Swans", collected by the Grimm Brothers and Hans Christian Andersen among others, a Fallen Princess must make six shirts out of nettles and can't make a sound for seven years or the spell that transformed her six brothers into swans will never be broken. She manages to keep all of these conditions and gets to break the spell. This is an example of the Elective Mute trope.

Peter in Jumanji, who talks to no one but his older sister Judy ever since their parents' death by car accident. Once Alan gets out of the game and finds his parents are also dead, Peter starts talking to him as well.

Charles Wallace was an Elective Mute trope a child in A Wrinkle in Time. By the time of the later books, he has grown out of it.

Irish Mythology: The battle trance Nuada enters before the first battle of Maige Tuired is sometimes described as a battle fury. However, unlike The Riastrad, the famous "Warp Spasm" of the hero Cu Chulainn, Nuada does not become a berserker, but instead becomes exceptionally calm. This is an example of the Tranquil Fury trope.

Older Than Steam. Shakespeare's Henry V has the eponymous character's Tranquil Fury reaction to the tennis balls.

Dead Poets Society: The shy and insecure Todd Anderson spends most of the film struggling to get out two full sentences and is overlooked by the school and his parents. After his best friend kills himself, the school tries to bully him (and the other boys) into pinning the blame on their favorite teacher — and he leads half the class in an outright rebellion against the headmaster.

Don Vito Corleone from The Godfather is famously very soft-spoken, even hoarse, but an extremely menacing screen presence.

In the original novel The Godfather, both Vito and Michael Corleone were noted as young men for being soft-spoken, understated, and reasonable, especially in contrast to many of their Sicilian immigrant and first-generation compatriots. They go on to become in turn the most feared "Family" heads of their generations, while still rarely raising their voices above a normal speaking tone.

Sources: 1 2 3 4 ⚜ More: References ⚜ Writing Resources PDFs

This is already quite a specific character, and it seems you have a rough idea of your storyline. I don't want to intrude too much on your story, so I compiled tropes and examples in literature as well as other media that are somewhat related to what you described, and you could perhaps incorporate these (& edit as needed/desired) to further flesh out your specific character and plot. Consider which direction you want your story to go; what reactions you want your own character to show once they're thrust into that new environment (Will they continue to be quiet? Will they go the other end of the spectrum? Perhaps somewhere in between? Will they succeed in "adapting" in this new environment?). Do go through the sources for more information and examples. Plus these previous posts that may be useful as well:

On Shyness ⚜ On Mutism ⚜ On Introverts

Word Alternatives: Quiet ⚜ Five-Factor Model of Personality

being a writer leads to a genuinely helpful but also very stupid kind of mindfulness where you'll be having a sobbing breakdown or the worst anxiety attack of your life and think "okay, I really need to pay attention to how this feels. so I can incorporate it into my fanfiction."

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.