Penelope Fan Service. Wink Wink Nudge. Hehe

As I may have already said, I'm a sucker for a good redemption arc.

I'm always on the hunt for more.

Writing Notes: Types of Characters

You may recall from your literature classes that characters can be “flat” or “round,” and likewise, “minor” or “major.”

A character also may be a protagonist or antagonist.

Look at F. Scott Fitzgerald’s The Great Gatsby for examples of character types.

Note that the characters in the novel are more complex than what is stated here, and that Gatsby faces other antagonists—such as class, bourgeois snobbery, and the progression of time itself.

Protagonist: the main or central character, the hero (Gatsby)

Antagonist: opponent or enemy of the protagonist (Tom Buchanan)

Flat/Minor: a character(s) who helps readers better understand another character, usually the protagonist. Also, “a static and undeveloped character of two dimensions” (Knorr and Schell 165). (Nick Carraway)

While Gatsby is our protagonist, the one who we want to succeed, his success would mean ousting his beloved Daisy’s husband, Tom Buchanan.

An idea can also function as an antagonist: Gatsby is also fighting against the bourgeois prejudice of elite 1920s New York City, where “old money”—such as the Buchanans—is worth more than new money, as exemplified by the divide between East Egg and West Egg.

Usually, the protagonist is also a Round character, “a developing three-dimensional character” (Knorr and Schell 165).

In other words, the protagonist must be a character that grows and changes during the story; it is the progress of this change that keeps the reader interested and cheering for the character.

Archetypes

Part of why The Great Gatsby has endured in American literature is because the characters are complex, rather than being simple archetypes.

You are already aware of many archetypes; you can recognize them in the movies you watch, such as the Reluctant Hero (Katniss Everdeen in The Hunger Games series).

Using an archetype is a kind of shorthand; if you put in a character like The Lonely Old Lady With A Dog, the reader recognizes the character and knows what to expect from them.

This may be helpful when populating your world with minor/flat characters, because it is reassuring and comforting to your reader; your reader knows these archetypal characters already.

Unfortunately, that also means that archetypal characters may be clichéd. Once you put your character down into their world, they can react in various ways to the setting and reality of their lives.

In Mooring Against the Tide: Writing Fiction and Poetry, Knorr and Schell write:

…your characters may react to the world in one of four ways. They may see this society and its values and assimilate by adopting those values as their own; they may accommodate in that they do not like those values but will adopt them anyway if only to get along; they may rebel against those values in any number of ways; or, they may take flight from that society and, as did Huck Finn, head out to the new territories.

In other words, just as our choices in life determine where we go, the plot of your story is determined by the nature of your characters.

These four choices might not seem to offer many different plot options, but in reality, they can play out in an infinite number of ways. Think about your favorite novel or short story—it’s likely that the main character is faced with a choice and has to pick one of the four routes described above.

Otherwise, there may not be much conflict in your story.

Source Writing References: Worldbuilding ⚜ Plot ⚜ Character

New refs???

Let's now go over all the change Bentley goes through in Thieves In Time Redux... I don't think I need to say who he's referring to...

Bentley during the prologue: Please tell me you're still in one piece! (During Penelope's segment)

Bentley during the prologue (again): I'm glad you made it back. And thank you for saving me from that guard's wrath. Am I worrying too much? (After Penelope's segment)

Bentley during Episode 1: Stay behind me and Murray. This place is dangerous. Did those guards back there hurt you? (During Something's Fishy)

Bentley during Episode 1 (again): I hope you learned your lesson. You nearly gave me a heart attack when you ran off! Then again, we might have lost Sly if you hadn't done that... (After Altitude Sickness)

Bentley during Episode 2: You really didn't have to jump in there and take those stings for me… but thank you. Let's get your injuries patched up. (After Cooper For Hire)

Bentley during Episode 2 (again): The way you broke me out of that prison was incredible! I was wrong to underestimate you! (After Jail Break)

Bentley during Episode 3: If only you'd told me sooner… Why didn't you say you were sick? (After Getting Stronger)

Bentley during Episode 3 (again): I'm positively speechless. You and Murray worked so well together against The Grizz! Feel free to go back hom-- Wait, you're staying? (After OP: Jurassic Thievery)

Bentley during Episode 4: You want to help Murray tear that tavern apart? The one that's loaded with those massive guards? You know what? Go for it! (During Short Supply)

Bentley during Episode 4 (again): Breaking yourself out of a tower and striking down the Black Knight?! Is there nothing you can't do?! (After OP: Frog Trap)

Bentley during Episode 5: Your services will definitely be required in this perilous structure. I'll have tea and cheesecake ready for you when you get back. (During Copy Cats)

Bentley during Episode 5 (again) This whole mess was your doing?! Young lady, you are in big trouble! (After All Rolled Up)

Bentley during Episode 6: I'm willing to wipe your slate clean if you put an end to what you started and-- You want to lead us to victory? I hope you don't let us down. (Before the final mission)

Bentley during Episode 6 (again): When I said "put an end to what you started", I didn't mean "fight Le Paradox all by yourself"! Please come back safely... (During the final mission)

Bentley during the epilogue: I knew you wouldn't let us down! Of course you can stay with us! Just never betray us again! (After the final mission)

So yeah. Thieves In Time Redux through the eyes of Bentley.

Thieves In Time Redux Meme #14

I couldn't resist.

Penelope is going to go through a lot in this story. While simultaneously keeping a dark secret of betrayal, she learns to like Sly, Bentley, and Murray all over again.

She ends up having a change of heart, and finally starts to see the boys as her family... only for Le Paradox's reveal at the end of Episode 5 to nearly rip that away from her, and right when their trust in her is at an all time high.

i’m sorry i just I can’t deal with this game. Penelope was my favorite. :| Spoilers, I guess?

Waking up every December 24th

Real Talk

Props to Bentley for driving from all the way from the jungles of the Bengal region of India to Prague in Sly 2, that is an insane drive. That is crossing through 8 countries, 4 time-zones, two continents and over 8,500 km. Non-stop, it would’ve taken him almost 5 days.

And he did that all without knowing at first how to drive stick.

Like look at how far that is. I know that’s only up to Lahore but I couldn’t get a drive route that’d go into India and I assume that has to due with the nature of driving through the Indian-Pakistani border. That’s also passing through some rugged terrain and some unforgiving weather conditions too.

SlyTember Day 26

I’m gonna challenge myself by attempting to do something for every day of @felicity-the-cat ‘s SlyTember challenge

Here’s my entry for day Twenty Six (Daydream)

I know it’s late. But I drew this thing. So I figured I might as well post it

This was based on the cutscene where Sly says that seeing what Bentley&Penelope had made him want to take his relationship with Carmelita to the next level

Quick Tips for Writing Protective Tension

One character immediately steps in when something happens, overprotective much? The other one is like, “Chill. I got this.”

They stand just a little too close, constantly checking if the other person’s okay, but trying (and failing) to be subtle about it.

“Be careful,” “Watch out,” or “Don’t do that,” every two seconds, like they’re babysitting, but it's all about concern.

One of them puts a hand on the other’s shoulder, almost possessively, like, “Don’t worry, I’m here.”

They instinctively move in front, even if it’s something minor like a crowded street or a heated argument.