Latest Posts by jenna12381 - Page 3

Listen, you can’t write perfect characters. No one cares about reading about someone who never screws up. Your characters need to make bad decisions, they need to hurt people, and they need to be hurt. They should doubt themselves and do things they regret. That’s where the magic happens, when they’re flawed, messy, and human. People don’t fall in love with characters because they’re flawless; they fall in love because those characters remind them of the chaos inside themselves. So don’t be afraid to put your characters through hell. Only then will their journey mean something.

How to Write Villains: 10 Traits to Give Your Villains That Are Guaranteed to Make Them More Interesting

They're a parent...but a GOOD parent: Gone are the days where the villain is a parent but they absolutely should not have procreated (or adopted) because wow, they clearly didn't read any parenting books. Give us a horrible, deplorable character but in another life, they were mother/father of the year.

They have a phobia that might be trivial in the face of their schemes: Your villain might be able to storm a highly secure facility and face off against their world's most armed forces and heroes without breaking a sweat, or tame the deadliest monsters known to all, but so help them if they see a roach in their lair or have to go get their blood drawn. Bonus points if the phobia totally incapacitates them.

Their middle name is "Overkill": It doesn't matter what they're doing, they always have to bump everything up a thousand notches. Their scheme involved burning down a building? Well, they decided to burn down the whole neighborhood instead just to ensure the job got done. Bonus points if they're nonchalant about it. Extra bonus points if it keeps happening without their intent.

They have an aesthetic, they're aware of that aesthetic, and they adhere to it religiously: Is your villain grunge? Or perhaps airing more on the side of cottagecore? Maybe they're giving E-girl? Whatever it is, they know exactly what their vibe is, they know how to achieve it, and fuck your hero in particular if they try to mess it up or say it looks tacky.

They'd be okay with being defeated as long as it's by one person/group in particular: Your villain might be the undefeated Big Bad McScarypants on top, but you know what? They would be content if somebody rolled up and actually had the skill and know-how to beat their ass fair and square.

They like learning about things that have nothing to do with/interrupt their schemes: Your villain could be some eons-old eldritch being that has come to Earth to cause the Armageddon, but they keep delaying their plans because they discovered Tumblr and have been doomscrolling for weeks on end and trying to learn what "blogging" is.

They didn't start out as the main villain, but eventually become worse than the main villain: This is majorly for my friends who have different acting antagonists in their stories. This villain wasn't initially the main threat, but after some solid scheming and sinning, they out-deprave the original villain and give "the devil you know is better than the devil you don't" a whole new meaning.

They scheme for gratification: Having a master plan go off and hoping for mass reactions from bystanders is to them as posting art on Instagram and hoping for a couple likes is to artists.

They constantly wonder if it's too late to go back: Their scheming is 50% building a master evil plan for world domination and 50% wondering if it's too late to just stop and live a normal life as a working class citizen.

They act a villain to protect their loved ones: Big Bad McScarypants is only Big Bad McScarypants because they're pushing away their most beloved companions. Bonus points if it's to protect them from another Big Bad.

Thieftober hosted by @thiefnet-archives

Day 8; Memories

Some Tips for writing internal conflict

Wanting Two Things at Once Imagine your character really wants to chase after something big, like a dream school, a major opportunity, or maybe even moving to a new city. But at the same time, they’re terrified of leaving behind everything they’ve ever known. Or maybe they’re in a relationship that’s holding them back, but they can’t bring themselves to let go. Show them getting pulled in two directions, torn between their ambition and their fear of losing the people or places that ground them.

Right vs. Wrong Sometimes, your character will know deep down what the right choice is, but it’s the most difficult one to make. Like, maybe they see someone getting bullied and know they should stand up, but doing so could make them a target. Or maybe they have to decide between helping a friend and doing something that could ruin their own future. These moral dilemmas create intense internal conflict because it forces them to question who they are and what they stand for.

Doubting Themselves We all have moments where we wonder if we’re enough, smart enough, strong enough, brave enough. Let your character wrestle with that same doubt. Maybe they’re the kid who has always been told they’re special, but now they’re in a place where everyone is just as good, and they start to wonder if they even belong. Or maybe they’ve been through something tough, and they’re not sure if they can bounce back. These moments of insecurity make your character feel human, like they’re trying to figure it all out, just like everyone else.

Dreams vs. Fears Show your character dreaming big but getting frozen by their own fears. It’s like wanting to ask someone out but being terrified of rejection, or wanting to move away for college but being scared to leave home. Let them imagine all the things that could go wrong , that moment when fear makes them doubt if they should even try. But also show their desire burning just as strong, making it impossible to ignore. That’s the heart of internal conflict: they’re stuck between wanting something so bad and being afraid of what it’ll cost to go after it.

Beliefs Being Challenged As your character grows, the world will start challenging their beliefs. Maybe they grew up in a family that drilled certain values into them, and now they’re meeting people who see things differently. Or maybe they’re experiencing something new, and it’s changing their perspective. It’s like when you think you have everything figured out, and then life throws something at you that makes you go, "Wait, maybe I’ve been wrong this whole time." This kind of internal conflict is powerful because it forces the character to question who they’ve always been.

Keeping Secrets If your character is hiding something, like a mistake they made, feelings they’re afraid to admit, or a truth they don’t want to face, that secret becomes a huge part of their internal conflict. The fear of being found out or of dealing with the consequences can create a constant pressure in their mind. Maybe they’re scared they’ll lose their friends if the truth comes out, or maybe they’re dealing with guilt they can’t shake. The tension comes from their battle to keep it hidden while knowing they can’t keep it locked away forever.

Pressure from Everyone Your character might feel like they’re trapped between what they want for themselves and what everyone else wants from them. It could be pressure from parents, who have their whole future planned out, or pressure from friends to fit in or follow the crowd. Maybe your character wants to be true to themselves, but they’re scared of disappointing people or standing out too much. This kind of internal conflict is super relatable because, at some point, everyone feels like they’re stuck between living for themselves and living for others.

Fear of Failing Sometimes the biggest obstacle isn’t the external challenge but the internal fear of failure. Your character might have big dreams, but they’re paralyzed by the thought of messing up. Whether it’s competing in a sport, performing on stage, or just trying something new, the fear of not being good enough can be overwhelming. Maybe they’re afraid that if they fail, everyone will see them differently, or worse, that they’ll see themselves differently. The internal conflict comes from their desire to succeed battling against their crippling fear of failure.

your writing does not have to be outstanding or exceptional. seriously, I read books all the time with just average writing, maybe some of the minor characters are one dimensional and cliched, maybe the dialogue is a little cheesy, maybe the plot is a little shaky, but the characters and their dire situation have hooked me. your story doesn’t have to be 5 stars to be worth writing and sharing and it will find the people who will love it.

•Normalize Fanart for Fanfics Again You Fools•

It's not cringe anymore (it SHOULDN'T be cringe anymore), just do it. You're doing something you enjoy, who cares what anybody else says! So spread the words my fellow internet brethren.

Spread the Word :)

Internal conflict writing ideas

Not everything has to be fight scenes

—Losing something of emotional value and remembering its history and why it’s important to the character

—Reliving a traumatic event

—Running into an old friend who’s either completely changed since they’ve last seen each other or far too similar, leaving the character to wonder about how they’ve matured and grown compared to this other person

—Internally deciding if they should voice a fear or concern to the group, even if they might look silly or ridiculous doing so

—Friends vs family in terms of choosing who to follow and listen too

—Feeling unqualified to work on a project or be apart of the adventure

—Romantic feelings for someone they shouldn’t and dealing with how they should proceed internally. (THIS MEANS RIVALS OR FORBIDDEN ROMANCE. NOT ANYTHING ILLEGAL!!!)

—Thinking about mortality and death after being reminded of an late friend/family passing

—Being less talented at something years later when they used to be the best in that field

—Finding an old photo that carries much more emotional significance now than it did X years ago.

reblog if you believe fanfics are as valid as books that were published and sold by authors who write as their main careers. I'm trying to prove a point

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.

Some Editorial Vocabulary

definitions of terms during the writing, editing and publishing process

Acknowledgements: Text in which the author thanks those who’ve supported them.

Action beat: Short description that comes before, between or just after dialogue.

Adjective: A word that describes a noun.

Adverb: A word that describes a verb.

Adverbial phrase: A group of words that describe a verb.

Afterword: A concluding section, often reflecting on the book’s creation or providing additional context.

Anaphora: The deliberate repetition of words or phrases at the beginning of successive clauses for artistic effect.

Antagonist: An adversary. The character who creates obstacles and challenges for the protagonist, or behaves in a hostile fashion towards the protagonist.

Anti-protagonist: A protagonist whose own actions create opposition and conflict, often within themselves or against their own goals.

Apostrophe: A punctuation mark used to indicate possession, omission and, occasionally, a plural.

Appendix: Space in a book for material that doesn’t fit comfortably in the main text.

Asyndeton: Literary device through which a sentence’s structure follows the following pattern: A, B, C.

B-C

Back matter: Also end matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Beta reader: Test-reader who provides feedback on book.

Bibliography: List of all works cited in book, and any other work of interest to the reader.

Chapter drop: The space above and below the chapter title.

Character arc: Narrative that shows how a character changes and develops.

Characterization: The process of revealing a character's personality, traits and motives through actions and dialogue.

Colon: Punctuation mark that introduces additional/qualifying information about the clause it follows.

Comma splice: Two independent clauses joined by a comma rather than a conjunction or an alternative punctuation mark.

Conjunction: A word that connects clauses or sentences (e.g. ‘and’, ‘but’, ‘if’, ‘then’)

Copyediting: A review of grammar, punctuation, and spelling, ensuring consistency and accuracy in the manuscript's language.

Critique: Also manuscript evaluation. Report analysing a book’s strengths and weaknesses.

D

Denouement: The final part of the book in which all the plot strands are brought together and resolved.

Deuteragonist: A sidekick or confidante character who has the most influence on the protagonist, often helping them solve problems and overcome obstacles. Can be critical to driving the plot.

Developmental editing: Also structural editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Dialogue tag: Also speech tag. Words that indicate which character is speaking (e.g. John said).

Dialogue: The lines characters speak in a book.

Diversity reader: Also sensitivity reader. Test-reader who checks for misrepresentation in books.

Double-page spread: Also DPS. The view of a printed book or PDF when opened so that the left- and right-hand pages are both visible.

Drama: The conflicts, emotional intensity, and impactful events that drive the plot and engage readers emotionally. The focus is on character relationships, motivations, and the consequences of their actions.

Dropped capital: Decorative first letter of the first word on the first line in a chapter. Larger than the rest of the text and drops down two lines or more.

E-F

Ellipsis: Punctuation mark that indicates a trailing-off or a pause.

End matter: Also back matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Endnote: Additional useful information at the end of a chapter or book.

Filter word: Verb that tells rather than shows (e.g. ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’).

Folio: Somewhat old-fashioned term for page number. Also used to refer to a page.

Footnote: Additional useful information at the bottom of a page.

Foreword: A recommendation of the work written by someone other than the author.

Fourth wall: In books, the conceptual space between the characters and the readers.

Free indirect speech: Also free indirect style and free indirect discourse. Third-person narrative that holds the essence of first person thought or dialogue.

Front matter: Also prelims. Includes part title and title pages, foreword, preface and acknowledgements.

Full point: Period or full stop.

Full stop: Period or full point.

G-L

Glossary: Alphabetical list of important terms with explanations or definitions.

Habitual past tense: Uses ‘would’ or ‘used to’ with a verb to indicate events that happened routinely in a time past.

Half-title page: The first page of a book with any text on it; in a printed book, always a right-hand page. Contains only the main title of the book.

Head-hopping: Jumping from one character’s thoughts and internal experiences to another’s. Indicates viewpoint has been dropped.

Imprint: Publisher’s name.

Independent clause: A group of words that contains a subject and a predicate.

Index: Alphabetical list of all topics, themes, key terms and cited author names covered in the book, and the corresponding page numbers.

Information dump: Also word dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Line editing: Also stylistic editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

M-O

Maid-and-butler dialogue: Dialogue in which one character tells another something they already know so the reader can access backstory.

Manuscript evaluation: Also critique. Report analysing a book’s strengths and weaknesses.

Narrative arc: Also story arc. The structure and shape of a story.

Narrative authenticity: The believability and truthfulness of a story so that the characters and events feel real within the framework of the novel’s world.

Narrative distance: Also psychic distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Narrative: Story. The part of the book that’s narrated, excluding the dialogue.

Narrative style: The author's unique manner of storytelling, encompassing language, tone, viewpoint and other structural choices.

Narrative voice: The style, tone, and personality through which a narrator or character tells a story to readers.

Numerals, Arabic: 1, 2, 3 etc.

Numerals, Roman: i, ii, iii etc.

Omniscient: All-knowing. Refers to a viewpoint style in fiction writing.

Overwriting: Using too many words on the page. Often characterized by repetition and redundancy.

P

Page proofs: A file that’s reached a stage in the publishing process where the text and images of a manuscript have been laid out in their final format.

Pantser: A writer who doesn’t outline or plan story structure, but flies by the seat of their pants.

Period: Full stop or full point.

Perspective character: Also viewpoint character. The character through whose eyes the story is primarily told. The narrative lens through which readers experience events, thoughts, and emotions within the story.

Plot: The sequence of events in a novel.

Point of view: Also viewpoint and POV. Describes whose head we’re in when we read a book, or whose perspective we experience the story from.

Polysyndeton: Literary device through which a sentence’s structure follows the following pattern: A and B and C.

Predicate: The part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.

Preface: An explanation of the purpose, scope and content of a book, and written by the author.

Prelims: Also front matter. Includes part title and title pages, foreword, preface and acknowledgements.

Pronoun: A word that replaces a noun (e.g. I, you, he, she, we, me, it, this, that, them those, myself, who, whom). Pronouns can act and be acted upon like any noun.

Proofreading: The final pre-publication quality-control stage of editing where any final literal errors and layout problems are flagged up. Comes after developmental editing, stylistic line editing and copyediting.

Proper noun: A named person, place or organization. Always takes an initial capital letter.

Protagonist: The leading character in a novel, often facing central conflicts and driving action.

Psychic distance: Also narrative distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Purple prose: Overblown, poorly structured writing with strings of extraneous and often multisyllabic adjectives and adverbs.

Q-R

Quotation mark: Also speech mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Recto: The right-hand page of a book.

References: List of all the works cited in your book.

Roman typeface: Not italic.

Running head: Text that runs across the top of a page (e.g. title of the book, chapter title, author’s name).

S

Scene: a distinct segment or building block where specific actions and events unfold in a setting.

Scene technique: The use of dialogue, action, setting, and tension to craft compelling moments in the story.

Semi-colon: A punctuation mark that indicates a stronger pause than a comma between two main clauses.

Sensitivity reader: Also diversity reader. Test-reader who checks for misrepresentation in books.

Speech mark: Also quotation mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Speech tag: Also dialogue tag. Words that indicate which character is speaking (e.g. John said).

Story arc: Also narrative arc. The structure and shape of a story.

Structural editing: Also developmental editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Style sheet: In which an author or editor records stylistic and language preferences, and tracks who’s who, what’s where, and when X, Y and Z happens.

Stylistic editing: Also line editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

Subject: The thing in a sentence that’s doing or being something.

Subplot: A secondary storyline that supports and enhances the main plot of a narrative.

Suspense: The tension, uncertainty and anticipation created by withholding information, raising stakes or placing characters in imminent danger. Readers are kept guessing or forced to ask questions.

Syndeton: Literary device through which a sentence’s structure follows the following pattern: A, B and C (or A, B, and C).

T

Talking-heads syndrome: Dialogue that isn’t grounded in the environment or the characters’ responses to that environment.

Tense: The form a verb takes to indicate when an action happened in relation to the telling of it.

Tension: The emotional strain or suspense created by unresolved conflicts, stakes or uncertainties that keep readers engaged.

Tertiary character: A functional character who gives the story realism and depth, but doesn’t significantly impact on or influence the plot or the development of the other characters.

Theme: The novel’s central idea or message about life, society, or human nature.

Title page: Includes full title (and subtitle if there is one), author’s name, publisher’s name, logo, volume number, and edition.

Transgressor: A character who commits morally, socially, or legally questionable acts.

Tritagonist: Third most important character, who often provide regular emotional or physical support, but don’t determine how the story develops.

U-W

Unreliable dialogue: Dialogue that doesn’t match a character’s true voice, mood or intent.

Unreliable narrator: A character whose telling of the story cannot be taken at face value. They may be naïve, confused, or deliberately manipulative.

Verb, intransitive: A verb that doesn’t have a direct object (e.g. ‘I giggled’).

Verb, transitive: A verb that has a direct object (e.g. ‘wrote’ in ‘I wrote a book’).

Verb: A word that describes doing. Can refer to a physical action (e.g. to dig), a mental action (e.g. to wonder) or a state of being (e.g. to be).

Verso: The left-hand page of a book.

Viewpoint: Also point of view or POV. Describes whose head we’re in when we read a book.

Viewpoint character: Also perspective character. The character through whose eyes the story is primarily told, and the narrative lens through which readers experience events, thoughts, and emotions within the story.

Vocative: The form of address for a character directly referred to in dialogue.

Word dump: Also information dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Source

How to Make the Ultimate Playlist for Your Novel 🎧✨

Writing a novel is all about vibes, and what better way to get in the zone than by crafting a playlist that captures every moment, every emotion, and every heart-flipping scene? Whether you’re in the middle of writing or just dreaming about your characters, having a playlist can seriously bring your story to life.

Figure Out the Mood of Your Novel 🎶

Every novel has an overall mood - you know, that feeling that sticks with you after reading a chapter. Is your book sweet and romantic, or is it packed with suspense and action? Maybe it’s nostalgic and bittersweet. Whatever the mood is, your playlist should reflect that.

Imagine if your book was a movie, what kind of songs would play during the opening scene? Is it more of a soft, acoustic vibe with someone staring out of a rainy window? Or is it blasting pop-punk as your characters road-trip down the highway?

Pro Tip, Pick a theme song for your novel. This is the one track that feels like it could be the heart of your book. Every time you hear it, you’ll be transported straight into your world. 🎧✨

Find Songs for Your Main Characters 💖

Let’s be real, every character deserves their own theme song. You know your characters better than anyone, what would their personal soundtrack be? Is your main character a hopeless romantic who blasts Taylor Swift on repeat? Or are they more of an, Billie Eilish (Ps:I Love Billie) kind of person? Find songs that capture their personality, their struggles, and their growth throughout the novel.

Character A (The Dreamer): Their playlist is full of soft, dreamy ballads like “Falling Slowly” by Glen Hansard. Character B (The Brooding Love Interest): They’d totally vibe with something like “Sweater Weather” by The Neighbourhood

Match Songs to Key Scenes 🎬

Think about it, When your characters finally have that emotional, heart-wrenching argument, what song plays in the background of your mind? When they share their first kiss, is it something soft and sweet, or fiery and passionate? The right song can totally enhance the mood of your scenes, even if you’re just listening while you write.

Big Fight Scene? Go for something intense, like “Control” by Halsey.

The Breakup Scene? You can’t go wrong with a tear-jerker like “Drivers License” by Olivia Rodrigo.

Add Your Personal Favorites 🎧

This playlist is your baby, so don’t forget to throw in some of your personal faves. If a song speaks to you, even if it doesn’t seem to fit perfectly at first glance, add it anyway. Sometimes, the most random songs end up being the ones that make the most sense as you write. Plus, having your favorite songs on the playlist will keep you inspired and motivated to dive into your story.

Don’t feel pressured to make the “perfect” playlist from the start. It’s a process. You’ll probably discover new songs that fit your novel as you go, and that’s totally fine.

Thieves In Time Redux Meme #17

Let's do a meme starring our very own Sly Cooper for a change... This happens during Episode 3, right after Carmelita comes back...

Sly does this after taking advice from Bentley to be more honest with Carmelita. He takes that advice. It backfires. Horribly.

Guess what? Penelope gets to see them fighting. Again. Another peek into that dark future. She does not want her relationship with Bentley to turn into whatever those two are doing. If you've been paying attention, she's just gone through her change of heart by now.

Our heroine then decides to keep her secret of betrayal... Kind of like what Sly tried to do with Carmelita... That's not going to blow up in her face at all!

So far, I'm only still at the first episode of Sly 2, but It's impressive how much Sly Cooper 2 feel like the natural growth of the characters.

Sly 1 is a "beginner" thief that rush into his ennemy's lair with barelly any preparation, coming up with plans on the fly.

Sly 2 is about an experience Thief that reworked his methods. Now, his companions are much more involved in the operations. Now he carefully stake out and test the security before going for his target. He knows all the importants move of the thievus racoonus.

Dialogue Prompts for Self-Doubt

"I don’t know why I even bother. I try so hard, and it’s still not good enough."

"What if I’m just not meant to do this? Like… maybe I’m not the right person for it."

"I keep letting people down, and I’m starting to think that’s all I’m good at."

"You ever feel like no matter what you do, it’s never enough? Like you’re stuck in this endless loop of failing?"

"I’m so scared of messing up again. I can’t handle another failure."

"I feel like a total imposter, like any second, people are going to realize I don’t belong here."

"Why would anyone choose me? I mean, there are so many better people out there."

"No matter how hard I try, I never seem to get it right. I don’t know what I’m doing wrong."

"Sometimes I wonder if I’m even worth all the effort. Like, what if I’m not?"

"I don’t think I can keep going. This is too much, and I’m not strong enough for it anymore."

Trying to pull myself out of a rough patch so thought I’d do a headshot of this angel. Did start as only a sketch but I got carried away

Writing Trust Issues Tension

One keeps asking, “Are you sure?” and “What about…?” because they just can’t believe the other person.

Every little thing the other person says or does is met with suspicion, like, “Why are you really doing this?”

They start to open up, then stop, because they’re not sure if they can trust the other person yet.

One keeps asking for reassurance, like, “You wouldn’t lie to me, right?” but it’s clear they’re not convinced.

A tiny mistake or secret gets blown way out of proportion because the trust was already shaky.

My biggest tip for fanfic writers is this: if you get a character's mannerisms and speech pattern down, you can make them do pretty much whatever you want and it'll feel in character.

Logic: Characters, just like real people, are mallable. There is typically very little that's so truly, heinously out of character that you absolutely cannot make it work under any circumstance. In addition, most fans are also willing to accept characterization stretches if it makes the fic work. Yeah, we all know the villain and the hero wouldn't cuddle for warmth in canon. But if they did do that, how would they do it?

What counts is often not so much 'would the character do this?' and more 'if the character did do this, how would they do it?' If you get 'how' part right, your readers will probably be willing to buy the rest, because it will still feel like their favourite character. But if it doesn't feel like the character anymore, why are they even reading the fic?

Worry less about whether a character would do something, and more about how they'd sound while doing it.

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

Thieves In Time Redux Meme #16

Spoiler alert: Penelope is not straight up evil in this fanfiction. I don't want to reveal her motive for "siding" with him until I finish Episode 0 of the story... That would be Chapters 1-6. In case you forgot, Episode 0 covers the Paris museum heist.

I'm aware my WIP fanfiction shares a name with a WIP comic series. I wish us both luck in our writing.

words to use instead of ________

"Mad"

aggravated, angry, annoyed, boiling, cross, enraged, exasperated, fuming, furious, heated, incensed, indignant, irate, irritable, livid, offended, outraged, riled, steamed, storming, upset

"Nice"

amiable, charming, cordial, courteous, delightful, favorable, friendly, genial, gentle, gracious, helpful, inviting, kind, lovely, obliging, peaceful, peachy, pleasant, polite, swell, sympathetic, tender, welcoming, well-mannered, winning

"Pretty"

alluring, appealing, attractive, beautiful, charming, cute, delightful, desirable, elegant, eye-catching, fair, fascinating, gorgeous, graceful, intriguing, lovely, pleasing, striking, stunning, sweet

"Said"

alleged, argued, asked, asserted, babbled, bellowed, bragged, commented, complained, cried, declined, demanded, denied, encouraged, expressed, giggled, growled, inquired, moaned, nagged, rebuked, rebutted, replied, rejected, retorted, roared, scolded, shrieked, shrugged, stated, taunted, vowed, warned, whined, whispered, yelled

"Went"

avoid, bolt, bound, depart, exit, escape, flee, fly, hike, hop, jaunt, jolt, journey, leap, leave, lurch, march, mosey, move, pace, parade, pass, progress, retreat, saunter, scoot, skip, split, step, stride, stroll, tour, travel, vanish

more words to use instead other words to use instead another list of words to use instead

Regarding A Certain Poll...

For those of you who picked Sly to still fight Le Paradox, don't worry. I already have a solution. Sly still gets to participate.

Let's first set the stage for Episode 6. Penelope has been keeping her secret of betrayal all game. She also underwent a change of heart. At the end of last episode, Le Paradox outed her. This happened right when Sly, Bentley, and Murray's trust in her was at an all time high.

Thankfully, by the time this reveal happens, Penelope has already finished her march towards heroism and refuses the skunk's offer to rejoin him.

The boys are furious with Penelope. But she has a chance to redeem herself... if she behaves during the blimp raid. She doesn't think she'll be allowed to stay if she simply does as she's told, so she does them one better... and volunteers herself as mission leader.

Who better to lead our heroes to victory than the blimp's chief designer herself? It does take a bit of convincing, but Bentley, Murray, and Sly in that order do end up agreeing.

You all remember what else happened at the end of Episode 5: Carmelita's kidnapping.

Near the end of the rescue mission, Penelope feels a need to pursue the villain of this story. In her mind, she can definitely finish atoning for everything she did if she defeats him... all by herself. If she doesn't (or can't) do it alone, her attempt won't count. She gives chase. Bentley in particular tries to convince her not to, but his pleas fall on deaf ears. She gives him one last kiss before running off in tears.

Cue the final boss fight. Penelope vs. Le Paradox. Over the course of their duel, the skunk says a few things to make her lose her focus...

"Those friends of yours will never forgive you, even if you can take me down!"

"Why do you bother trying to redeem yourself? It's hopeless!"

"You'd be much better off if you rejoined me. Just in case your precious friends don't take you back. I'll be your friend."

Of course, our heroine tells him to stuff it. She'd rather die a hero than live long enough to betray her friends again.

And then... Penelope gets disarmed. Knocked down. The villain nearly gets his chance to finish her off... only for Sly Cooper to jump in and save her. Turns out he heard most of that conversation.

This wasn't what she wanted... Now her attempt won't count! But Sly says that's not how redemption works. She is allowed to ask for help.

Like the heroes they are, Sly and Penelope double team the villain, and are soon joined by Bentley, Murray, Carmelita, and the ancestors.

With her morale restored, Penelope takes it upon herself to finish the skunk off. Complete with a speech on what she learned about friendship.

The game ends with Sly not getting lost in time, and Penelope staying with her friends.

Thieves In Time Redux Characters: Deep Dive

Time to dive deeper into each of these character arcs. Namely, the lessons our four heroes will need to learn by the end of the story.

I don't need to remind you how poorly written Thieves In Time was. What a storytelling trainwreck.

If Sly 3 was about a seasoned gang of thieves pulling the heist of the century, Thieves In Time Redux is now about a less experienced member learning the ropes and building on her foundations. With, of course, a helping of betrayal mixed in.

Note that Thieves In Time Redux is an AU where Penelope gets dragged into the events of Thieves In Time as a playable character.

First up, Sly.

In canon, Sly jumped into this time travelling adventure because the "old itch" hit him like a truck. We can do better than that. Let's have his initial motivation instead be more about him missing Bentley and Murray. He can still have the itch. But no way is that going to be his number one reason for coming back. Also, when he starts thinking about Penelope now being on the main roster, it leads to him regretting how he ditched all his friends back on Kaine Island...

And when Carmelita comes back for Episode 2, let's just say things won't be pretty... I'm sure you can guess what he needs to do.

Bentley's turn. With Penelope now dragged into the adventure, our favorite turtle now gets a new character arc to navigate.

Bentley is perfectly fine with Sly and Murray risking their lives on the regular... but Penelope, his beloved girlfriend? Not so much. At the beginning of this story, she doesn't have a whole lot of experience yet. The fact that she was nearly kidnapped during the prologue doesn't help. This leads to Bentley being overprotective, but only towards her.

Long story short, Bentley will need to learn to let go of all that fear and let Penelope soar, because spoiler alert! She's actually a badass. It might even save their relationship...

Time to talk about Murray.

Instead of Murray feeling useless from out of heckin' nowhere, he... doesn't have much of an arc to follow. You'd think he'd now have nothing to do, but since Penelope is here for the ride, guess what? Murray has been seeing her as a younger sister. He even goes as far as only calling her "Sis". His focus is now on being a good older brother.

While Murray doesn't get a lot of development here, he does end up being incredibly wholesome.

Which brings us to our main protagonist, Penelope.

I'm not going to reveal her motive here. But I did change it from canon. No longer is she after "something something fame/money/power". As she spends time with our other heroes (and sees how much they care about her), she realizes that her motive isn't worth chasing after.

The lesson she needs to learn is obvious. And it's all about friendship.

I don't even know how to begin covering the ancestors and villains... That'll be for another day. And Carmelita? She's in the same boat.

Thieves In Time could have been so much better. So here. Here's one way it could have gone without ruining the characters.

Miss Penelope

This is something I've been cooking for a long time, and though I can't continue playing the game I started with some folks i do kinda want to get it out into the world for people to playtest and enjoy. If you would join a discord server dedicated to this, dm me/send me an ask, or follow for updates.

I already stated earlier that it would make more narrative sense to have Penelope (fully reformed) fight Le Paradox during the end of Thieves In Time Redux. But what do you think?

Drop a comment if you picked "secret third option".

Writing Notes: Subplots

Subplot - a side story that runs parallel to the main plot.

It has a secondary strand of characters and events that can infuse important information into the main storyline.

Also known as a minor story, a subplot creates a richer, more complex narrative arc in novel writing and other storytelling mediums.

When crafting a narrative, a writer’s job is to create a compelling story.

One way to do that is through subplots—secondary storylines found in novels, plays, television shows, and movies.

In creative writing, a subplot can reveal more about secondary characters, create plot twists, and add another dimension to a story.

Most importantly, a good subplot raises the stakes for a main character.

An Example: Romeo and Juliet

William Shakespeare weaves several subplots throughout this tragic love story.

The backstory of the long-running feud between rival families, the Capulets and Montagues, creates the central conflict in the play—two young lovers from warring families desperate to find a way to be together.

The subplots involving the warring families create dramatic plot points that escalate the tension, like when Romeo’s best friend Mercutio is killed by Juliet’s cousin Tybalt.

4 Types of Subplots

When coming up with writing ideas to enhance your main plot, think of using one or more subplots. These could include any of the following:

Mirror subplot: A smaller-scale conflict mirrors the main character’s in order to teach them a valuable lesson or illuminate how to resolve the conflict.

Contrasting subplot: A secondary character faces similar circumstances and dilemmas as the main character but makes different decisions with the opposite outcome.

Complicating subplot: A secondary character makes matters worse for the main character.

Romantic subplot: The main character has a love interest, and this relationship complicates the main plot.

6 Tips for Writing Better Subplots

When you’re writing a book, always brainstorm the best subplot ideas that can deepen the tension and make your main character’s scenario more complex.

Try these tips when you craft your next narrative:

Ensure that your subplots play second fiddle.

A subplot exists to support your main storyline but should never overpower it.

Subplots should end before the main plot.

The exception to this rule is a romantic subplot, which often concludes in the final scene.

Give your subplots a narrative arc.

Subplots are stories, too.

Create a narrative framework for each, though on a smaller scale than your main plot.

Use this technique to tell a supporting character’s story that affects the protagonist’s actions.

You might even incorporate flashbacks as a subplot, mirroring a character’s journey with something that happened in their earlier days, like high school.

Write character-driven subplots.

Just like your main story, characters should drive the action in a subplot.

Create foils that can highlight qualities in your main character.

These characters will either help or hinder the protagonist in the story.

Try a new POV.

Your subplot might provide information that your main character is unaware of.

If your main plot is told in first person, try changing the point of view in the subplot to third person.

Figure out how to connect the subplot and the main plot.

There are numerous ways to use subplots.

A parallel subplot runs throughout the entirety of the story, showing different sides of the same plot.

This builds suspense as the reader waits for the two plots to collide (think The Fugitive).

You can also write small, isolated subplots.

Briefly introduce a character who drops in early on, then revisit their journey near the end of the story to shed light on the deeper meaning of your main plot.

Ramp up the tension with a subplot.

Propel your main story with information revealed in your side stories.

Subplots are a strong medium for foreshadowing events, so use them to drop hints and clues.

Source

omg human penelope!

I have to wonder...

Thieves In Time Rewrites...

A lot of rewrites will do one of two things with Penelope.

One route has her following canon and being straight up evil.

Another route has her being kidnapped and either blackmailed or brainwashed.

Thieves In Time Redux not only marries both routes (in that Penelope is responsible for the game's events, and escapes from a kidnapping situation), but also takes a third option. It has her dragged into the adventure so she can learn a lesson or two about friendship.