This Violet Girl..... Is She A Con Artist Or Something?
This Violet girl..... is she a con artist or something?
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The 7 Faces of Friendship: Character Types to Include in Your Book’s Friend Group
Having a balance of different personas helps create a comprehensive cast for your novels. To get started, here are the 7 main friend personas to consider:
1. The Leader
Description:
The leader is the driving force behind the group. They are often assertive, confident, and willing to take charge in various situations. This person is typically seen as a decision-maker, guiding the group toward plans, activities, or goals.
Traits:
Charismatic: Naturally draws people in and inspires others.
Decisive: Quick to make decisions, often with a clear vision in mind.
Responsible: Takes ownership of the group's well-being and direction.
Role in the Group:
The leader often organises outings, mediates conflicts, and keeps the group focused on shared goals. They are instrumental in making plans and ensuring that everyone feels included.
2. The Caregiver
Description:
The caregiver is the heart of the friend group, always looking out for others. This person is empathetic, nurturing, and willing to lend a helping hand or an understanding ear.
Traits:
Compassionate: Deeply cares for the feelings and well-being of others.
Supportive: Always ready to offer encouragement or assistance.
Attentive: Notices when someone is feeling down or needs help.
Role in the Group:
The caregiver often acts as the emotional glue, fostering connections and ensuring everyone feels valued. They are typically the ones organising gatherings to celebrate friends or supporting them through tough times.
3. The Comedian
Description:
The comedian is the life of the party, always ready with a joke or a funny story. This character brings humour and lightness to the group, helping to relieve tension and elevate the mood.
Traits:
Witty: Quick with humour and often makes clever observations.
Playful: Approaches life with a sense of fun and spontaneity.
Positive: Maintains an optimistic outlook, even in challenging situations.
Role in the Group:
The comedian keeps the atmosphere lively, ensuring that laughter is a common thread in the group. They often defuse tense situations with humour and help create cherished memories through fun experiences.
4. The Adventurer
Description:
The adventurer thrives on new experiences and excitement. This character is always seeking thrills, whether that’s trying out a new restaurant, going on spontaneous trips, or participating in extreme sports.
Traits:
Daring: Enjoys taking risks and stepping outside of their comfort zone.
Curious: Eager to explore new ideas, places, and experiences.
Energetic: Brings enthusiasm to the group, often encouraging others to join in.
Role in the Group:
The adventurer often leads the charge for new experiences, pushing the group to try things they might not have considered. They inspire others to embrace spontaneity and explore the world together. Often contradicts the leader.
5. The Intellectual
Description:
The intellectual is the thinker of the group, often delving into deep conversations and pondering life's big questions. This character values knowledge and is well-read, informed, and curious about various topics.
Traits:
Analytical: Enjoys breaking down complex ideas and analysing situations.
Inquisitive: Asks questions and seeks to understand the world.
Articulate: Communicates thoughts clearly and effectively.
Role in the Group:
The intellectual can help stimulate meaningful conversations, adding depth to the group's interactions. More of a quiet yet important presence. They help get the Adventurer out of trouble, and are likely found bantering with the Comedian from time to time.
6. The Connector
Description:
The connector is the social butterfly of the group, adept at bringing people together and building relationships. This character thrives on interaction and often knows everyone’s stories, interests, and backgrounds.
Traits:
Sociable: Enjoys meeting new people and introducing friends to one another.
Empathetic: Understands social dynamics and helps others feel comfortable.
Resourceful: Knows where to go for recommendations and suggestions.
Role in the Group:
The connector enriches the group by fostering relationships and creating opportunities for social gatherings. They often organise events and help deepen bonds within the friend circle. They are generally close to the Caregiven and the Leader’s partner/close friend. They help the Leader and Intellectual settle on ideas that are both fun and functional thus appeasing to the whole group.
7. The Realist
Description:
The realist is grounded and practical, providing a balanced perspective within the friend group. This character approaches situations with a level-headed attitude and often focuses on the facts at hand.
Note: While the intellectual is an inherently smart person, the realist is the apathetic and logical force of the group. They don’t have to necessarily be smart but are insightful.
Traits:
Pragmatic: Values practicality and often offers sensible solutions.
Sceptical: Questions overly optimistic or unrealistic plans.
Honest: Tends to speak their mind, even when the truth is uncomfortable.
Role in the Group:
The realist often acts as a counterbalance to more idealistic characters, helping the group assess risks and make informed decisions. They provide a sense of stability, ensuring that plans are not just fun but also feasible.
Edit: you don't NEED to have 7 friends each with one persona. You also don't need to have all 7. One person can be the caregiver to A and realist to B. They can be the leader in one friend group but the comedian in another (showcasing their comfort with the latter). This is just a list to help pan out your character personality types!
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it's so fascinating to me that dabi & hawks are fraternal foils, yet there's nothing about their dynamic and constellation with endeavor that signifies fraternity, they're in relation to each other as sons of endeavor (emphasis on him, not them). their sense of worth depends of endeavor the patriarch, they center him the way a child centers their parent and it's crazyyy how endeavor indirectly sets up dabi & hawks against each other as filial rivals the way he sets up touya and shoto.
the difference is that touya & shoto have a more tangible rivalry going on while dabi & hawks compete with each other thematically, they have similar experiences with childhood neglect & abuse and choose polar survival strategies so to me, dabi vs. hawks boils down to the dialectics of which post-traumatic survival strategy (fight vs. fawn) leads to the parental attention their inner child desperately craves.
and tbh? idek who actually gets what they wanted or a "kinder" conclusion. dabi dies for the sake of revenge and hawks comes out alive, but it is ultimately dabi who gets to move on from endeavor and focuses on his little brother & the unconditional love he experienced despite everything he put him through, meanwhile hawks is still deeply attached to the endeavor he chose as a pseudo-paternal figure as a 5yo like he doesn't get to move on at all and doesn't receive the fraction of unconditional love that dabi does. it's crazyyy to watch hawks go through all of that and act like nothing happened, as if dabi's presence never challenged his stance on endeavor/abusive men/the way he copes with what happened to him as a child.
and ofc hawks can't do any of that, endeavor as a "redeemable" character only works if hawks is there to remind the reader of his good deeds, which only works if hawks doesn't get to progress and reflect. It's sad but also funny on a meta level because there is a very clear analogy between horikoshi reducing hawks to a tool that suffers from bad writing for the sake of another character's writing and the hpsc reducing hawks to a tool that suffers mentally for the sake of the establishment. (dog motif works so well for hawks but i digress)
idk, one thing i really like about the todoroki subplot is that it's good at showing how an abuser messes with a family's dynamics and renders it dysfunctional, there was no way for touya to be normal about his little brother and ofc he saw shoto's birth and his own death sentence, and there was also no way for dabi & hawks to have a normal relationship either because endeavor is an omnipresent patriarch in their fight. horikoshi barely scratched the surface of dabihawks' dynamic in relation to endeavor and completely ignored it the final arc to ride endeavor a little harder, but the implications are there and i won't let anyone ignore them!!!!!!!!!!!
Send me Sanji and Zoro shit PLEASE. I love them so much. Feel free to throw in Ace and Law as well. I AM DEPRIVED!
Effective Ways of Creating Relatable and Realistic Conflicts
As a writer, whether you're a beginner, intermediate, or expert, you've likely heard about the importance of creating "relatable and realistic conflicts." This advice appears in almost every writing guide. Yes, it's crucial.
However, this recurring statement might seem vague. Let's break down what these terms mean. We'll discuss how to create conflicts in your style that work, and what can lead to the opposite results.
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This is a flexible guide, not a strict set of rules. Let's begin.
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First, relatability is different from realism, at least in this context.
Relatability offers an experience that people have gone through before. They can easily identify it as something that happens.
Realism, on the other hand, can be a fresh experience or something entirely fantastical. Here's the catch: it must stay true to your setting and plot. For example, in a fantasy setting, your conflict could be the protagonist's dragon falling sick on the eve of a big race.
In the real world, we have no dragons. But in your setting, your situation with this creature feels real. Now consider an instance where we have intelligent insects with no apparent reason or explanation. This is an example of an unrealistic conflict that doesn't align with its setting. It's either you adjust a few things in the settings or adjust the conflict that stems from their intelligence or is solved by it.
Now that we've established that, let's consider what to keep in mind when writing conflicts.
Conflicts can be resolved instantly or extend further. They can begin your story, occur during it, or happen after a sweet moment.
Before writing a conflict, think about:
1. The Setting:
Where is your world set? This matters a lot! You can use our real-life world but still create your own rules, as long as you make that clear. Your conflict could come off as both realistic and relatable. However, where you have a total no is when your world is the normal world we know, with no changes, and your conflicts are unrealistic and unrelated.
You have such examples in some Bollywood movies. No offense to anyone in love with these movies. This is just a case study for clarification purposes.
Think of the fight scenes. The physical conflicts often stem from a grander conflict. You'll understand where I'm coming from.
2. Duration:
How long will this conflict last in your story? Earlier, I mentioned lasting conflict and fleeting conflict. The former helps create more meaning for your plot. The latter adds excitement that drives the plot forward.
3. Solvability:
Sometimes, the resolution to your conflict can render it meaningless, even after you've nailed the creation. Resolve your conflict in agreement with your plot.
4. Interesting Premise:
Conflict ideas sometimes come naturally as you write your story. I remember when I wrote high school stories, conflicts came to me as I wrote, but this doesn't happen every time. Sometimes, I knew I needed something more exciting and less predictable.
For example, it's common for a new female student to be rivaled by the school's most popular girl. This is usually because of the love interest—the most popular guy in school. But what if they become best friends, and the love interest turns out to be the popular girl's brother?
She mistakes the protagonist's friendship with a different guy as cheating, and the feeling of betrayal turns them against each other. This twist offers a fresh take on the usual antagonizing characters. It could make your story more interesting. This time the antagonist is doing what she feels is in her brother's favour not herself.
5. Character's Involvement:
This is slightly similar to the above. The difference is that it deals directly with the characters themselves, not just the conflict they face. The actions towards the conflict give the situation meaning.
6. Aim and Goals:
What do you aim to achieve with your conflict? Do you wish to entertain, hook the readers, drive the plot forward, or introduce a new object or character? It's best to aim for two at a time. Trying to achieve all in a single conflict could lead to complications.
Which conflict have you read in a book that made you wish you wrote it?
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10 Lethal Injuries to Add Pain to Your Writing
Prev: Non-Lethal Injury Ideas
Need some creative ways to give your characters a real fight for survival? Here are 10 ideas:
1. Punctured Artery
A puncture to major arteries like the femoral artery (thigh), the carotid artery (neck), or radial artery (arm) can cause rapid blood loss. It starts off with a sharp pain, weakness, lightheadedness and eventually can lead to hypovolemic shock. Requires urgent medical attention.
2. Punctured Eye Socket
A punctured eye socket will cause blood vessel damage leading to internal bleeding. I would use this for non-combat characters trying to get away. The eyes are an easy weak spot + you don’t need much strength to cause a critical injury/puncture. Also good for a protag's tragic backstory.
3. Torn Achilles Tendon
A torn Achilles tendon can result in severe bleeding if nearby arteries or veins are damaged. Your character will be forced to hobble away as pain causes their foot to swell and bruise. Plus, you can easily adjust the pain levels per your scene, from swift cuts to explosive jumps.
4. Neck Hyperextension (Hangman’s Fracture)
This injury will fracture the C2 vertebra and can lead to spinal cord damage, paralysis or sudden death. This isn’t a light injury your character can come back from, so I would suggest using it only when you’re aiming for death.
5. Pierced Lung
A punctured lung will lead to a pneumothorax where air escapes into the chest cavity, collapsing the lung. Characters with this injury may have difficulty breathing, chest pain, and a cough that produces frothy blood (all the dramatics you need).
6. Severe Concussion
A severe concussion will lead to confusion, vomiting, immobility and memory loss. More dangerously, brain swelling, internal bleeding and damaged brain tissue. Plus, it has a long recovery period.
7. Shattered Pelvis
If you need something severe that restricts mobility but also causes severe pain then this is perfect! Involves signs of shock, internal bleeding, numbness, swelling—really a lot of things. Can occur if OC falls from a high place, hit repeatedly, car accident, etc.
8. Internal Bleeding from Blunt Force Trauma
I like using this when you need something subtle since it doesn't show immediate symptoms. Over time, they will feel weak, cold, nauseous, and intense pain. Perfect if you want that 'everyone made it out then suddenly someone collapses' moment.
9. Intestinal Perforation
A sharp blow or penetrating wound can cause a tear in the intestines, leaking bacteria into the body cavity, then peritonitis. It can go from small stomach pain to near death pretty quickly. Without prompt medical care, sepsis can set in, causing organ failure and death.
10. Cut to the Jugular
If you need something more visibly dramatic then go with the classic cut to the jugular. A warm rush of blood will pour out, and blood would spurt with every heartbeat. Causes panic, choking, and internal bleeding too. All the blood and gore you need.
This is a quick, brief list of ideas to provide writers inspiration. Since it is a shorter blog, I have not covered the injuries in detail. Remember the worse the injury the more likely your character is to die (so be realistic folks). Happy writing! :)
Looking For More Writing Tips And Tricks?
Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!
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good traits gone bad explained
good traits gone bad - Part III
Ambitiousness - While ambitiousness is generally seen as a positive trait, driving individuals towards achieving their goals and aspirations, there can be a downside if it becomes excessive. An ambitious character can come across as ruthless.
Optimism - Optimism can lead to increased happiness and resilience, but not if it becomes unrealistic. Excessive optimism can lead individuals to underestimate potential risks or challenges, which can result in poor decision-making.
Diligence - Constantly working diligently without proper breaks can lead to burn out. Diligence can also mean that the person is not able to bend strict rules, but rather makes sure to follow them. It can make them resistance to change.
How to Write a Character Who Feels Like Throwing Up
When fear, dread, or guilt gets sickening—literally—your character is consumed with a gut-clenching feeling that something is very, very wrong. Here's how to write that emotion using more than the classic "bile rose to the back of their throat".
Start with the Stomach
This isn’t just about discomfort. It’s about a complete rebellion happening inside their body.
Their stomach twists like a knot that keeps pulling tighter
A cold sweat beads on their neck, their palms, their spine
Their insides feel sludgy, like everything they’ve eaten is suddenly unwelcome
They double over, not from pain, but because sitting still feels impossible
Add Sensory Overload
Vomiting isn’t just a stomach reaction—it’s the whole body.
Their mouth goes dry, and then too wet
Their jaw tightens, trying to contain it
A sudden heat blooms in their chest and face, overwhelming
The back of their throat burns—not bile, but the threat of it
Breathing becomes a conscious effort: in, out, shallow, sharp
Emotional Triggers
Nausea doesn’t always need a physical cause. Tie it to emotion for more impact:
Fear: The kind that’s silent and wide-eyed. They’re frozen, too sick to speak.
Guilt: Their hands are cold, but their face is flushed. Every memory plays like a film reel behind their eyes.
Shock: Something just snapped inside. Their body registered it before their brain did.
Ground It in Action
Don’t just describe the nausea—show them reacting to it.
They press a fist to their mouth, pretending it’s a cough
Their knees weaken, and they lean on a wall, pretending it’s just fatigue
They excuse themselves quietly, then collapse in a bathroom stall
They swallow, again and again, like that’ll keep everything down
Let the Consequences Linger
Even if they don’t actually throw up, the aftermath sticks.
A sour taste that won’t leave their mouth.
A pulsing headache
A body that feels hollowed out, shaky, untrustworthy
The shame of nearly losing control in front of someone else
Let Them Be Human
A character feeling like vomiting is vulnerable. It's real. It’s raw. It means they’re overwhelmed in a way they can’t hide. And that makes them relatable. You don’t need melodrama—you need truth. Capture that moment where the world spins, and they don’t know if it’s panic or flu or fear, but all they want is to get out of their own body for a second.
Don't just write the bile. Write the breakdown.
