How To Make Your Writing Less Stiff 4

Expressing 'Anger' in Writing

Jaw clenching tightly

Hands balling into fists

Veins throbbing visibly at the temple

Eyes narrowing to slits

Breathing becoming quick and shallow

Stomping or heavy footsteps

Voice rising in pitch or volume

Flushing or reddening of the face

Throwing or slamming objects

Brows knitting together in frustration

Lips pressing into a thin line

Teeth grinding audibly

Staring with a hard, fixed gaze

Sarcasm dripping from every word

Snapping responses or barking orders

How to Craft a Compelling Morally Grey Character: A Step-by-Step Guide

Step 1: Define the Character’s Core Traits

Identify Strengths and Virtues: List positive traits that make the character likable or admirable. These could include bravery, intelligence, loyalty, or compassion.

Identify Flaws and Vices: List negative traits that add complexity and realism. These could include arrogance, selfishness, impatience, or a propensity for violence.

Step 2: Establish Motivations and Backstory

Create a Detailed Backstory: Develop a background that explains why the character has their particular mix of virtues and flaws. Consider their upbringing, significant life events, and personal experiences.

Determine Core Motivations: Identify what drives the character. Is it revenge, love, ambition, survival, or something else? Motivations should be realistic and relatable.

Step 3: Develop Moral Ambiguity

Set Up Moral Dilemmas: Place your character in situations where they must make difficult choices with no clear right or wrong answer. These dilemmas should challenge their morals and reveal their complexity.

Showcase Contradictions: Allow the character to make decisions that might seem contradictory. For example, they might commit a crime to protect someone they love, revealing both a moral and an immoral side.

Step 4: Create Dynamic Relationships

Construct Meaningful Relationships: Develop relationships with other characters that highlight different aspects of your morally grey character. These relationships can help explore their multifaceted personality.

Use Relationships to Drive Conflict: Relationships can be a source of moral conflict and development. Conflicts with friends, family, or rivals can push your character to reveal their grey areas.

Step 5: Show Consequences and Growth

Illustrate the Impact of Actions: Show the real-world consequences of the character’s morally ambiguous decisions. This adds realism and stakes to the story.

Allow for Character Growth: Let your character evolve. They might become more virtuous or more corrupt over time. This evolution keeps the character dynamic and interesting.

Step 6: Balance Sympathetic and Unsympathetic Traits

Make Them Relatable: Ensure the character has traits or experiences that the audience can relate to or sympathize with, even if they do questionable things.

Maintain Complexity: Avoid making the character too sympathetic or too unsympathetic. The balance between good and bad traits should make the audience feel conflicted about the character.

Step 7: Use Subtlety and Nuance

Avoid Clear Labels: Do not overtly label the character as good or evil. Allow their actions and motivations to speak for themselves.

Employ Subtlety: Use nuanced behavior and dialogue to reveal the character’s moral complexity. Avoid heavy-handed exposition.

Step 8: Test and Refine

Seek Feedback: Share your character with others and seek feedback on their complexity and believability. Adjust based on constructive criticism.

Refine Motivations and Actions: Continuously refine the character’s motivations and actions to ensure they remain compelling and consistent throughout the story.

Example: Crafting a Morally Grey Character

Core Traits:

Strengths: Intelligent, determined, loyal.

Flaws: Arrogant, manipulative, vengeful.

Backstory:

Grew up in a tough neighborhood, witnessing crime and corruption.

Lost a loved one to a gang, fueling a desire for revenge.

Motivations:

Driven by a need to protect their remaining family and seek revenge.

Moral Dilemmas:

Joins a criminal organization to infiltrate it and bring it down from within.

Struggles with the ethical implications of committing crimes for a greater good.

Relationships:

Has a strained relationship with a sibling who disapproves of their methods.

Forms a complicated friendship with a morally upright police officer.

Consequences and Growth:

Faces the legal and emotional consequences of their actions.

Gradually questions their own morality and seeks redemption.

Balance:

Helps the community but uses unethical means.

Shows moments of kindness and ruthlessness.

Subtlety:

Reveals their inner conflict through small actions and dialogue.

Avoids overt explanations of their morality, letting the audience interpret.

By following these steps, you can create a compelling morally grey character that adds depth and intrigue to your story.

How to Write a Character

For creative writing to have as deep an impact as possible, you need to give the reader strong characters they can relate to on a personal level.

By borrowing from tried-and-true character archetypes and giving them your personal spin, you can create heroes, villains, and sidekicks that will affect your readers as if they were real people they knew.

Come up with a backstory

Crafting a backstory can help you flesh out an interesting character profile.

“When I’m dealing with characters,” says legal thriller author David Baldacci, “and I’m trying to explain somebody's situation and motivations, you have to look into their past, because [the] past always drives motivations.”

Ask what experiences your character had in elementary school or high school that shaped who they are today. Your character’s backstory can greatly inform your plot.

Develop a character arc

A character must evolve throughout a story.

“The character has to change,” insists crime fiction writer Walter Mosley. “The character doesn’t have to become better. The character doesn’t have to become good. It could be the opposite. He could start good and become bad. He could start off hopeful and end up a pessimist. But he has to be impacted by this world that we’re reading about.”

Plan out your storyline based on your character's goals and how achieving or not achieving them will change them as people. This sort of template can help anchor your narrative.

Do research

If you plan to set your story in a specific locale or period, do enough research to make your characters seem true to life and believable.

“What does it mean, for instance, in the Tudor era to be a male person?” asks Margaret Atwood, author of The Handmaid’s Tale. “What does it mean to be a female person? What do those things mean when they’re at different social levels?”

Empathize with your characters

No matter what the type of character you’re developing, try to find some reason you and your reader can relate to their internal conflict.

“You’re living with these people every single day for months at a time—in some cases, years at a time,” says acclaimed children’s author Judy Blume. “You had better feel for them. So, for me, yes, I have great empathy for them.”

When people can empathize with characters, they’re more likely to find them compelling.

Experiment with different approaches

If you usually write characters from a particular point of view (or POV), change things up to challenge yourself.

“Write about someone entirely through the eyes of their friends and family,” suggests journalist Malcolm Gladwell. “So do a profile of someone where you deliberately never talk to the person that you’re profiling.”

There are plenty of ways to craft compelling character descriptions—free yourself up to try new alternatives.

Give your characters flaws

To craft believable characters, you need to give them flaws.

“One, it makes the characters human, just by default, because everybody recognizes that we all have flaws and mistakes,” David says. “But two, it gives you plot elements and plot opportunities because somebody makes a mistake. Why? Because they’re flawed.”

Learn from real people

Pay attention to real people’s mannerisms, personality traits, body language, and physical appearances.

Do research, and be respectful, when you want to write characters with backgrounds that you are not familiar with. Become familiar with different people's cultures, sexual orientations etc.

Talking to people about their experiences will help form your character’s personality.

Let your characters surprise you

Character development can proceed down a host of different avenues.

“Spend a lot of time with your characters and getting to know them,” Judy suggests. “And the way that you get to know them can be different from the way I get to know them. But my way is: They don’t come alive until I write about them, until I put them down on paper.”

As you write, your character’s motivation or perspective might change from what you originally planned.

Play characters off each other

Ask yourself how a secondary character’s personality might thwart the main character’s motivation.

“One of the best ways, as I said, to develop a character is to put that character in relationship to another person,” Walter says. “So as they talk, as they fight, as they work together, we find out more about who they are and what they are.”

The character’s close friends, adversaries, and acquaintances might all have different effects on their behavior.

Take an organic approach

Over the course of the story, be ready for your characters to surprise you as much as the people you know in real life might, too.

Your characters may take on a life of their own.

Avoid static characters by letting yours have their own lives and personalities. Let their stories take you where they lead.

Okay, okay, here's perhaps my spiciest and most controversial take yet.

Now, before I even say anything, please note that I am talking specifically about fantasy. Not retellings of myths, not historical fiction set in different countries, nothing like that. This is for second-world fantasy, where you're creating a whole different world.

Ready?

Stop making everything so damn complicated!

This is not to say that you can't have a rich and exciting world filled with lore, religion, different societies, traditions, unique geographies. Not that. Of course we want that: it's the whole reason we read fantasy. I'm talking about something else.

This is my simple takedown, and you can read the rest to better understand what I mean:

Stop jamming your story with five billion weird words.

Don't use super complicated nouns.

Keep the characters to a minimum so we can know and like them.

Don't yammer on about all the backstory.

Stop making readers do homework just to understand things.

Focus on the feeling a story gives instead of the intricate worldbuilding.

Why is it important to keep things simple?

A lot of people shy away from fantasy because they assume that every fantasy story is going to be so complicated that their head will hurt. Not in terms of plot - many people like complicated plots - but in terms of terminology and history. Things that ultimately don't really matter to the plot.

We as writers often assume that everyone cares about our story as much as we do and is equally captivated by every detail. This is simply not true.

To your reader, your story is not their life's work: it is entertainment that they want to be able to pick down and put up at their leisure. It's a distraction from their difficult lives and all their real-world frustrations. If they get really into it and, say, write fanfic or whatever, that's amazing! But they're not likely to do that if they feel like they'll be jumped on for doing something wrong or that they have to include every single little detail.

For example, I wrote over 1 million words of Touken Ranbu fanfic. Touken Ranbu, at its heart, has a very simple premise: you've got a bunch of legendary swords that were turned into hot men and fight evil time-traveling monsters. You can understand it with just that. There are layers to it, though, that you can slowly untangle. That makes for good writing because it works on multiple levels depending on how much you care about it.

I would have given up on the story if I felt like I needed a dictionary just to understand the plot. Most people would. Language needs to be accessible and premises need to be clear, or no one is going to want to go deeper.

Subtle little details that people can pick up are way more enjoyable than tossing every single factoid at people so that they feel overwhelmed and can't think. It's wonderful to have rich layers of symbolism, mythology, etc. That's excellent. But you can only get people to care about those things if they can actually comprehend your damn story.

A lot of the things that turn people off from fantasy are all about a writer's ego, and it oozes through the work. People can tell that you're wanting them to pat you on the back for putting so much shit in your story. It's annoying and a total turn-off when you make readers work so hard to comprehend what you're saying.

So what exactly am I talking about? This.

Using made-up terms for everything that could easily be explained with a normal English word

When I am writing fantasy, I imagine myself as a translator. After all, my made-up societies have their own made-up language (Seinish) that is referenced a few times.

However, I'm not using Seinish words all the time. I'm writing in English. I didn't write out a Seinish dictionary or even come up with most of the terms because, honestly? Most readers don't care. They want to understand what's going on in as simple of terms as possible, with only a few specific terms that remind us that we're somewhere different.

I may use some specialized terminology, but it's always couched in context clues that make us aware of what it is without actually having to just say "sdlkjfslkdjf, also known as a marketplace."

For example, in The Eirenic Verses, the High Poet Society has religious centers called meronyms. (Which actually isn't a made-up word, just used in a unique context.) We know they're religious centers because we see all the religious leaders living there. Someone sees the term "meronym" and goes "oh yeah, that's the religious place" and moves on.

It's one of the only confusing, specialized terms in the book other than place names, which people expect whenever they're reading fantasy. Because of that, it stands out and is easy to remember. It's not one of 1029310283012830132 different terms someone has to remember in order to follow along.

Even Tolkien, famed for literally writing an entire extra book full of lore for his stories, doesn't really use that much specialized terminology except for place names. My favorite author, China Mieville, only uses specialized terminology for things that have absolutely no basis in our reality and that can't be explained otherwise. And he's an extremely eloquent guy who uses the weirdest words possible whenever he can. If he can write a book that's mostly comprehensible without a cheat sheet, you can too.

If there is an English term for what you are trying to explain, just use that, for the love of god. The point of writing a story is not to show how smart and special you are: it is to tell a story. You need to remove as many barriers to access as possible.

Things that get a pass and can be made up most, if not all, of the time:

Place names (as in specific places, not categories of things)

Peoples' names

Languages

Species that don't exist in our world

Modes of transportation that don't exist in our world

Magic that can't be explained in any other way

Technology that can't be defined by our language

Look, if you have an animal that is basically a dragon, just call it a dragon. If you've got a wheeled carriage, call it a carriage. Call earth magic something based in earth terms, like "terravitae" or something, idk. There should be some connection to our world in your terminology because you are writing this in English for an English-speaking audience.

It doesn't make you a lazy writer, it makes you one that wants people to understand what you're talking about. Again, imagining yourself as a translator is a good way to keep yourself from going ham on the nouns.

Proper nouns that are way too complicated

Let's look at some well-known proper nouns from fantasy.

Middle Earth

Narnia

Earthsea

Discworld

Westeros

Ankh-Morpork

Bas-Lag

Wonderland

They're all ... simple. They're not a million syllables with weird intonations and accents and all that. If you showed this to a medieval peasant, they'd probably be able to pronounce them and would likely understand that they were place names.

Unless there's a good reason to have a weird name, don't use one. Come up with something simpler.

All of these I mentioned are three syllables or less, making them easier to remember. In fact, I'd argue that nearly every proper noun in your book should be no more than three syllables. Maybe one or two four-syllable ones.

Any very weird name should be balanced out by several easier ones so that it stands out.

40 million characters

Younger writers often want their world to feel very lived in, so they introduce dozens of characters with their own names, descriptions, backstories, etc etc etc. The problem is that this is a huge mental load on your reader, especially if a lot of the characters have very similar names. It makes reading your stuff into a chore rather than an enjoyable experience.

Now, some literary greats do have a lot of characters. But they get away with it because they're great.

I'm not great, so I don't do that.

I'd also suggest that you don't do that, regardless of how good you think you are.

To see if you have too many chracters, write out a dramatis personnae and rank it in terms of importance. Does your top tier have like 15 characters? Cut some. Figure out where they are in the story and if they don't exist for more than a few pages, delete them. Absorb them into someone else.

If a character is only in one scene, don't bother naming them. They don't matter enough. This reduces the cognitive load for your reader because they can see that character for what they are: a background person who exists only briefly.

Any time you name a character, they need to have deep plot relevance. The more unusual your character's name, the more important they should be. And they should have some sort of relationship to another character, preferably the main character. Otherwise, why are they there? Why do we care? Go away!

Way too much backstory

I am an adult and my brain is filled with 50 million other things. I have to remember stuff for my job, I have a to-do list, I have family I care about who needs me.

Your story is not the end-all be-all of my existence. Hell, my story is not the end-all be-all of my existence either. I want to be able to pick up your book, understand what's going on, and then delve a bit deeper or even make up my own headcanons.

I do not need the entirety of your story's world thrown at me right off the bat. It is overwhelming and tiring. Imagine if you visited a different country and someone immediately came up to you and started spewing the whole history of the country right after you stepped off the plane. That's what you're doing to your readers!

Think also about how you approach your everyday world. Do you reel off a million facts about your personal history the instant you meet someone? No, of course not. It'd be weird and creepy.

Are you constantly recalling facts about your city while walking down the street? Do you even know any major facts about your city? You probably know a few little trivia points and that's it. Because it's not relevant to you, and it's not relevant to your readers, either. I can't recall off the top of my head when Cleveland was settled, but I can tell you that we have the world's first Dunkleosteus fossil in our museum, because that is interesting to me. That's the kind of thing that makes a place feel lived-in, not four hundred thousand pages of exposition about the place's history.

Give your readers time to settle in, and reveal things slowly as they make sense. Maybe we hear a little bit about the country's government as they pass a parliament house, or because they have to visit the city center for a different reason. If it's not pertinent to the current scene, then don't put it there.

I've got tons of lore for my world. Some of it may be referenced one singular time, and some of it may be never referenced at all. That's okay, because it's just for me to get a better sense of the place I created. If a reader doesn't need it, then I don't bother putting it in, because it might detract from their enjoyment.

Overall: stop making your readers do homework!

We do not want our readers to feel like they are working when they are reading our stuff. Excellent writers can infuse deep themes and symbology into their stories without making it feel like work. These are the writers who are remembered forever, because not only have they made a good story that you can enjoy at a surface level, but they have also twined in deeper themes that you can dive into after you've digested the story.

I did my undergrad in British literature, so I read a lot of Shakespeare and contemporaneous authors. Shakespeare is considered complicated by modern standards because of the Elizabethan language, but if you translated it into modern terms, his stories are simple. People betray each other and stab each other, or fuck each other, or get transported to weird magical worlds.

You could watch a Shakespeare play and think absolutely nothing of the themes, but still enjoy the story. You could know absolutely nothing about Greek history and still get the gist.

This is because Shakespeare specifically wrote his plays to appeal to a mass audience. He was a god-tier author when it came to balancing symbology and plot. To be like Shakespeare, be simple. Remember that your reader does. not. really. care. all that much. They don't.

It's very unlikely that your writing is going to become someone's life's work and they're going to spend their whole existence studying. Cool if true, but unlikely.

Your job is to make a story that people like and want to read. Only when you've gotten people liking and reading do you get permission to go ham with the backstory and the characterization and the weird names, because they trust you to create a story that they will like. Otherwise, your primary objective is making people feel things so they want to feel more things and read more stories.

People care more about how a story makes them feel than the specifics

Yes, of course there are outliers to this who really want every single detail of the world, but those are few and far between. You should not tailor your story to these exceptions. Think about the average everyday person.

I have many books that I love, but I can't tell you everything about them now. I can, however, tell you how I felt when I was reading them: the plot twists that made me gasp, the thing that made me cry. I can give you a general, sweeping impression of whether I liked or disliked the story and what made me feel something. This is what people recommend books based on: how they felt.

Your story should focus on the plot and the emotion. People watch movies, listen to music, read books, or look at art to feel something, not to memorize factoids for later usage. Even if they do want to memorize factoids, they won't do that if they haven't built an emotional connection to the story.

While in life, we want facts over feelings, it's opposite in creative writing. We want feelings over facts. The emotional resonance, the mood, the characters, the plot: that is what is important, not showing off how smart you are and how much you have thought about your story.

How To Plan A Book Series: Ultimate Guide

Writing a book series can be an incredibly rewarding experience for authors, but it also requires careful planning and execution. A well-crafted book series can captivate readers, build a loyal fan base, and provide a steady stream of income for writers. However, planning a successful book series is no easy feat.

It demands a deep understanding of world-building, character development, and plot progression. In this ultimate guide, I'll help you explore the essential steps to help you plan a compelling and cohesive book series that will keep your readers hooked from start to finish.

Develop a Compelling Premise The foundation of any successful book series is a strong premise. Your premise should be unique, engaging, and have the potential to sustain multiple books. Consider exploring a complex world, a captivating concept, or a character with a rich backstory that can evolve over the course of several books. Ask yourself: What makes your premise stand out? What will keep readers invested in the story for multiple installments?

Create a Detailed Outline Before you dive into writing, it's crucial to create a detailed outline for your entire book series. This outline should include the overarching plot, major story arcs, character development, and key events for each book. Having a solid outline will help you maintain consistency, avoid plot holes, and ensure that each book contributes to the overall narrative. Don't be afraid to make adjustments as you write, but having a roadmap will keep you on track.

World-Building: Crafting a Vivid and Consistent Universe One of the hallmarks of a successful book series is a richly developed and immersive world. Whether you're creating a fantasy realm, a futuristic society, or a contemporary setting, pay close attention to world-building. Establish the rules, customs, histories, and geography of your fictional world. Consistency is key, so ensure that the details align across all books in the series. Consider creating a "bible" or a comprehensive guide that outlines the intricacies of your world, making it easier to maintain continuity.

Develop Compelling Characters Great characters are the heart and soul of any book series. Your protagonists, antagonists, and supporting characters should be well-rounded, multi-dimensional, and undergo significant growth and transformation throughout the series. Craft backstories, motivations, flaws, and strengths for each character, and ensure that their actions and decisions drive the plot forward. Remember, character development is an ongoing process, so be prepared to explore new facets of your characters as the series progresses.

Establish Recurring Themes and Motifs Themes and motifs are powerful tools that can add depth and resonance to your book series. Identify the central themes you want to explore, such as love, redemption, power, or identity. Weave these themes throughout the series, allowing them to evolve and deepen with each installment. Motifs, like recurring symbols or imagery, can also create a sense of cohesion and add layers of meaning to your narrative.

Plan for Cliffhangers and Resolutions One of the key strategies for keeping readers engaged in a book series is the strategic use of cliffhangers and resolutions. Cliffhangers create anticipation and leave readers craving for the next installment. However, be cautious not to overuse this technique, as it can become frustrating for readers. Balance cliffhangers with satisfying resolutions that tie up loose ends and provide a sense of closure, while still leaving room for the story to continue.

Consider Pacing and Narrative Structure Pacing and narrative structure are crucial elements to consider when planning a book series. Each book should have its own narrative arc, with a beginning, middle, and end, while also contributing to the overall story progression. Vary the pacing between books to maintain reader interest, alternating between action-packed and slower, more introspective sections. Experiment with different narrative structures, such as multiple perspectives, non-linear timelines, or frame narratives, to keep the series fresh and engaging.

Manage Continuity and Consistency As your book series grows, maintaining continuity and consistency becomes increasingly important. Keep detailed records of character descriptions, plot points, world-building elements, and timelines. Regularly refer back to these notes to ensure that you're not introducing contradictions or inconsistencies. Consider creating a series bible or a wiki to help you keep track of all the moving parts.

Plan for Character Growth and Evolution In a book series, characters should undergo significant growth and evolution. Plan for character arcs that span multiple books, allowing your protagonists and supporting characters to face challenges, make difficult choices, and emerge as changed individuals. This character development will not only add depth to your narrative but also keep readers invested in the journey of your characters.

Anticipate and Address Potential Plot Holes As your book series expands, the potential for plot holes and inconsistencies increases. Be vigilant in identifying and addressing these issues during the planning stage. Regularly review your outline and notes, looking for any logical gaps or contradictions. Enlist the help of beta readers or critique partners to provide fresh perspectives and catch any potential plot holes you may have missed.

Consider the Overarching Story Arc While each book in your series should have its own narrative arc, it's essential to plan for an overarching story arc that spans the entire series. This overarching arc should tie together the individual books, building towards a climactic conclusion that resolves the central conflict or mystery. Ensure that each book contributes to this larger narrative, advancing the plot and raising the stakes for the characters.

Plan for Marketing and Promotion Finally, as you plan your book series, don't overlook the importance of marketing and promotion. Develop a strategy for building buzz and engaging with your audience throughout the release of each book. Leverage social media, author events, book tours, and other promotional opportunities to keep your readers excited and invested in your series.

Remember, writing a book series is a marathon, not a sprint, so be prepared to invest time, effort, and dedication into crafting a truly remarkable literary journey. Hope this helped!

Happy Writing - Rin T.

Hey fellow writers! I'm super excited to share that I've just launched a Tumblr community. I'm inviting all of you to join my community. All you have to do is fill out this Google form, and I'll personally send you an invitation to join the Write Right Society on Tumblr! Can't wait to see your posts!

a list of 100+ buildings to put in your fantasy town

academy

adventurer's guild

alchemist

apiary

apothecary

aquarium

armory

art gallery

bakery

bank

barber

barracks

bathhouse

blacksmith

boathouse

book store

bookbinder

botanical garden

brothel

butcher

carpenter

cartographer

casino

castle

cobbler

coffee shop

council chamber

court house

crypt for the noble family

dentist

distillery

docks

dovecot

dyer

embassy

farmer's market

fighting pit

fishmonger

fortune teller

gallows

gatehouse

general store

graveyard

greenhouses

guard post

guildhall

gymnasium

haberdashery

haunted house

hedge maze

herbalist

hospice

hospital

house for sale

inn

jail

jeweller

kindergarten

leatherworker

library

locksmith

mail courier

manor house

market

mayor's house

monastery

morgue

museum

music shop

observatory

orchard

orphanage

outhouse

paper maker

pawnshop

pet shop

potion shop

potter

printmaker

quest board

residence

restricted zone

sawmill

school

scribe

sewer entrance

sheriff's office

shrine

silversmith

spa

speakeasy

spice merchant

sports stadium

stables

street market

tailor

tannery

tavern

tax collector

tea house

temple

textile shop

theatre

thieves guild

thrift store

tinker's workshop

town crier post

town square

townhall

toy store

trinket shop

warehouse

watchtower

water mill

weaver

well

windmill

wishing well

wizard tower

“Oh,” They giggled, cheeks pink.

“Oh!” They gasped, hands to their mouth in horror.

“Oh,” they whined, gripping their hair in frustration.

“Oh,” they breathed, head back and lashes fluttering.

“Oh,” they mumbled, shifting awkwardly.

“Oh,” they deadpanned, arms crossed.

“Oh?” they asked, brow arched and smile bitter.

“Oh,” they chided with a smirk.

“Oh?” they asked, head tilted curiously.

“Oh!” they hissed, scrambling away.

“Oh,” they mumbled, rubbing their neck.

“Oh,” they uttered, eyes wide in awe.

“Oh,” they muttered with an ill-impressed frown.

“Oh!” They cried, throwing their arms around them.

“Oh,” they goaded, smiling mischievously.

“Oh,” they taunted, skipping backwards.

“Oh,” they snarked, hands on their hips.

“Oh,” they breathed, putting it all together.

“Oh,” they said softly, hugging themselves.

“Oh,” they whispered, holding back tears.

“Oh!” they gasped, ducking out of the way.

“Oh,” they uttered, and smacked their forehead.

“Oh,” they laughed, brows wiggling.

“Oh,” they tittered, batting their lashes.

“Oh,” they hissed, gritting their teeth.

"Oh."

Tag your dialogue.

Chapter 1

This wan’t how I intended to re-enter the public eye, although frankly I hadn’t intended to go public at all after the operation was shut down. Sure, I had fantasized about it, but I’d never really wanted the attention to begin with, and the politics involved were always a mess. I stood in the aisle, leaning against the armrest of a middle-aged woman’s seat, breathing heavily. The hair on the back of my neck prickled, warning me about the other passengers watching me. Something warm and wet trickled off my lip and dripped onto the floor. I swiped at my nose with the back of my hand, unsurprised to see blood. I had pushed myself too far, used up more energy in two minutes than I had in the past five years. But it was flowing back to me, and it felt good.

The plane shuddered and lurched as we were towed off the landing strip and toward the gate. Pushing myself upright, I stumbled back to my seat. The eyes of the other passengers followed me, and I could see a mix of relief, confusion, and fear on their faces as I passed. The oxygen masks had deployed during the chaos, and they swung in unison, like choreographed dancers. A toddler was wailing over the hum of the airplane systems, and the lights of the airstrip flickered in through the windows as the plane jostled towards the gate.

When I reached my seat I rummaged through the seat back pocket, pulling out an ancient mp3 player, headphones, and my wallet. I stuffed them into my jeans and pulled my backpack out from under the seat in front of mine. The empty plastic water bottle in the side pouch got caught on something and flew spinning up the aisle. The cockpit door banged open, making me jump, and the pilot barreled out. His eyes met mine and he strode down the aisle, disbelief and anger staining his cheeks. He opened his mouth to scream at me, but I’d already had enough of him.

“No,” I held up my hand to stop him and his mouth snapped closed and he stopped halfway down the aisle. He turned even redder, furious, but unable to move or speak. The co-pilot poked his head out after the pilot, and looked nervously at me. “Good. We’re all here.” I straightened up. “Attention everyone, I need everyone’s attention please.” I knew everyone was already looking at me, but I needed the extra few seconds to steady my nerves. “The feds are going to come talk to you.” I added more power to my voice, pulling my audience in. “You will tell them everything you saw. You will tell them the truth, but you may not tell anyone else. After tonight, you will only remember that there was a dangerous malfunction, and this brave pilot,” I gestured to the copilot, still standing by the cockpit door, “managed to get us all here in one piece. He’s a real hero, and you are all very grateful to him. You will forget my face, forget that I was on this flight, and forget what I did.” I zipped up my jacket and swung my backpack onto my shoulder.

The other passengers and staff looked glassy-eyed, and some of them shook their heads, as they fought my orders. I took a deep breath, pulling more power from my core. It surged through my body, like electricity, crackling over my nose and stopping the flow of blood. I stepped into the air and willed myself up and away, phasing through the ceiling of the small plane. I hovered there, in the freezing January air, breathing puffy white clouds. Swirling my power around me in a protective cocoon, I felt it shielding me from the wind and obscuring me from view. I pulled out my phone, powered it on, and dialed a familiar number.

“Smith.”

“Hey, there was an incident. Everyone’s ok, but the Department is going to want to come handle this one.”

“Erin? Erin, you need to come in. The director has questions.”

“The director wants to put me in a cage. You know I can’t come back, not after what I did.”

“Let’s talk about this.”

“I know you have to try to get me back, but please just listen. Someone came after me. Someone who knows about the project. I’m the last loose end, and someone is trying to clean me up. We both know that won’t work, but I can’t let other people get hurt in the crossfire, not again.” I glanced at the emergency crews swarming the plane, illuminated by blinding spot lights.

“Erin, listen…”

“Vegas airport. You have until midnight before they lose their memories, although I’m not sure how good of a job I did, so you might do some cursory exit interviews. Don’t bother with the phone, I’ll leave it here for you.”

“Erin, I’m so sorry about what happened. You were kids. You didn’t deserve that.”

“I know.” I knew this was a a ploy to keep me on the line, but there was real remorse behind those words, pain even. I snapped the phone closed. It was a cheap plastic flip phone that I only carried for emergencies. I let it go and it floated beside me, components disassembling themselves and dropping to the ground. I snapped the chips into several pieces, and the wind carried them off. Might as well make it a challenge for them. I pulled out my wallet, removing the driver’s license I used to buy my plane ticket and dropping it to fly away with the bits of my phone. I had liked being Sam Davis, but they would cross check the passenger list with the people who got off the plane as well as the security footage at the airport. It was time to pay a visit to Luca. I sucked in a deep breath of the cold night air, and vanished.

---

CORRECTLY Writing "Morally Gray" Characters

Want to write a hot, cool, and bad character but DON'T want he/she to come across as toxic, downright bad, or, god forbid, cringe? Well, I've got a couple of tips that may help you create exactly what you want!

1. Softness

Okay, yes we want this character to be tough and cool, but there also needs to be a certain softness, no matter how small, that comes with them. If there's someone that your character prioritizes or cares about, there has to be a point or two that it shows--a moment where they're soft only for the people that they care about. Why? Because this establishes the humanity in them. It shows the readers that your character IS human, not an emotionless monster.

2. Goals

Key to any good characters are their goals. The thing is, for this type of a character, their objectives can't be so random. They need a reason for their actions, and it needs to be valid. Usually, this is reasoned out by some kind of past epiphany, which is crucial because without it, your character doesn't have anything solid backing up their goals.

Bad things, but for a good reason.

Now, why is this important? Because it can pull readers to their side. As long as they understand the cause, they have a chance to follow your character's side, increasing their likeability!

3. Neutrality

Notice how this is a "morally gray" character, not a "completely evil" one. Why does this matter? Well, a trait people tend to overlook when writing these characters is the morally gray, or neutral, part. It's important to just occasionally show that your character is walking the fine line and in my opinion, a great way to achieve this is to have them help the protagonist out (instead of always fighting against them) one, or even two times!

4. Positive Characteristics

This is a very simple one, but make sure to depict a couple positive qualities (besides just being hot) of your character! Like my first point, it's pivotal to illustrate that they have some humanity, and this is an easy and great way!

Throw in a few good characteristics (I have a post with some examples of redeeming qualities for villains if you need some help), and let it show that they are still respectable!

5. Backstory

I believe that with certain characters that play certain roles in the story, explaining their backstory is a NEED for them; and this character type is no different! Introducing even a bit of their past can get the audience interested in your character. It also allows for better understanding of them and shows how they changed over time.

6. CONFIDENCE

Be confident in your skills when writing this character! To many, the idea of "cringeness" makes them second-guess how they should write. In reality, it's better to write it however you wish, because if you're confident in one moment and clearly less in another, the readers are able to sense any unexpected changes in things in your character's tones, expressions, and actions.

It's important to keep your character in, well, character. Still, there's going to be a few moments that break it, but it shouldn't be in any unnatural way.

If your character is flirty, then let them act flirty. If they mess around a lot, then let them mess around. Don't limit their actions or words just because you think some people might find it cringe!

Alright, that's it for me! What do you think? Are they valid or unreasonable?

Happy writing~

3hks <3

Writing Description Notes: Drinking

Updated 17th July 2024 More description notes

She shoved the cup to her lips and felt the warm sensation tickle her throat.

John sipped the cool drink, feeling it refresh him on a hot day.

Jane brought the cup to her lips, and the warm drink felt like a cozy hug.

The smell of the hot beverage surrounded them, promising comfort and relaxation.

John closed his eyes for a moment, enjoying the rich taste as a little indulgence.

John held his warm mug between his hands, enjoying the simple pleasure on a chilly evening.

The strong smell of fresh coffee filled the air, waking up their senses.

The first sip made John feel satisfied, a brief escape into the joy of a good drink.