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#writer problems
writers-potion · 19 hours
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The Character Arc: 101
As opposed to the plotline, the character is a description of what ahppens to the inside of the character over the course of the story.
Your lead character should be a different person at the other end of the arc.
The character has a build to it. It must, or the change will not be convincing. A good character arc has:
A beginning point, where we meet the character and get a sense of his interior layers (more on layers in a moment)
A doorway through which the character must pass, almost always reluctantly
Incidents that impact the layers
A deepening disturbance
A moment of change, sometimes via an "epiphany"
An aftermath
Layers of a Character
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The layers get "softer" (easier to change) as you move outward. The point of the whole character arc is to crack these layers one by one with external pressure until the character changes in a major way.
As an example: Scrooge from <A Christmas Carol>?
Core Image = miser, misanthrope
Beliefs = pointlessness of charity
Values = money over people
Attitude = profit is more important than good works
Opinion = christmas is a humbug
The Beginning = The character is, well, what he usually is.
Impacting Incidents = There's pressure for the character to change.
it is best to underplay such moments.
Overdo it, and you will lapse into melodrama.
Deepening Disturbances = The initial "lesson" is followed up by an even more shocking pressure
Aftermath = There is an action which indicates that the character is changing, reacting to the external pressure.
The Epiphany = The big moment of change.
The Character Arc Table
List the impacting and deepening incidents in your novel in a table
Add the first (starting) and last (ending) points of your plot
Now, list how your character's inner world changes along with the external changes that take place.
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byoldervine · 1 day
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How To (Realistically) Make A Habit Of Writing
To clarify: Works with my autism. WORKS WITH MY AUTISM!!! I’ve been meeting my goals since I made them my New Year’s resolution! Anyway I’m so sick of all those ‘how to’ guides that don’t actually tell you what the process is they’re just like ‘just do it, but don’t burn yourself out, do what’s best for you!’ because you’re not telling me what I’m not supposed to be burning myself out over but okay, so I made my own. Hope this helps
1. Choose your fighter metric. What works better for you as a measurement of your progress; time spent writing or your word count? Personally I get very motivated and encouraged by seeing my word count go up and making a note of where it should be when I’m done, so I measure by that. At the same time, a lot of people are also very discouraged by their word count and it can negatively impact their motivation to write, and in that case you may be better off working from how much time you spend writing rather than where the word count is
2. Choose your starter Pokémon time frame. How often can you write before it starts to feel like a chore or a burden rather than something fun you look forward to? Many people believe that they have to write daily, but for some people this can do more harm than good. Maybe every two or three days? Weekly? Figure out what fits your schedule and go with it
3. Choose your funny third joke goal. Now that you’ve got your chosen time frame to complete your goal in, what’s a reasonable goal to aim to complete within that time frame based on the metric you chose? If your metric is your word count, how much can you reasonably and consistently write within your chosen time frame? If your metric is time spent writing, how much time can you reasonably and consistently spend writing within that time? Maybe 1000 words per week works, or maybe 10 minutes per day? The goal here is to find something that works for you and your own schedule without burning you out
4. Trial and error. Experiment with your new target and adapt it accordingly. Most people can’t consistently write 1667 words per day like you do in NaNoWriMo, so we want to avoid that and aim somewhere more reasonable. If you feel like it’s too much to do in such a short time frame, either give yourself less to do or more time to do it in. If you find yourself begrudgingly writing so often that it constantly feels more like a chore than something fun, maybe consider adapting things. And if you think that you gave yourself too much wiggle room and you could do more than this consistently, give yourself more of a challenge. Everything needs to suit you and your pace and needs
5. Run your own race. Don’t feel like you’re not accomplishing enough in comparison to others or not working fast enough to satisfy some arbitrary feeling of doubt. Everybody works at their own pace and slower work doesn’t mean worse work. You could be on one word per day and you’ll still see consistent results, which is still one word per day more than you could originally count on. All progress is progress, regardless of its speed
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peachdavisbooknerd · 3 days
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Me giving my character trauma, no family, anger issues, nightmares, mixed up sense of self worth, fear that they will never be loved, etc:
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marlynnofmany · 3 days
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Anybody else remember that Garfield strip where Jon is making a model ship? The one where he makes a mess, slams it on the table in frustration, then it's all shiny and perfect while he's covered in glue?
That has certainly been A Mood with a certain writing project lately.
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begin-subject · 11 hours
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guineveresghost · 3 days
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I keep thinking the story I'm writing is gonna go one way and then the characters in the book go 'Actually, no.'
I created you, why are you fighting me
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alonewolf52 · 2 days
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Everyone was taking shots of her and capturing her. But no camera could capture and reveal her beauty in the same way that my eyes did.
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Fear: Using Stoicism to Shape Characters
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WC: 2,730
Introduction
Like many people, I suffer from severe panic and anxiety attacks. My heart races at what feels like a thousand beats per minute, I get a cold sweat, and my thoughts do not have a filter. The latter of which, I find the most dangerous and disturbing, especially when said attacks get triggered by something so small or nothing at all.
A lot of the time, they boil down to not feeling safe. I feel like I’m vulnerable, that the worst things that happened to me will happen again tenfold, or I’ve become the worst person in existence. Fear, as a lot of us know, can have us assume the worst.
I’m still working on managing my fear, if it can be managed at all, but a lot of what I’ve been practicing is essentially Stoicism. Epictetus, a Greek Stoic philosopher, often highlighted that it is not events themselves that disturb people, but rather their judgments about those events. One famous quote attributed to Epictetus that reflects this idea is: “People are not disturbed by things, but by the view they take of them.”
This sentiment suggests that fear and other negative emotions stem not from objective reality but from our interpretations and perceptions of reality.
I thought, “What a wonderful way to get to know our characters!” Not only do we have to have a grasp on the world around them, we have to understand the extent of how they perceive said reality and how it leads to their own fears as well as their ambitions, passions, hate, love, etc.
Amor Fati
One of my favorite phrases is “amor fati.” It’s what helped me most in navigating my own fears and, as a result, writing some ways in which my characters handle theirs.
The idea of “amor fati” is closely associated with philosophers like Epictetus and Marcus Aurelius, even though they didn't use those exact words. However, it was Nietzsche who made it a key part of his philosophy. He believed that true greatness comes from embracing fate and wanting nothing to change, not in the past, present, or future. In simple terms, it means loving and accepting everything that happens, rather than just enduring it.
When considering the relationship between “amor fati” and fear, several key points emerge:
Acceptance of the Uncontrollable: Fear often arises from the unknown or from circumstances beyond our control. “Amor fati” encourages individuals to relinquish their resistance to such uncertainties and to accept that life is inherently unpredictable. By embracing fate, individuals can find solace in the realization that some things are simply beyond their power to change or influence.
Facing Adversity with Resilience: Rather than viewing challenges as threats to be avoided or overcome, individuals can approach them with a sense of equanimity and resilience. Instead of succumbing to fear or anxiety in the face of challenges, one can choose to see them as opportunities for growth and self-discovery. By embracing adversity as an integral part of life’s journey, individuals can cultivate the strength and fortitude necessary to navigate difficult times with grace and composure.
Gratitude for All Experiences: Fear often stems from a sense of insecurity or dissatisfaction with one’s circumstances. “Amor fati” cultivates gratitude for all experiences, both positive and negative, recognizing that each contributes to the richness and depth of life. By embracing fate with gratitude and appreciation, individuals can mitigate the fear of the unknown and find peace and contentment in the present moment.
This idea is what helps form a “baseline” for my way of thinking and perceiving fear, which is what many people, fictional characters included, tend to mix up.
You don’t need to adopt the same mantra, of course, but I believe that having this Ground 0 in your own personal philosophy will add further depth and characterization in writing. It provides a deeper perspective on why your characters think the same or why they may deviate.
Distinction Between Events and Perceptions
Let’s go back to what Epictetus said: “People are not disturbed by things, but by the view they take of them.” Stoicism teaches that events themselves are neutral; it is our interpretation of those events that shapes our emotional responses. This concept is often referred to as “cognitive appraisal” or “judgment” in Stoic philosophy.
In practical terms, this means that two individuals may encounter the same external circumstance, yet react to it in vastly different ways based on their subjective interpretations. For example, consider a person who loses their job unexpectedly. While one individual may perceive this event as a devastating blow to their self-worth and security, another may view it as an opportunity for growth and new possibilities. The event itself—the loss of a job—remains the same, but the emotional response varies depending on the individual's perception of the situation.
Epictetus’s insight invites us to reflect on the role of our perceptions in shaping our emotional experiences. It suggests that our judgments, beliefs, and attitudes about the events we encounter play a crucial role in determining how we feel and behave in response to those events. By recognizing this distinction between events and perceptions, individuals can gain greater agency over their emotional lives.
Moreover, understanding this distinction empowers individuals to practice what Epictetus called the “dichotomy of control”—the Stoic principle of focusing only on what is within our power to control, namely our thoughts, attitudes, and responses, rather than becoming consumed by external circumstances beyond our control. By directing our attention inward and cultivating a mindset of resilience and rationality, we can navigate life's challenges with greater equanimity and inner peace.
Applying this to character development, particularly in relation to crafting a character’s fears, can add depth and complexity to the character.
Understanding the Character’s Perception of Fearful Events:
Explore how the character interprets and perceives the events or situations that evoke fear. What underlying beliefs, past experiences, or personal values shape their perception of these events?
Consider whether the character’s fear is rooted in the objective reality of the situation or in their subjective interpretation of it. For example, is their fear based on genuine physical danger, or is it driven by irrational beliefs or past traumas?
Revealing Character Traits and Beliefs:
A character’s response to fear can provide insight into their personality, values, and beliefs. For instance, do they confront their fears head-on with courage and resilience, or do they succumb to anxiety and avoidance?
Consider how the character’s fear reflects broader themes or conflicts in the story. For example, does their fear stem from a desire for control, a fear of vulnerability, or a struggle with existential questions?
External Manifestations of Fear:
Consider how the character’s perception of fear manifests in their actions, behaviors, and interactions with others. Do they exhibit outward signs of fear, such as trembling or avoidance, or do they mask their fears behind a facade of bravado?
Pay attention to how the character’s response to fear influences their relationships with other characters. For example, do they push others away in an attempt to protect themselves, or do they seek support and connection during times of fear and uncertainty?
Symbolism and Subtext:
Use the character’s fears as a vehicle for exploring deeper themes and subtext within the story. What do their fears symbolize in terms of larger narrative themes or character arcs?
Consider how the character’s perception of fear parallels or contrasts with other characters in the story, providing opportunities for reflection and exploration of different perspectives.
“Personal Truths” Are Not Necessarily Lawful
No matter how much a character is afraid of something, there is a line to be drawn on how valid that fear is when justifying a character’s actions and self-proclaimed motives. A person can say that they are afraid of someone else and that they are acting to protect others, but does that truly evade them from the law? In other words, a Villain can be completely convinced that what they are doing is noble and right, or that it stems from their own trauma, but, at the end of the day, they’re a murderous liar.
For example, in George Orwell's allegorical novel Animal Farm, Napoleon is a Berkshire boar who emerges as one of the leaders of the animal revolution against the human farmer, Mr. Jones. Initially, Napoleon is portrayed as a strategic thinker and persuasive speaker, working alongside Snowball, another pig, to rally the other animals and establish the principles of Animalism, which advocate for equality and freedom from human oppression.
As the story progresses, Napoleon’s character undergoes a transformation fueled by his ambitions for power and control.
Napoleon’s fear of losing control over the farm drives many of his actions. He becomes increasingly paranoid about potential threats to his authority, particularly from Snowball, whom he views as a rival. This fear prompts him to manipulate and eliminate anyone who opposes him, including orchestrating the expulsion of Snowball from the farm and later falsely accusing him of being a traitor.
He also utilizes propaganda and manipulation to maintain his grip on power. He gradually assumes control over the farm’s decision-making processes, consolidating power in his own hands and using fear tactics to suppress dissent among the other animals. For example, he employs the threat of the mysterious “Jones” returning to instill fear and obedience among the animals.
Napoleon’s lust for power leads him to betray the principles of Animalism that he once espoused. He progressively becomes more authoritarian and exploitative, engaging in corrupt practices such as trading with humans and altering the Seven Commandments to justify his actions. Despite initially advocating for equality, Napoleon begins to live a life of luxury while the other animals toil and suffer.
As his regime becomes more entrenched, he resorts to violence and oppression to maintain control. He establishes a reign of terror, using his loyal enforcers, the ferocious dogs he raised since they were puppies, to suppress dissent and punish any animal perceived as disloyal. Under his rule, the farm descends into a state of fear and tyranny, with Napoleon ruling with an iron fist.
Napoleon’s character serves as a symbol of totalitarianism and the corrupting influence of power. His transformation from a revolutionary leader to a despotic dictator mirrors the rise of real-life totalitarian rulers who exploit fear and propaganda to consolidate power and suppress dissent. There is not one moment of self-reflection, of him questioning that, perhaps, his fears are unfounded or his “personal truths” are not true at all.
Playing With Reality
Now, how can you utilize fear in order to create a character with as much depth and reflection (or lack thereof) like Napoleon?
Exaggerating a character’s fear involves manipulating elements of reality within the narrative to heighten the character’s sense of paranoia, insecurity, and authoritarianism.
Distorted Perceptions: Employ literary devices such as unreliable narration or distorted perspectives to amplify the character’s fears. By presenting events through the lens of the character’s paranoia, the narrative can create a sense of heightened tension and uncertainty. For example, descriptions of seemingly innocuous occurrences may be exaggerated or imbued with sinister undertones to reflect the character’s heightened state of fear.
Symbolism and Imagery: Symbolic imagery can be used to represent the character’s fears in a heightened and exaggerated manner. For instance, recurring symbols of oppression, surveillance, or impending doom can serve as visual metaphors for the character’s anxieties and insecurities. These symbols can be woven throughout the narrative to reinforce the character’s sense of paranoia and isolation.
Surreal Elements: Introducing surreal or fantastical elements into the narrative can create a sense of disorientation and unease, effectively amplifying the character's fear. By blurring the boundaries between reality and fantasy, the author can evoke a sense of psychological instability and existential dread. Surreal imagery, dream sequences, or hallucinatory experiences can all contribute to the character’s sense of dislocation and terror.
Manipulation of Time and Space: Playing with the conventions of time and space can further exaggerate the character’s fear and disorientation. Flashbacks, flash-forwards, or nonlinear storytelling techniques can create a sense of temporal dislocation, mirroring the character’s fractured mental state. Similarly, disorienting shifts in perspective or setting can contribute to the character's sense of being trapped or pursued by unseen forces.
Atmospheric Detailing: Careful attention to atmospheric detail can help to create a sense of oppressive dread and foreboding. Descriptions of the environment—such as gloomy weather, claustrophobic settings, or unsettling ambient sounds—can evoke a palpable sense of unease, intensifying the character's fear and paranoia.
Character Interaction and Dialogue: Dialogue and interaction with other characters can be used to reinforce the character’s fears and insecurities. Conversations may be laced with veiled threats, double entendres, or gaslighting tactics, leaving the character uncertain of whom to trust. Manipulative or menacing exchanges can heighten the character's sense of isolation and vulnerability.
Did anyone else get a little uneasy imagining all of that? I’d go rather mad if I had all of that happening to me, too. Now, what about the good guys? They are afraid of things, too, right?
Of course they are, and you can utilize the above methods for your heroes, as well! There might just be a little bit of extra work involved in ensuring that they don’t spiral into the villain role.
Establish Strong Moral Compass: From the outset, establish the hero’s core values and moral compass. Make it clear what principles guide their actions and decisions. This foundation will serve as a guiding light, helping to anchor the character and prevent them from straying into villainous territory.
Empathy and Compassion: Ensure that the hero retains their empathy and compassion towards others, even in the face of fear and adversity. By prioritizing the well-being of others and demonstrating empathy towards those in need, the hero reaffirms their commitment to noble ideals and reinforces their heroic identity.
Positive Support Systems: Surround the hero with positive support systems, including allies, mentors, and friends who can offer guidance, encouragement, and moral support. These relationships serve as anchors, providing the hero with strength and stability during moments of doubt and fear.
Consequences of Actions: Highlight the consequences of the hero’s actions and choices, emphasizing the impact they have on others and the world around them. By holding the hero accountable for their decisions and their effects, the narrative reinforces the importance of ethical behavior and reinforces their heroic identity.
Redemption and Forgiveness: If the hero does succumb to fear or makes mistakes along the way, provide opportunities for redemption and forgiveness. Allow the hero to acknowledge their faults, learn from their experiences, and strive to make amends. This narrative arc reinforces the hero’s humanity and resilience, emphasizing the possibility of growth and redemption.
Thematic Resonance: Ensure that the hero’s journey is thematically consistent and resonant, emphasizing themes of hope, courage, and resilience. By grounding the narrative in these overarching themes, the hero’s actions remain aligned with their fundamental nature, reinforcing their heroic identity and preventing them from veering into villainous territory.
Conclusion
Fear is a powerful and universal human experience that can shape both individuals and characters in profound ways. Drawing upon Stoic philosophy, particularly the concepts of “amor fati” and the distinction between events and perceptions, can provide valuable insights into understanding and managing fear. By exploring how characters perceive and respond to fear, writers can create nuanced and compelling portrayals that add depth and complexity to their stories.
“Amor fati,” or love of fate, encourages individuals to embrace and accept all aspects of their lives, including the uncertainties and challenges that provoke fear. By adopting an attitude of gratitude and acceptance towards fate, characters can navigate fear with resilience and courage, transforming adversity into opportunities for growth and self-discovery.
Furthermore, understanding the distinction between events and perceptions allows writers to delve into the subjective nature of fear, exploring how characters’ interpretations and judgments shape their emotional experiences. By depicting characters’ fears as rooted in their perceptions of reality, writers can add layers of complexity to their motivations and behaviors, enhancing the depth and authenticity of their characterization.
While fear can drive characters to make choices that lead them down dark paths, it is ultimately their moral compass, empathy, and support systems that determine whether they remain heroes or succumb to villainy. By emphasizing themes of redemption, forgiveness, and growth, writers can ensure that even in the face of fear, their characters' journeys ultimately lead to strength, resilience, and self-discovery.
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vae1bixy · 1 day
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Me: "I'm not addicted"
Also me: Ao3 goes down while on it and loses her mind.
Me: "Still not addicted"
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shinsouisprecious · 8 months
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jaded-stag · 8 months
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I keep seeing people making fun of using growled, hissed, roared, snarled etc in writing and it’s like.
have you never heard someone speak with the gravel in their voice when they get angry? Because that’s what a growl is.
Have you never heard someone sharply whisper something through the thin space of their teeth? Or when your mother sharply told you to stop it in public as a kid when you were acting up/being too loud? Because that’s what a hiss is.
Have you never heard a man get so blackout angry that their voice BOOMS through the house? Because that’s what a roar is.
Have you never seen someone bare their teeth while talking to accentuate their frustration or anger while speaking with a vicious tone? Because that’s what snarling is.
It’s not meant to be a literal animal noise. For the love of god, not every description is literal. I get some people are genuinely confused, but also some of these people are genuinely unimaginative as fuck.
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Usually it’s video games instead of music but this is pretty much accurate hehe
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so-many-ocs · 5 months
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"why does writing take so long" because 60% of it is coming up with a sentence, realizing that sentence doesn't work the way you want it to, and staring at a wall
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crystalninjaphoenix · 4 months
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My brain at all times:
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tinkerbitch69 · 1 month
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Keyboard go BRRRRRRRRRR
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jellymellydraws · 2 months
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AO3 Comments are SO SO SOOOOOOO important because you can only leave Kudos ONCE. You add to the hit count ONCE (every 24 hours).
So whenever someone updates their fic, the ONLY way an author knows who their regular readers are is if they comment on each chapter. And we WANT to know who's still reading.
Believe it or not, some of us think about the name that pops up constantly in the comments and go "omg I can't wait to see what they think of THIS SPECIFIC SCENE cuz I KNOW they'll say something about it!!!"
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