Character Development - Blog Posts

Ok, yall asked for this…

Ok so basically in this au, the first book starts off with Luna and the secret alliance thingie (which actually has a purpose instead of just being filler and the idea of silkwings being against the alliance and is instead actually against them and they do shit abt it) ((but anyway-)) in this au she’s like, one of the big leaders and the book has her basically just doing rebel shit against the hivewings, raising tensions between the silkwings and hivewings and simultaneously bringing justice in some way, and eventually proving a bother enough for queen wasp to take over the hivewings and start, yah know, stopping, jailing and killing the found rebels and actually try and catch them and stuff, and shutting down meeting places and shit, bringing more tension.

So Luna, (who is instead blues slightly older half sis) basically doesn’t even have a chance to metamorphosis in this book, and is instead captured by the the hivewings in one of the raids. They jail her and blue, who was found as an accomplice, and are put in the cells with the fire silks (which they hadn’t known abt yet) bc high security ofc and bc blues father is a fire silk and he is suspected to be one too(Luna doesn’t have flame silk). After they learn abt fire silks and what the hivewings had been doing to them, they plan an escape.

So the escape goes to shit, theyre re-captured and Luna gets killed/executed for planning the escape and thats how book 1 ends

Book two starts off with cricket and she isn’t actually the “I shouldn’t be good but I am for plot reasons and love interest” and is actually pretty nieve and a little self centered, she hasn’t met blue or Luna at all so she’s still unbiased/more biased towards hivewings. Or that is until she meets sundew, one of the very few leaf wings still around, who had also happened to be assigned to follow cricket for gathering information for the leafwing rebellion (separate to the silkwings rebellion). Cricket finds out she’s being stalked and confronts sundew (who isn’t just a super “Im good at all things survival and thats all I need”) who messed up and gave herself away, and they pretty much hit it off.

Cricket gets a lot more educated abt the real silkwing/hivewing/leafwing situation through sundew, and cricket spys on the tribes to gather information for the leafwings.

They eventually are able to get in contact with the silkwing alliance, hoping for both alliances to join together, and find out about how one of their leaders (Luna) had been recently captured by the hivewings and before they can even decide to do anything they need their leader back. So cricket and sundew take off for the prisons in hope of finding Luna.

But when they get there they find Luna dead and a small group of tortured and enslaved silkwings in a highly secure prison with no way out and are horrified to find that hivewings are even worse that what they seemed to be. (End book 2)

Book 3 starts off with blue, and we get a recap on what happened after lunas death.

So basically they execute Luna, re-capture blue and the escapees and lock them up tighter than ever before. Blue ends up worse bc the hivewings think he is the main accomplice and they put him in a seperate cell, and like almost torture him?? Not really but, he has a far worse punishment than the rest.

So basically they torture him, and theyre like “this kids useless if he’s not a fire silk, so let’s just get him to metamorphosis early, see if he’s a flame silk, if he is we put him with the rest and if he ain’t then we can kill em off!” So they like, inject him with like special hormones that make him start to metamorphosis early and they find out he is a flame silk.

So he metamorphosises and we get a small time skip to close to the time when cricket and sundew get there and and in the middle of his little force induced goop coma, he gets interrupted by the guards splitting open his cocoon, mid metamorphosis may I remind you, so hes like only partially developed, and is forced into the rest of the silkwings cages. So basically hes like only slightly metamorphosised and is like a little deformed-ish, his wings are crumpled and unusable and the only thing he has is his flamesilk left, so he like can’t even fly now, which is like a silkwings only goal in life, so like hes left phisically mentally and spiritually broken, his sister dead, enslaved, his only defense (his silk) ripped away for resources, chained down, unable to move two feet and his wings, his last chance at true freedom, ripped away from him, not even able to metamorphosis on his own bodily accord, and now unable to ever fly again, with no second chance… well, you can see why he started to hate hivewings.

Not hate, despise. He fucking hated hivewings.

In the short time of him finally able to see through all their Bull shit he realizes that hivewings won’t change and have never been good to them, and he just fucking hates all of them.

So when cricket and sundew arrive, and he sees another hivewing, the only reason the doesn’t fucking maul her when they free him is bc sundews there. And well, it’s not like he can escape without them with the deformed wings and all. So he goes with them, dispite the hivewings presence and ends up traveling with them and the other flame silks back to the leafwing village.

They get to the village and shit, they do their thing, and blue finds himself more and more comfortable in the hivewings presence, dispite himself, and is more and more enraptured by her surprisingly calm and loving demeanor. Dont get him wrong he still fucking hates hivewings, but cricket has matured so much, she’s careing and loving and sympathetic, he can’t help but feel more and more whole around her. Not because she completes him, but because she helps him see that he is already whole dispite his wounds and scars,(his wings).

He doesn’t understand why he can’t hate her, and throughout the rest of the book they kinda pull toward each other more + more, and eventually at the end of the book they have their hugging-crying-i-love-you scene and they do their couple thing for the last two books.

Blue still hates what the hivewings did to him and his sister and tribe, but is now able to understand that they can change, and aren’t all just evil.

I don’t really have anything else for the last 2 books, or at least not yet, so yall have free reign for ideas and shit, and feel free to let me know if u guys want more!!

So yeee I love them actually so much

I’ll prob do more with this au and shit, so possibly stay tuned for that, other than that, If u you have any ideas for this au, or like it alr, feel free to do what u want with it! So art, reblog ideas, comment ideas or whatevs, fuckin love that shit, would be so fun.

Hope u guys like this, Ik it’s a long one this time, but I hope it like it!! Love yall frum the bottom of my heart, see yall next timeeee <<<3333333

Enemies to lovers blicket au

Reactions to grief

Denial and Disbelief: Initially, a character may struggle to accept the reality of their loss. They might refuse to believe that their loved one is gone, clinging to hope or desperately searching for any signs of their presence.

Emotional Turmoil: Grief often brings intense emotional upheaval. Characters may experience profound sadness, despair, anger, guilt, or a mix of conflicting emotions. Their moods may fluctuate drastically, leading to outbursts of tears, frustration, or numbness.

Withdrawal and Isolation: Some characters might withdraw from social interactions, seeking solitude to process their grief. They may isolate themselves from others, finding solace in their own thoughts and memories.

- Physical Symptoms: Grief can manifest in physical symptoms such as loss of appetite, insomnia, fatigue, headaches, or other psychosomatic manifestations. These physical reactions can reflect the toll that grief takes on the character's overall well-being.

Immersion in Memories: Characters may immerse themselves in memories of the person they've lost. They might seek comfort in looking at old photographs, listening to recordings, or visiting significant places that remind them of their loved one.

Guilt and Regret: Characters may grapple with guilt and regret over things left unsaid or unresolved issues with the deceased. They may blame themselves for not being able to prevent the loss or feel remorse for any negative actions or words in the past.

Seeking Closure: Characters might actively seek closure by investigating the circumstances surrounding the loss or searching for answers. This could involve conducting their own inquiries, talking to people connected to the situation, or even pursuing spiritual or metaphysical avenues.

Attempting to Fill the Void: Some characters may try to fill the void left by their loss by immersing themselves in work, hobbies, or other distractions. This can be a way to cope with the pain or to create a sense of purpose in the absence of their loved one.

Rediscovering Meaning: Over time, characters may go through a process of reevaluating their own life's purpose and finding new meaning or direction. This can involve pursuing new interests, engaging in charitable acts, or dedicating themselves to causes that honor the memory of the person they've lost.

Healing and Acceptance: Eventually, characters may find a sense of healing and acceptance. While the pain of the loss never fully disappears, they learn to live with their grief and carry the memory of their loved one with them. This can lead to a renewed sense of purpose or a deepened appreciation for life.

6 Tips for Writing an Underdog Character

People love reading about an underdog. There’s something within all of us that relates to persevering against the odds, even when they’re crushing. Anything becomes possible—but how do you write that kind of character successfully?

Here are a few tips to get you started.

1. Create Their Disempowerment

Underdogs need to lose something or have one thing less than those they fight against. It might be something they hope to gain back or something they hope to gain at all.

Let’s use The Hunger Games as an example for this post. Katniss comes from District 12, but she’s already at a disadvantage when she volunteers as tribute. Restrictions on her district kept her from food security for most of her life. Without a lifetime of basic nutrition, her body is already at a disadvantage in the physically-demanding games.

District 12 is also one of the less appreciated districts in her country. She doesn’t think anyone will care about sponsoring her in the games, which makes survival much less likely.

But we still root for her! She volunteered to save her sister, which is heroic. There’s so much potential for more heroic growth that we keep turning the page, even though she’s not the most likely person to survive.

2. Make Your Protagonist Likable

Getting excited to see a character grow might be something you feel as a creative writer, but the average reader also needs an underdog protagonist to be likable in some way. Katniss will do anything for her family, including hunting where and when she isn’t supposed to. Many people would feel the need to do the same for their families.

She also feels deep compassion for people, which she covers up with her gruff demeanor. We’ve all felt like we got hurt because our hearts opened too wide for someone. We can relate to her building defenses into her personality, which might make her likable to more readers.

Katniss also has the core value of loyalty. People always seek loyalty in new connections. It’s how we trust new friends. It’s also how readers trust characters.

This site has a few more tips on crafting likable characters. Part of that happens while you’re creating the characters during your planning process, but you can also do it while you’re writing. As your underdog becomes more of a real person in your mind, you’ll know which primary character traits make them most likable to readers.

3. Plan Their Rock-Bottom Moment

Underdogs always reach a point where they feel they’re at their lowest. Even when they feel crushed or defeated, they choose to find strength and continue with their journey. It makes readers support them even more, but it’s also the defining moment of an underdog’s arc.

Your underdog’s rock-bottom moment will be the scene where they resist the temptation to give up, change their dream, or change who they are. It will be the choice that keeps them moving toward their end goal, instead of taking the easy road.

You could argue Katniss has a few rock-bottom moments. It might be when she hears her sister’s name called at the Reaping. It could be when Rue dies and she chooses to spearhead a revolution.

There could be multiple moments for your underdog too. It depends on the shape of your narrative arc and how many acts your story has.

4. Show Them Trying and Failing

It’s time for an important caveat—underdogs also fail. If they were perfect, they’d be god-like figures that readers couldn’t personally identify with.

Maybe your underdog achieves their ultimate goal, but they experience failure along the way. Their failure helps them grow or makes them pursue their goal with more conviction and determination.

Katniss begins her journey with a mindset of self-preservation. That makes her slightly selfish and automatically distrustful of people. She makes some choices readers would probably disagree with, but then she learns from them. By the end of the series, she’s as selfless as a human can get. 

Characters don’t grow if they don’t make mistakes. Even underdogs should fail. However, that failure shouldn’t make them quit. It should either motivate them to keep going or give them a new perspective on how they can achieve their ultimate goal.

5. Train Them Along the Way

Underdogs start out as unlikely heroes because they don’t start with everything they need to succeed. That might be a societal problem, like coming from an economically disadvantaged family or a biased society. Maybe they don’t have the skills they need, like the ability to fight in hand-to-hand combat, outsmart their antagonist, or solve mysteries.

Usually, characters learn these things during their arcs. Your underdog will likely pick up what they need to succeed through the relationships they make and experiences they have. 

Katniss already knows how to hunt when she volunteers for the games, but Haymitch mentors her to win over much-needed sponsors to survive. Peeta teaches her how to soften her heart and think outside the box. She wouldn’t have made it through the series without the people in her life. Other underdog characters can’t either.

6. Reward Them at the End

Underdogs work hard and transform themselves to achieve their goals. At the end of the story, they often gain a tangible reward, power, knowledge, a new title or a new community. Your underdog should get what they set out to achieve, plus a few extra things they didn’t expect.

Katniss wins the Hunger Games. She gets her primary objective: to continue living. She also protects her sister. In addition to surviving, she has her (albeit rocky) relationship with Peeta, a new mentor in Haymitch, a comfortable living in the Victor’s Village, and an audience of fans who are another layer of protection against President Snow’s desire to kill her.

The extra rewards propel her through the remainder of her storyline. They also set her up for more success with the new lifepath she sees for herself: aiding the revolution to end the games for good.

A new goal is sometimes a reward in itself. It depends on if you want to continue writing about your character or if you want a one-off story.

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I hope this helps gives you a new perspective on future protagonists! Adding one of these factors into your character’s growth could remove your writer’s block too. They set up a path forward for your protagonist and help shape their journey.

You can also use these resources to learn more about the underdog archetype:

Character Archetypes: The Disruptor and the Underdog

Writing the Underdog: Effort Matters Most

7 Tips to Writing Underdog Heroes

Writing Theory - Conflict 101

THEORY

goal + obstacle = conflict -> plot

You may have heard that a story needs conflict, but what does that mean?

No, it's not explosions. Or murder. Or smut.

Your character wants something, that's the goal. Something is in the character's way, that's the obstacle. The way your character deals with the obstacle to reach their goal is what makes an engaging conflict.

You see this on a plot level as well as on an individual scene level: Character wants X, but obstacle Y, so they have to go do Z

Conflict is like the engine of the plot, so if it's missing in a scene, then it's likely to feel redundant, boring, as if the story came to a halt (because it did; the engine stopped).

The goal and obstacle pair generally appear in two orders, with a "reaction" element:

Character sets a goal, but an obstacle happens, so the character reacts by changing course

Something happens (obstacle), character reacts to it and decides on the next action (goal)

You can alternate between the two, then you get something like this: character tries to accomplish something, something gets in their way, forcing a new approach, character reacts to the changes and decides how to move on from here, sets a new goal, tries to reach goal, faces obstacle...

This can also keep your character active rather than passive. Even in a reactionary scene, your character is responding and making a decision, rather than being a puppet to external forces. It can be smart to not have too many reactionary scenes back-to-back, as this can also feel passive. The goal-obstacle-reaction type scenes don't really have this problem and you can intersperse them with reactionary scenes now and then for variation.

You can have one major goal and many smaller goals. The goal(s) can also shift over the course of the story.

If you struggle to think of an obstacle, ask yourself: what is preventing my character from achieving their goal right now? Why can't they walk up to the villain and defeat them? Why can't they pull their love interest into a kiss? Why is your story longer than two paragraphs?

Ideally, goals and obstacles (and conflicts) are interwoven with character development, theme, etc., making for a solid plot where all these elements form one smooth fabric together. As a beginner, it's alright to first pick one thing to exercise rather than trying to balance all these things at once. Learn to create these bare bones of a plot and then improve upon that foundation.

EXAMPLE: Revenge of the Sith

Anakin would like Padmé to not die. = goal; He doesn't know how to prevent it. = obstacle

Stop the Sith = goal; Not knowing who the Sith Lord is = obstacle

These form conflicts and they push the plot forward. There are several smaller goals, like defeating Dooku/saving the Chancellor, preventing Palpatine from dying, manslaughter, killing Obi-Wan...

A scene with the goal - obstacle - (reaction) order: Anakin wants to use Palpatine's knowledge (goal), but Mace Windu is about to make that permanently impossible (obstacle). Thus, Anakin needs to pivot from yelling to slashing in order to reach his goal.

A scene with the obstacle - (reaction) - goal order: Anakin, the superstar Jedi, has just helped a Sith Lord kill a Jedi master (obstacle/problem; goes against the bigger "stop the Sith" goal). This has an effect on him (reaction; "What have I done??") and leads to a decision: join Palpatine. This then sets him on his next goal(s): destroy the Jedi to prove he's worthy.

Here you see how those two "types" of scenes flow into each other.

EXERCISE

Write two short scenes - one for each type (reactionary and goal-obstacle-reaction). They don't have to be unrelated.

Now, write another two scenes, but this time make them successive.

See if you can do this in the form of a short story: write 5-10 successive scenes.

Celebrate that you've just written a story! :D

These techniques, like so often with writing, need practice to sink in. So write some fun short stories or wacky scenes, and you'll notice you get better the more you do it. Have fun!

7 Types of Internal Conflict for Your Protagonist

External conflict can always make readers more interested in a story. The fist fights, car chases, and fictional battles might make them hold their breath, but so can internal conflict. Check out the primary types of internal conflict your protagonist can experience to add more depth to your stories.

1. Morality Conflicts

Everyone eventually reaches a point where they question their morals. We have to believe in our morals as individuals to prioritize them. It’s not enough to have your parents or other leaders in your life tell you what’s right and wrong. You won’t hold the same morals until you choose them on your own.

Characters also reach these crucial points. It’s part of their character development like it’s part of our personal development. 

Your protagonist may only grapple with one question of morality in your story or they could encounter many. The morals will most likely align with your theme so they make sense within your plot.

Example: Your protagonist is a scientific researcher and leading a trial that could result in a cure for a new illness. They know they shouldn’t take bribes and wouldn’t compromise their career, but someone who nearly qualifies for their trial offers a life-changing amount of money to get included even though they’ve already been ruled out. The protagonist has to choose—do they stick with what they trust is morally correct or do they take the money and use it to help pay for a family member’s legal battle in criminal court? Do they view it as potentially saving two lives at once? Or do they reject the bribe and face whatever consequences could have possibly been avoided?

2. Self-Identity Conflicts

Your identity is something that morphs with time. People rarely settle on one version of themselves forever. Life makes us reconsider things from different perspectives as we go through periods of challenges and peace. Characters also grapple with their identities when faced with similar situations. It makes them take a stand, hold their ground, or chase new goals, which is much more interesting for readers.

Example: Your protagonist considers themselves an optimist because they’re a firefighter who has saved many lives. When they realize their chief has been starting all the fires their station ever fought, your protagonist begins to view people more pessimistically. It affects how quickly they’re willing to risk their life for others, which results in challenges and a character arc they wouldn’t have experienced without this fundamental change in their identity.

3. Religious Belief Conflicts

It’s much easier to stay firm in your religious beliefs if nothing challenges them. If a challenge or major question arises and your beliefs hold firm, that makes your identity stronger. It doesn’t always happen that way though.

When your protagonist faces this type of internal conflict and realizes their opinions or feelings contradict their religious beliefs, it can take them onto a path that shapes a new identity. These choices are hard but real. Readers who are going through the same experience or experienced the same questions before will get absorbed by your story because it’s relatable.

Example: Your protagonist attends a religious gathering every week. The group fundamentally believes their religion exists to help those in need. Prejudices begin to invade that group, so people start choosing their own well-being instead of helping others. Your protagonist watches their religious family pick sides and has to question if they really believe in helping others or if they choose the familiarity and safety that comes with the approval of their longtime religious family.

4. Societal Role Conflicts

Societies have predetermined roles or expectations for people based on factors like their gender, sex, and economic status (just to name a few). Sometimes these roles feel natural to people and other times they don’t. We all have to decide what feels best for us on an ongoing basis. Your protagonist may need to choose their societal role, reject it, or shape a new one to portray your theme in a relatable way.

Example: Your protagonist goes to a university for the first time. They’ve been encouraged by everyone they know to start forming a large friend group. That’s what people are supposed to do in college, their loved ones said. But your protagonist is an introvert and values only a few friendships at a time. They have to choose if they’ll push themselves to become a social butterfly or if they’re happier as the person they’ve always been.

5. Political Opinion Conflicts

Political opinions can create all types of internal conflict. You may believe in a certain candidate or party during one part of your life and support something completely different in another part. Those values change as we experience new things and meet new people. Characters can face the same internal struggles as they recognize changing values or reject opportunities for change.

Example: Your protagonist may have never formed strong political opinions. They meet a new person who becomes their best friend, but their government starts passing laws that make their best friend’s life much harder because they’re part of a marginalized community your protagonist hasn’t empathized with before. Your protagonist now cares for that community, so they have to decide if they’ll make different political choices that could ostracize them from the community they’ve been part of all their life. 

6. Love Conflicts

There are numerous types of love—self-love, your love for your family, and your love of a potential romantic interest or current partner. These come into conflicts in stories all the time because people experience them every day.

The conflicts result in choices—does your protagonist choose to continue loving a specific person or do they fall out of love? Do they fight for that love or realize it never actually existed? These are just a few ways this inner conflict can play out.

Example: Your protagonist has three siblings. They’d give their life for their siblings because they’ve lived in an emotional and physical home environment that’s been unsafe all of their lives. However, your protagonist is also the oldest child who has to leave home when they’re 18. They have to decide how to best love their siblings—do they leave them at home with a parent who is a threat to their safety so your protagonist can achieve an education or job that pays enough to create a new home for them? Do they get the legal system involved? Do they get their siblings and run away together since your protagonist is now old enough to lease an apartment, pay bills, etc?

7. Personal Journey Conflict

Existential crises make characters come to life by breaking their identity apart. These moments are unfortunately a real part of life, so readers want them in their books to help them cope, understand the changes, and generally feel not alone in their hardships.

This internal conflict happens when we question why we’re in this world or what we’re supposed to do with our lives. Sometimes there’s a clear answer after we start searching for it, but other times there isn’t. How your protagonist’s internal journey to a new purpose unfolds depends on your theme and plot.

Example: Your protagonist spent their life dreaming of becoming a politician. They wanted to help people and change the world, but they lost their first three attempts at running for local office. The third loss devastated them. If voters don’t want them as a leader, what’s their purpose? Who are they if they aren’t a leader who changes the world through effective policies? The answer may come through the plot events that follow. If they don’t get an answer, sometimes it means their purpose already exists in their life and they’re overlooking it.

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Reading through the basic types of internal conflict will help you shape your future protagonists. If you align your desired theme with an inner conflict, the external events in your plot will be much easier to choose. Your readers will also connect with your story better because they’ll see real problems reflected in your protagonist’s character arc.

Evolution of the characters III. - Bruton

I’m having difficulty figuring out something interesting for the fourth character in my story

the other three all have basically their original backgrounds but I’ve pretty much completely thrown out this character‘s original backstory and now i’m having trouble with a new one

I was thinking of having her be the “normal” one since the other three have such wild backgrounds but I don’t think the other characters allow that to work in a way that is interesting or adds to the others

The Minimalist Character Sheet

So I am not the biggest fan of those ten page character sheets that include 100 questions like “What’s their favourite ice cream?”. Don’t get me wrong: If those help you with your writing, more power to you! Do what works for you. But I tend to discover all the little details of a character while writing. I only need the fundamental things. Maybe this works for you too!

The Basics

Name: including all nicknames, titles, etc.

Gender

Age

Role in the Narrative

Physical Description: focus on defining features

GMC (If you want to learn more about the concept, check out this post.)

Internal Goal

Internal Motivation

Internal Conflict

External Goal

External Motivation

External Conflict

Personality

Short characterization: internal personality and external behavior

Their biggest failure/issue/flaw: and how it impacts their life/personality/behavior

Backstory: and its consequences, such as triggers

Speech pattern: at least three speech marks that emphasize their personality (if you want to learn more about speech patterns, check out this post)

Behaviour pattern: at least three habits that emphasize their personality

Character Arc: where do they start, how do they change, where do they end?

That’s it! Hope this gave you some pointers on how to start out with character creation.

Have fun writing!

2020 ranboo would collapse on the spot. evaporate even. if he watched a 2022 ranboo stream i think.