hello character development

How your feelings about Prince Zuko change and develop throughout the series.

“This guy is a total dick.”

“Ok, you’re still being a dick, but like it’s because your dad is a much bigger dick.”

“Still being a dick, and yet you’re really growing on me.”

“Can you just chill the fuck out for like five minutes?”

“For a villain, you’re actually really honorable.”

“Seriously, your family is the worst. Your mom and uncle are cool though.”

“I feel your inherent good nature conflicting with your shitty upbringing.”

“YAAASS you’re being so cool now!”

“See? It’s nice being a good guy.”

“Wait…What!? Why are you being a dick again?!!”

“I’m not mad, I’m just really disappointed…”

“Now you feel guilty about being such a dick.”

“You know you’re supposed to be a good guy, quit fighting it already!”

“FINALLY!!!!! You’re being so awesome now and I love you.”

“You could have handled that better, but you’re trying and I support you.”

“You’re seriously the coolest character ever.”

“Also your hair looks great right now.”

“I think all of Team Avatar finally loves you now too.”

“My love for you is infinite and undying.”

“You’re gonna be the best fire lord ever.”

“I want to have your animated children.”

“I’ve finished the series and I’m not coping well.”

“I need a series all about fire lord Zuko.”

jacie-cruzer77  asked:

Hello! Do you by chance know how to write jerk/rude characters in a way that makes them likeable? In my case, my jerk character is a jerk for selfish reasons most of the time, though usually it is out of habit. Anything is appreciated!

Hi!

The surest way to make a jerk likeable is to have Hell rain down on him from the very start of the story. Have misfortune befall him time and time again, and always have it come as a surprise – it can be a consequence of one of his actions, but have that consequence be out of proportion to his action, or simply have him be hurt or completely taken off-guard by the consequence.

For example, I recently was writing a story in which my protagonist (Alex) is a womanizer. In his first scene, he’s just broken up with his most recent girlfriend (Melody), and he ducks into a classroom with one of his other exes (Cassie) for a makeout scene. However, a group of girls (friends of Melody’s) walks in on them and catches them on video. Although Alex obviously has horrible morals and treats others badly (he baldly states in his thoughts that he’s using Cassie and doesn’t actually care for her), his shock and bewilderment makes him more likeable (but only because the audience hasn’t had a chance to dislike him yet – if he had displayed more of his personality before these events, the audience would think he was getting what he deserved, so timing is important!).
Then Melody goes overboard to get revenge on him – she tells Cassie’s ex to beat Alex up (and in fact he almost breaks Alex’s ankle), and tells Cassie to steal and vandalize Alex’s car. This is completely out-of-proportion as a consequence to Alex’s action, which earns him sympathy from the audience, and sympathy = endearment (I don’t know about you, but I hardly ever feel sorry for someone I don’t like, so if your audience pities your character, the audience probably likes your character).

Also, you could simply pit your jerk against a bigger jerk. For example, Alex is obviously not a great person, but Melody is worse, because she is deceptive and goes too far while showing absolutely no remorse for her actions. She leads Cassie to steal and vandalize Alex’s car, then calls the police on her as revenge, even though she had told Cassie there were no hard feelings. She also leads Alex directly to where Cassie’s ex is waiting – outside, where there are no witnesses to put a stop to the fight – and wears a smile as she does it. Melody is purposely cruel and manipulative, whereas Alex is merely selfish, often without even realizing it as wrong – that makes Alex the lesser of two evils, and out of the two, the audience will most likely side with him.

Lastly, you could also have your jerk genuinely decide to change, only to have others continue to treat him based off his previous actions, which could cause him to backslide, and which would create a constant, worsening cycle that could possibly lead to self-destruction. For example, Alex figures out that he genuinely is sorry and wants Melody’s forgiveness, and she continues to deny him and bring up his past, which leads him to wild nights drinking/drugging/partying. One night he’s wasted and crashes his car, and that’s that – our jerk is done for.

(I would also advise you to write in your jerk’s POV, at least to start your story – each person sees themself as their own protagonist, so if you write in your jerk’s POV, your story will automatically lean in his favor, which will affect your audience’s opinion.)

I hope this helps! (Sorry I used my story so much – I was finding it hard to explain without using examples.) If anything is unclear or you need more help, please don’t hesitate to ask! - @authors-haven

autorita  asked:

Hello! Can you do "CHARACTER DEVELOPMENT ANALYSIS" but SHARRKAN! I'm interesing about your opinion about this character. I like read you analysis and thoughts about magi :)

I’m sorry, I mean: CHARACTER OPINION MEME!


I’ve already said “yes,” to an opinion meme, so you can look forward to that one soon. I know you meant to correct yourself with “character opinion meme” in your second submission, but heck, why not? I’ll do an ATF of Sharrkan, too.

I’m on a “Are They Flat” Character Development Analysis spree with other franchises atm, and Sharrkan is one of the few Magi/SnB characters I think I can write about without breaking my own heart (Ja’far) or having a rage stroke over Shinobu Ohtaka’s treatment of female characters.

So in addition to the opinion meme I’ll be queuing up this weekend, you can look forward an ATF meme about the Snake Dork Kingand maybe Ja’far sometime in the future.

I’m writing about Shusei Kagari, an even more heartbreaking character from Psycho Pass, so I think I finally stand a chance at sob-writing my way through Ja’far’s analyses as well. If I lump all the soul crushing characters together at once, I might finally stand a chance. 

Again, it might be a while as there are many many MANY other projects ahead of him in line, it would be nice to start writing about the Sindria family again. Have a Sharr Snake hug to tide you over while you wait. 

It really has been a while since I’ve written about Sharrkan…

Thank you very much for the compliment by the way. 😶

Ode to a brat: aka spill some Cosima feels.

Dudes, I have been waiting all season for this kind of movement in Cosima’s storyline.

Yes, she’s a TOTAL brat, but with good reason.  

Cosima is very aware that Delphine is looking for a cure.  She also knows that Delphine is willing to do really sketchy stuff to do it. In short, she doesn’t want to need her help.  With Kira whisked away to an undisclosed location, how far will Delphine go?  Use Sarah? Helena? Helena’s precious cargo?

Cosima also feels like she’s burdening people when she’s sick. She spent the better part of last season not telling anyone about her illness.  So she puts on the show.  I feel great.  Everything’s fine.  But, in reality, she’s Leslie Knope trying to convince Ann Perkins she can do cartwheels. This time, she’s getting called out on it. You know it’s bad when Alison calls you out on your shit.

I don’t know how trustworthy Shay is, but to Cosima, she’s a safe harbor. She’s the first person we’ve met on the show who just loves being around Cosima for her awesomeness, and not her cloneness. (Again, as far as we know. I’ll be hella broken if Shay is indeed shady.) She treats Cosima like a fellow human. She hasn’t lied to her, or tried to manipulate her, she’s just Shay. Someone to talk to. Or make out with. Someone who is warm and comforting when you reveal you have a scary disease eating you alive.

If I’m mad about anything, it’s that it took 7 episodes to see this kind of movement in Cosima’s storyline.

anonymous asked:

Hello there! So I have a plot lone laid out in detail. But parts of it feel forced like the way the characters acted maybe isn't natural or even over the top. But then other places feel really slow paced. Any advice on how to fix these places?

Faster Pacing

I’m going to address the pacing issue first. Pacing is all about making strategic choices when it comes to things like dialogue and description, as well as stylistic choices like sentence structure and word choice. 

A lot of dialogue immediately speeds up the pace of a scene, because it’s quicker to read. A reader will literally get through it faster. If dialogue isn’t an option for a particular scene, however, then take a look at your narrative. How much description are you using? How much of what you write is character thought? How much is backstory? 

When you’re trying to speed up the pace of a scene, it helps to take out all of these things in favor of straight up action. If a sentence isn’t describing an action taking place right at that moment, it could be cut to accelerate the pace. 

For those places that feel really slow to you, start by stripping it down to only action sentences and dialogue. Don’t delete anything permanently - just copy the entire scene into a new document to make your edits so you don’t lose anything. Once you’ve stripped it to just action and dialogue, read it and see what you think. If you think it’s too naked, start adding sections back little by little. If you feel there’s backstory that the scene needs to make sense, add that back in first. Play with putting a description back in that you’d removed, or a character remembering something. Keep layering things back in until it starts to feel bogged down or too slow. That’s when you’ll know to stop. 

With your writing style, you can use shorter, choppier sentences, or words with less syllables. Read it aloud and see what type of reading pace your writing commands. Longer, more flowing sentences with lots of commas will have readers pausing while they read. 

Characters that Act Naturally

Characters are like people, which is a very simplistic way of saying that if it feels like your characters are being forced to do something they wouldn’t naturally do (by you, the author), then they probably are. It likely means that you haven’t developed their personality in a way that explains their actions. 

An extreme example would be a character that makes a huge sacrifice towards the end of a story when everything they did up until then was about self preservation. For a sacrifice like that to feel realistic and natural, you’d have to show the character evolving throughout the story and learning to sometimes put other people first (sometimes, but not always). 

So if you have things that your characters absolutely have to do, you have to either A) Consider what type of personality would do the thing, and give them that personality or B) See if it’s something about them you can change.

When it comes to small things, like dialogue, mannerisms, and everyday behavior -  that just comes with some observation and a lot of practice. Writing natural dialogue comes from listening to real conversations, reading/listening to books, watching television and movies. (And check out our dialogue tag too if this is really the area you’re struggling - we’ve written some in depth stuff on dialogue).

And don’t ever underestimate the power of motivation. If your character is ever acting over-the-top, look at what’s motivating them. Do they have reasons for behaving this way? If they do, make sure you’re revealing those reasons, or at the very least having other characters wonder about their reasons. If they don’t have a reason, think of one. If you can’t think of one, reconsider the character’s action. 

I hope this helped you! The pacing issue is fairly easy to fix, but the character one takes some practice. Cut yourself some slack and keep writing. You’ll get better with writing natural characters the more you write. 

-Rebekah