This next event looks pretty psychedelic but as someone who isn't super into the source material, can anyone offer a quick rundown on who Viv Vision is? Did Vision, like Loki decide he wanted to be a girl too? Or is it a different character?
Hey could you boost this? I was hoping people could tweet about #KeepJugheadAsexual and also @CW_Riverdale Bc it's currently only me and I'd like to get it trending. The comics feature aroace Jughead and we want to make sure the tv adaptation maintains its representation.
Ah yes, I saw Cole Sprouse actually wants it to happen too. If you’re on Twitter, get on this, people!
I wish authors–and other people–would realize that people have multiple reasons for doing things. Like, I don’t drink, and I have a lot of reasons for not drinking. It’s because I don’t like alcohol, and also because I don’t like the idea of being inebriated or having my mental faculties compromised, but also because part of my anxiety issues revolve around not being able to shut my brain off and I’m afraid that, if I find a way to do that, I won’t be able to resist the urge to self-medicate. See, multiple reasons, and they may be contradictory but they’re all true. So three-dimensional characters should have multiple reasons for things, just like real people do.
Dialogue is an important part of storytelling. While
I’m not perfect by any means, I definitely consider this to be my strength when
it comes to writing. So hopefully I can shed some light on this subject and
help those that want to improve their dialogue in some capacity.
I consider internalized
thoughts dialogue said to oneself. Which is why I’m going to talk about it here.
I like to use dialogue
for characterization, mostly. Since it really won’t move the story forward
(since the character is only thinking it to themselves), I find it helps to
create juxtaposition between what is said and thought.
Examples of how to use
what is said vs. what is thought to create drama
Character is quiet or
seems that way, and thinks a LOT more than what they say
A character is a liar, so
they may say one thing, but we don’t know it’s a lie until they think it
A character is trying to
examine someone or something else silently
A mute character
A character that reads
minds—can be challenging but fun to write
Speech and creating
Think about the way
someone speaks: accents, if they use curse words, if they’re always “proper” or
always using slang
Think about what they say
vs. what they won’t. Are they falsely sweet? Always challenging someone?
Having one character have
a saying they always use is a fun way to build personality. For instance, Ron
in the Harry Potter books always saying “Bloody hell”. You can come up with
your own creative “curse words” that aren’t actually curse words. That will definitely
up the personality of the writing and characters.
Advice for writing dialogue
If you have trouble
varying the speech between characters, I’d suggest 1. Listening to people
around you and what they say and how.
2. To practice.
Think about various emotions and how that can change the tone,
words chosen, etc. Speech and dialogue will
really speed up scenes. So if you feel like a chapter is paced a little bit too
slowly, adding some dialogue between characters will speed it up.
If you’re stronger at description
and find you never add enough dialogue, look through your piece and think about
various areas that could be changed to dialogue instead of description OR
scenes that could have a small but interesting conversation.
On the same note,
sometimes it’s easier to describe a conversation than write it all out.
example, conversations that happened in the past that someone is describing,
conversations that perhaps are important to know happened in general but not in
You don’t always have to
write out the FULL conversation. A good example of this is phone conversations.
Writing out all the pleasantries (greetings and polite “how are you”s) really
aren’t necessary. Get the main “point” of the conversation. I.e. why it is
important for the reader to know.
Not every line of
dialogue needs a dialogue tag (i.e. “she said”). If it’s between two people, and
they’re really going at it (because they’re angry or they’re playfully
bantering or something), the dialogue tags become unnecessary and honestly bog
down the quick flow. Just clue the readers every few lines or so.
Read your conversations
out loud! Does anything sound awkward or unnatural? Hearing it will help clue
you into those areas that could be changed or revised.
In my book im making my character is wrongfully thrown into an insane asylum and gets experimented on, tortured, and is emotionally and physically as well as mentally abused for a few months. When she escapes, I don't know how she should act. She is a head strong fiery character, but I do want that to change from her being in the asylum. How should she act?
Oh boy, there’s a lot here.
A couple of things. First, the “evil
insane asylum” trope can be incredibly problematic. Depending on where and when
this is set, that may not at all reflect what psychiatric hospitals look like,
and tropes like that are one of the major reasons people who do need help often
hesitate to get it. So if you’re setting this in present day America, I’d
recommend looking into how psychiatric hospitals actually work and deciding if
you want to perpetuate this stereotype.
Actually, regardless of when/where
this is set, look at the history of psychiatric hospitals and insane asylums,
which are different things, the former of which grew out of reforms of the
latter (among other things).
I’m kind of assuming she was
involuntarily committed. In the modern era in a lot of countries there are laws
regarding that, so people without any sort of mental illness who also pose a
harm to themselves or others can’t usually end up involuntarily committed,
especially not for long periods of times.
If you are going with the
experimentation aspect, why are they experimenting on mental patients? Experimentation
is done for a reason. It’s scientific. Experimentation for the hell of it isn’t
generally done, because by definition experimentation involves having controls,
which involves looking for something. So what are they looking for? Why are
they torturing them? Why are they abusing them?
As for how the character should act, I
can’t really tell you that, because it’s your character and your circumstances
and your story. Here’s what I will say: think about cause and effect. Consider
what abuse the character faced—and why they faced that abuse—and how that would
change them. Gaslighting would have a different effect on a character than
straight up waterboarding. And different people have different responses to the
same abuse. Some people develop PTSD. Some don’t. Some become introverted. Some
become angry and turn that anger inward. Some turn that anger outward. Look up
testaments about abuse and torture survivors. You know your character better
than anyone else. Figure out how they would act.