solstoria: characters

anonymous asked:

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 Breakdown

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.

Internalized thoughts:

  • 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 personality:
    • 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. 
      • For example, conversations that happened in the past that someone is describing, conversations that perhaps are important to know happened in general but not in detail, etc. 
    • 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. 

Happy to answer any questions. Happy Writing!

anonymous asked:

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.

What a Batwoman movie could do and accomplish

1.) It could show a much darker side to the life of a vigilante

2.) Could have enough material for an R-rating

3.) Could present a female protagonist in a different light

4.) Could show the dirtiest and worst parts of Gotham

5.) Have a hero who destroys its targets

6.) Have a realistic villain ( someone who could exist in real life)

7.) Compliment Batman’s original sense of hopelessness from BvS

8.) Have a complex relationship with Detective Renee R.

9.) Spark the possibility of the Bat-Family to grow in the franchise

10.) Present LGBTQ characters in a realistic environment for comic book movies

11.) Create its own story, not relying on the overall Justice League plot

12.) Contain adult situations ( take her broken childhood, when she, her sister, and her mother were held for ransom)

13.) Show people the DCEU isn’t scared to get rough