This generally means setting a character up to deserve one thing and then giving them the exact opposite.
Kill a character off before they can achieve their goal.
Let the bad guy get an extremely important win.
Set up a coup against a tyrannical king. The coup fails miserably.
(Excluding the end of the book, obviously)
A beloved friend dies in battle and there’s no time to mourn him.
A random tryst between two main characters is not (or cannot be) brought up again.
A character suddenly loses their job or can otherwise no longer keep up their old routine
And not in an “imposter syndrome” way. Make your MC do something bad, and make the blame they shoulder for it heavy and tangible.
MC must choose the lesser of two evils.
MC kills someone they believe to be a bad guy, only to later discover the bad guy was a different person altogether.
People generally want to be understood, and if you can make a character think they are Known, and then rip that away from them with a rejection (romantic or platonic) people will empathize with it.
MC is finally accepting the Thing They Must Do/Become, and their love interest decides that that’s not a path they want to be on and breaks up with them
MC makes a decision they believe is right, everyone around them thinks they chose wrong.
MC finds kinship with someone Like Them, at long last, but that person later discovers that there is some inherent aspect of MC that they wholly reject. (Perhaps it was MC’s fault that their family member died, they have important religious differences, or WERE THE BAD GUY ALL ALONG!)
Push them beyond what they are capable of, and then push them farther. Make them want something so deeply that they are willing to do literally anything to get it. Give them passion and drive and grit and more of that than they have fear.
“But what if my MC is quiet and meek?” Even better. They want something so deeply that every single moment they push themselves toward it is a moment spent outside their comfort zone. What must that do to a person?
Obviously, don’t do all of these things, or the story can begin to feel tedious or overly dramatic, and make sure that every decision you make is informed by your plot first and foremost.
Also remember that the things that make us sad, angry, or otherwise emotional as readers are the same things that make us feel that way in our day-to-day lives. Creating an empathetic main character is the foundation for all of the above tips.
Here’s something nuanced that people might miss if they’re not familiar with formal bows in Chinese period drama. The juxtaposition of the former and present Chief Cultivators alongside their better halves isn’t a coincidence.
Why did NHS take three steps back before giving that bow? He was including WWX as a recipient, thereby gauging where WWX stood with His (newly-minted) Excellency.
Whether it’s Xiao Zhan’s acting choice or the director’s frame composition, there’s no mistake that his half-turn was a deliberate invitation for the audience to read between the lines. WWX didn’t need to look at LWJ; his sidestep actually conveyed something.
Making a formal bow might look like an art form to those unfamiliar with the practice, but not everyone knows that accepting a bow is just as tricky. Bows can mean more than a simple greeting or a wave goodbye.
Withstanding or enduring a formal bow takes several prerequisites: seniority, meritorious deed, virtue – those lacking in the proper category might lose a few years off their lifespan; such is Heaven’s way of punishing one for their hubris.
A line from Confucius’ commentary on the I-Ching points out that those unworthy of their title (or the tribute paid to them) will draw disaster unto themselves. So, not just anyone can stand there and take it when someone of import presents a formal bow.
You bow to someone (1) in recognition of their rank, (2) in gratitude for something they’ve done, or (3) when making a formal request.
If they accept or return the bow without fuss, then it’s as good as saying (1) “Yes, I am s/he who rightfully holds the title.” (2) “You’re welcome.” (3) “Leave it to me; you can trust me with it.”
To avoid the inherent obligations in receiving a particular bow from someone, you can: -dodge sideways or turn away from the “front and center” position. -brace them up with your palms under their elbows so they can’t complete the bow or get down on their knees. -if all else fails and dignity is no object, kneel as quickly as they do so you’re not the last wo/man standing.
Coming back to the very interesting cinematic direction:
Although Qin Su is adjacent to JGY, she is not her own – she’s barely an auxiliary. Those who bow to her do it because of whom she’s with, not who she is.
You probably won’t find a well-matched power couple in a similar state. Take for example, Jiang Fengmian of the Yunmeng Jiang clan and Yu Ziyuan of the Meishan Yu clan.
On the other hand, WWX isn’t shoulder-to-shoulder with LWJ. One could even say, in this particular scene, WWX was safeguarding him. Not someone under the Chief Cultivator’s aegis, but rather, someone who precedes him.
In turning aside the reverence accorded to the new Chief Cultivator, WWX likely also signaled that he would not be bound by the limitations of what His Excellency should and shouldn’t do.
“WWX, a Strong & Independent Woman” jokes aside, this cold shoulder is extra delicious considering the other two layers – an ironic reminder that by all rights he should be receiving NHS’s belated gratitude for avenging NMJ’s murder (albeit under duress via MXY’s curse), and that a proper request for his aid (while he was still compos mentis) was never made in the first place.
Judging by how this scene was kept in the last 10 minutes of the finale according to the original editor’s intent, the textured play highlights the undertow among the three friends, and is a preview of the future of the cultivation world.
It perfectly captured their emotional dynamics: LWJ’s reserved gratitude toward the mastermind who schemed for his lover’s comeback and WWX’s refreshed circumspection and optimism dovetailed with MXTX’s barebones outline at the novel’s end – a foreshadow of things to come. In other words, the rise of the House of Nie under the stewardship of NHS.
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Footnotes - an example of bows used in different ways:
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