*deadpan Narrator Voice*: He DOES Have Ten Children

Character Development: Speech

Finding your character’s voice is one of the most important things you can do to make your character more fully developed. It can often be the thing that sets your character apart and makes the reader easily able to identify them. Creating your character’s voice breathes life into them.

What to think about:

Formal or informal

Can be shown with:

sentence structure/complexity (shorter vs. longer sentences, number of clauses, etc.) 

contractions (e.g. y’all versus you guys, I am vs. I’m)

word choice (simple or advanced; more poetic vs. more practical, blunt vs. subtle)

word order/syntax (can indicate dialect and/or formality)

Things to ask yourself:

- If my character speaks formally/informally, is there a reason?

- Does it indicate their status?

- Or is it a rejection of their status? (e.g. does your highborn character prefer to speak informally because they hate their position in life, or does your lower class character speak more formally to make themselves appear higher class?)

- Is the way they speak normal for their society? In other words, if your character is, say, an alien from a highly formal culture, they won’t think of themselves as speaking abnormally. But if they visit another, less cultured planet, they’ll stick out like a sore thumb.

Catchphrases

When done well, this can be amazing. When done awfully, it makes the reader sigh and roll their eyes in exasperation. So, be careful not to overdo it!

Catchphrases can include:

slang (e.g. wicked, if your character is from Boston, like Faith Lehane from Buffy: the Vampire Slayer)

exclamations/swears (”Hell’s bells!” - Harry Dresden, “Zoinks!” - Shaggy, “Holy ___, Batman!” - Robin at various times)

automatic responses (such as in response to how they are, e.g. “Five by five.” - Faith Lehane, or in response to a question they don’t want to answer, e.g. “Spoilers!” - River Song)

greetings/goodbyes (”Hello, sweetie.” - River Song, “What’s up, Doc?” - Bugs Bunny)

introducing themselves ( “The name’s Bond. James Bond.” - James Bond, “Trust me. I’m the Doctor.” - the Doctor, “Denny Crane,” said repeatedly by Denny Crane)

an explanation/repeat phrase of some other classification (”Dammit, Jim, I’m a doctor, not a ________.” - Bones, “Your mission, should you choose to accept it…” - Mission Impossible, “Live long and prosper.” - Spock, “Same thing we do every night, Pinky! Try to take over the world!” - the Brain)

A lot of times, these catchphrases can become inside jokes, and merely referencing them is enough (think: “It’s a bird! It’s a plane! It’s Superman!” or “Holy _______, Batman!”).

But sometimes, it can feel a little forced (like Miss Martian’s constant use of “Hello, Megan!” all the time in Young Justice). You want to use these catchphrases sparingly, and when they make sense. While you and I might say “fudge” or another such exclamation any time we trip, the reader does not want to read that twenty times in the same chapter because your character is a klutz. This is the art of writing, not the hyperrealism of writing. You want it to mean something, so use it only when needed.

Things to ask yourself:

- Does this character really need a catchphrase? How will this help establish character?

- Does the catchphrase come from the type of place they live or things they do? For instance, Harry Dresden is a wizard, so when he swears he says, “Hell’s bells,” which reminds us of his job and difference from those around him. This wouldn’t be the same if he simply said, “Dang it,” any time he swore.

- Is there a reason they have a catchphrase? Is it deliberate or unconscious on their part?

- Is there a way you can flip the catchphrase and use it to signal a shift in the story or an unexpected twist (e.g. signifying that somehow your character as switched bodies with another person, like Faith from Buffy: the Vampire Slayer; alternatively, that something isn’t right with the character, because of certain events, and they’re not saying their usual catchphrase)?

Verbal Tics*

Verbal tics are sounds that are not really words, more like filler, that get used almost unconsciously in everyday speech. Words like “ehm,” “uh,” and so on are all verbal tics. (Various internet sites assure me that throat clearing and sniffing can also be included here, but I leave that up to you.) For this section, however, I am also including words, but only those words that are filler. I am also including alterations to the text that represent how someone is speaking.

Now, I know that in any writing guide you read, they want you to NOT, NOT, NOT use regular tics like these in dialogue. It’s annoying, repetitive, annoying, serves no purpose, annoying, and so on. In a sense, they are very much right. Don’t use verbal tics for every character! But using them to distinguish one character (or a couple, in different ways) can work very well if done right.

Verbal tics can be:

words (examples: “You don’t wanna mess with us, see, ‘cause we’re dangerous, see,” or “So, I went to the mall yesterday, and there was this dress, so I bought it, so…” or even “Like, I’m not even sure what Vanessa was, like, wearing at that party last night?”)

filler sounds (e.g. “eh,” “um,” “uh,” “er,” “hrrgh,” “urk,” and so on)

messing with the letters and format of the sentence (e.g. dragging out the letter, making every word separated for a slow speaker, running words together to indicate speed, etc.)

Examples of verbal tics (this is a section in which examples are very helpful, so here you go):

Damian Wayne, the current Robin at DC Comics: uses the distinctive sound “tt” in his appearances to express his emotions, even - tt - other comic series that he guest-stars in

Asmodeus from the Redwall series: drawsss out the letter ssss becaussse he isss a ssssnake

The Flash, at various points in DC Comics: speakswithallthewordstogetherbecausehe’stalkingsofast!!!

Canada, from the Hetalia anime: ending every sentence like a true Canadian, eh?

Things to ask yourself:

- What purpose would a verbal tic have for my character? Do they really need one?

- Is the verbal tic connected to an emotion, or is it involuntary? (Generally, in real life, it is involuntary, but once again, this is art, and so it can have meaning, if you so choose!) What emotion might it be connected to?

- Are they aware of it? Are they embarrassed by it? Do people make fun of them for it?

- Is it part of their dialect/culture?

- Is it a recent thing or have they always done it?

- Where is the balance between making it seem like a realistic tic and annoying my reader with the repetitiveness?

*I am not referring to any medical diagnoses here, although if you want to go right ahead and use medically diagnosed tics for a character, please feel free to! However, this section does not deal with those, as I am not an expert, although I understand there might be some confusion due to the terminology I have used. Please let me know if there is a different term I should be using instead, as I couldn’t find one anywhere. Thanks!

Ways of addressing others

The way that your character addresses other characters says a lot about how they view and respect those around them, in addition to their personality. In addition, if you establish a character addresses others in a certain way (say, by last name only), then when they break this pattern, the reader knows it is important.

Different ways of addressing others:

nicknames (either a shortening of someone’s name, even if it’s not usually shortened, or a name reflecting some characteristic of theirs - e.g. “Jane” to “Janie,” or “Shorty,” or Tony Stark’s brand of nicknames, like “Capsicle” or “Rock of Ages”)

titles (similar to nicknames, but more formal - e.g. a character referring to people by their rank, job, familial relations, etc.)

last name only 

full name only (never shortened, includes first, last, and middle names)

no nicknames (never refers to a character by anything other than what’s printed on their birth certificate, can be combined with others on these lists, especially the previous two)

familial referencing (e.g. Aragorn, son of Arathorn)

insults (ranging from harmless to aggressive, can be combined with the first one on this list, not always swears)

by physical/personal characteristics [epithets]** (e.g. by gender, hair color, eye color, traits - for instance, “boy,” “you, redhead!” or “the only one of you with any spine”)

** This one tends to work best in stories set in older times or in sci-fi/fantasy. Epithets can be insults, but the epithets I am thinking of are more Homeric in nature.

Things to ask yourself:

- Is there a reason behind my character’s decision to address people in this way? Does it indicate a lack of trust? A need to crack jokes?

- What does this say about my character’s background? Is this the normal way to address people where they come from? Is it abnormal to do so in the place they are now?

- Does my character evolve from speaking this way? Do they start speaking in a different way, either deliberately or unconsciously? Why?

Accents

Accents are tricky. There are several different ways to write accents (I’m currently working on a post that explains them further), but basically no matter how you write an accent, there are a few things you can do to portray the accent.

slang (e.g. barbie = barbecue in Australian slang)

word order/syntax (e.g. “I’m after going to Mary’s” = “I just went down to Mary’s” in Hiberno-English)

contractions (I’ve versus I have, or y’all versus ye vs youse vs you and so on)

idioms (words or phrases that do not have equivalents in other dialects/languages/places)

diction (words meaning different things, like “chips” in American English and in British English)

verbs (e.g. “ain’t,” “be,” “runnin,” or mixing up tenses)

Keep in mind:

- be RESPECTFUL of whatever accent you’re trying to portray, especially if it’s not your accent

- don’t overdo the accent because it might end up sounding stereotypical (and that is not respectful - see above)

- you should get a feel for the accent you’re trying to write. Listen to the music, read something in that accent, watch/listen people talk in the accent until you hear the rhythm and way people with that accent talk. 

Things to ask yourself:

- Is the way I am portraying this accent as accurate as it is within my power to make it? (In other words, have I done my research?)

- How does my character feel about their accent? Are they in a place where their accent is normal? Are they in a place where they stand out because of their accent?

- Continuing on that thought, how noticeable is their accent? Is it the equivalent of someone from, say, Boston going somewhere else in Massachusetts, or the equivalent of that person from Boston going to California, or the equivalent of that same person going to London? Each one becomes more and more noticeable the farther the person goes from their home.

- Has my character made an attempt to hide their accent? Deliberately intensify it? Or do they just not care?

- Does it get stronger or weaker based on their emotional state?

Emotion

The emotions your character normally expresses when they’re speaking say a lot about their general emotional state. In addition, if there is a change in their emotional state, readers will be able to know that just from the way they talk (though context and body language are always useful!)

You can show emotion in speech through:

speed (if they’re easily excited, they might talk fast! and with a lot of exclamation points! But if they’re sad a lot…well, they might talk a bit more slowly and take their time…kind of like Eeyore.)

word choice (is it generally positive? negative? Or somewhere in between?)

reactions to other characters’ dialogue (are they generally patient and wait for the other person to finish? Or do they jump in because they’re so excited about something the other person has said?)

volume (are they loud? Quiet? Are they normally quiet but get loud when they’re angry? Or vice versa?)

understandability (not necessarily stuttering or stumbling over words, but can be; are their procession of thoughts/logic easy to understand? Is their conclusion sensible? Are they understanding others easily or do they need clarification? For instance, if your character is easily excited, maybe their dialogue comes in a jumble of words that is hard to understand. Maybe they’re so angry they’re not listening to anything the other person is saying, and their dialogue reflects that.)

punctuation/capitalization (are they unsure of themselves and what they’re saying a lot, so they use a lot of question marks like this? Are they aggressive in their emotions and so THEY SHOUT LIKE THIS!!! Are they…kind of thoughtful and take the time to…express themselves correctly…or are they - well - I mean are they - like - the kind of people who - you know, backtrack and correct themselves a lot?)***

***Again, you want to be careful not to overdo this, as it can get annoying AND lose the effect it has on the reader. If one of your characters SHOUTS. EVERYTHING. THEY. SAY. THEN WHEN SOMETHING REALLY IMPORTANT HAPPENS TO THE CHARACTER AND THEY GET VERY EMOTIONAL AND SHOUT, IT’S LOST A TON OF EMOTIONAL IMPACT ON THE READER. Like the end of that sentence. Did it make a big impact on you? It should - it was the entire point of the sentence. But it was lost amidst all of the other capitalized words. The same thing goes for any type of repeated punctuation/capitalization for a character - you want to make sure it counts.

Things to ask yourself:

- Why does my character express this emotion generally? 

- What does it say about their outlook on life?

- What does that say about how they view other people?

- Does their dialogue rely on these techniques too much when trying to show their emotions? How can I combine these with their body language?

Focus/Fixations

This is a pretty simple one. Focus can be organization of thoughts - basically, what idea(s) can they or want to focus on. A character that is very focused might be a practical person who is focused on the here and now, and their plans for whatever situation they’re in. A character that is less focused might be someone who thinks of several things at once, which reflects in their dialogue. 

Fixations are the things that their minds keep coming back to. So for example, if a character is worried about how they did on a test, throughout the story their dialogue might keep returning to that subject or referencing it. For instance: “Hey, when do you think we’re getting that test back?” or “Wow, this is pretty hard. Almost as hard as that test we took.” You want to make it less obvious than this, of course! (A good example is Anya from Buffy: the Vampire Slayer and her obsession with making money.)

Ways to show focus/fixation:

number of ideas/topics in their dialogue at a time

relevance of topics to the present

relevance of topics to the past/future

how they react to people who do not share their focus/fixation (e.g. a focused person finds it annoying when a person who is not focused keeps interrupting them, or a person who is less focused finds it annoying that a person who is focused is paying too much attention to one thing) 

Things to ask yourself:

- How focused are they when talking?

- Do they think of a million things at once, or just one at a time? 

- What are some short-term fixations they might have? Some long-term?

- Why might they be focused/not focused? Why might they have these fixations? What do these fixations say about their character?

- Do the focus/fixations change over time? How? Why? Does it reflect a change in their character?

- Am I making my character too focused/fixated on something? Is it detracting from or adding to the story or the character arc?

How others see them vs. how they see themselves

This one is probably the broadest one on the list. There aren’t specific things you can do to get this across (it’s more of a general thing), but it’s a cycle that you should keep in mind.

Your character sees themselves in a certain way. For instance, they might think of themselves as helpful, or kind. 

The way that they see themselves can influence why they do things (e.g. if they see themselves as a person who doesn’t go on adventures, like Bilbo Baggins, they will refuse to go on an adventure.)

The actions that they take influences how other characters see them, but the other characters do not necessarily see your character’s perception of themselves (e.g. in the Hobbit, Bilbo sees himself as helpful and averting war by giving the Arkenstone to the Elves. He thinks he is being a good friend. However, Thorin sees it as a betrayal and thinks Bilbo is disloyal and not a good friend. Both of them at the time of their actions think they are right.)

How other characters see your character influences how they treat your character (e.g. Because Thorin thinks Bilbo has betrayed him, he threatens Bilbo and rejects him as a friend. Bilbo escapes with his life, but only through the help of the other dwarves. Again, to each character, their own actions are justified and so their dialogue reflects their belief that they are right. So, when they talk to each other, both of them think that they are right and the other is wrong, and you can see this in their dialogue.)

How they treat your character influences how your character sees and reacts to these people, and can influence your character’s perception of themselves (e.g. Because Thorin rejected Bilbo and called him a traitor, Bilbo is bewildered and believes for a time that Thorin cannot be saved, and he feels like he failed).

The cycle continues.

All of this is reflected in their dialogue to each other.

Knowing how each of your characters see each other and themselves will influence their dialogue and reactions to each other. Characters can misunderstand each other, underestimate someone, or help someone feel better about themselves, just to name a few things. 

Things to ask yourself:

- How does my character see themselves? Why? Are they one hundred percent correct?

- How do other characters see my character? Why? Are they one hundred percent correct?

- Does my character have any idea of other people’s perceptions of them? If so, do they care? Is my character correct about what they think other people think about them?

- Will my character’s perspective of themselves/other people change? Why and how? Will other characters’ perspectives of my characters change? Why and how?

- How do all these reactions to each other influence the story?

Hope this helped! Let me know if there are any questions.

- Riona

yue qingyuan, holding up a portrait of shen jiu: have you seen my shidi?

random cang qiong disciple: is peak lord shen missing? do we need to search for him??

yue qingyuan, looking at the portrait and sighing wistfully: no, I just wanted to show you how handsome and elegant he is.

“all retail employees should get to kill one customer per holiday season” text post based on statistical error. jin guangyao, who works customer service in fantasy ancient china and discreetly kills 18,000 people per year, is an outlier and should not have been counted

[image is a 2-panel comic. an anonymous person angrily demands of a smiling jin guangyao, “this is outrageous! i demand to speak to your sect leader!” jin guangyao, still smiling dangerously, replies, “i am the sect leader.”]

happy holidays!! :D

“Shidi.”

COMMISSION INFO

How would zyx have handled being born in the canon sects?

my brain is mush, but let’s give this a shot. in no particular order...

Yunmeng Jiang: 

Comes over as part of the Meishan Yu side courtesy of Madame Yu, as Yu Lin 虞琳 (no courtesy name, same lin character as in DBD). 

Freaks out when she Realizes some realizations.

And then it’s down to business because she fucking lives here now, it’s her fucking house and it’s going to fucking catch fire.

Due to precociousness and competence from of being Done since birth, she’s trained as the successor of Jinzhu/Yinzhu for JC. 

Pre-WWX arrival, she sticks to teaching/providing emotional and mental support to the Jiang sibs so they don’t end up so screwed by their parents.

(Secretly works with JYL to help her cultivation bc fuck that noise.)

Once WWX arrives, she ends up tag-teaming with JYL to keep the peace. WWX ends up treating her like Shijie #2 - especially when he starts to cultivate and notices that she knows a lot more than she lets on.

WWX: “Lin-jiejie! Play with Xianxian!” JC: “Wei Wuxian, have you no shame? Even our shimei is more well-behaved than you!” WWX: “Our... what?”

(Still younger than everyone, but she never says anything. Conceal don’t feel.)

Overall: more emotionally stable and patient, Exhausted(TM), and much more reserved. Can’t wait to fuck off somewhere.

If the Golden Core transfer thing is going to happen, it’s not going on her watch - she’d knock WWX out, let JC take her GC instead, and then finds a nice quiet mountain to retire onto. Immortality didn’t mean much to someone that has died before. Also, the math then works out. Everything should be okay. Right?

(Obviously, no. But we’ll leave it at that.)

Lanling Jin:

AAAAAAAAAAAAAAAAAAAAAAAAAAAA

Lanling Jin is... ugh. Name: Jin Zi’ai/ 金子藹 (zi as the generational character, ai for affable/luxuriant)

IDK if you know those dinner parties with your relatives when you are done with their shit by hour 2... but it’s like that 24/7. She awaits the day she’s powerful and influential enough to go feral.

The resources available to her are awful. She’s a close enough cousin that she has to see JGS’s shit all day. Deal with Jin Zixun all day. But for the sake of survival and agency, she grits her teeth and ingratiates herself with Madame Jin to get close to Jin Zixuan and get access to better cultivation education and resources.

Mme Jin cuts her a deal - if she can be useful to her son and the heir of Lanling Jin, she’ll help out on the side.

At first, JZA (god that’s so weird to see a vowel in an MXTX name abbr) is planning to just use JZX and get the fuck out.

And then his awkwardness makes her care. Damn it.

Plan: Get her uncle pushed down the stairs Actively set up JZX to take over Lanling Jin by Year 5 post-Sunshot Campaign.

Reluctantly ends up taking MY/JGY under her wing once she remembers the Qin Su situation. Ticks another year off of JGS’s life.

Best fucking friends with LQY.

(Plans go to shit once she meets people outside of LLJ. Recalibrating...)

(Due to a bad JZX/JYL encounter, WWX makes an exception and she’s the only girl he hates. “Just as insufferable, if not more, than that Peacock.”)

Qinghe Nie:

It’s fucking cold. She complains about humid heat, but she also bitches about cold and snow. All weather sucks.

QHN is probably the only sect that lets her get away with as much as she does in Shuangfeng. Goes gender-neutral again.

Name: Nie Yunxun. Done.

‘Don’t yell bankai, don’t yell bankai -’ as NYX is training with a humongous sabre. Big sword is encouraged. Give an inch, take a mile.

Da-ge energy pulls them in like a black hole. “Damn it, now I fucking care.” None of this Song of Turmoil Shit on their watch.

(”Da-ge,” because NHS latched onto them and NMJ allowed it, “Not everything is so black and white.” Tries their best to slowly make him chill the fuck out.)

Pretty prim and proper despite a foul mouth - slated to take over for Nie Zonghui when it comes time for the new generation.

Refuses to believe that eating dirt is the only future for sabre-wielders. Convinces NHS to trust and confide in them once he figures out what they’re trying to research and test.

(NHS latching on - 1) he catches NYX punning a subtle insult on LLJ during a discussion conference, 2) while escorting NHS to watch a play, he then catches them making the bitterest commentary on the not-so-great plot, and 3) on the days that he really can’t confront the fact that his Da-ge is going to cultivate to his own death, they will lie to NMJ’s face with no shame and let him hide.)

Uses QHN reputation to their advantage to play stupid and guileless. “A pretty, dumb brute.”

In public, NYX is essentially NHS’s long-suffering henchman.

In private, NYX and NHS are the Shady Duo, scheming tirelessly to... make the Cultivation Realm better, of course :) (better for some, not for others.)

Gusu Lan:

This feels worse than LLJ.

Lan Wenhui 藍文慧, wen for literary, and hui for intelligence.

CR is fine to visit, but awful to grow up in.

Grows up like a grumpy version of Lan Jingyi, because she knows that things aren’t going to be okay and there’s nothing she can do about it from her position.

Acts out a lot (like pre-ZYF death little Lin-lin). Sometimes accidentally, sometime purposefully. Living the CR feels like perpetually having an itch that she’s not allowed to scratch.

In trying to ‘tame the little beast’, LQR discovers two methods: 1) stump her with challenging/stimulating work, or 2) make LWJ ‘babysit’ her.

(Never mind telling an eight-year-old to watch a seven-year-old - but it’s the Chinese way to outsource your older kids to watch younger kids)

LWH can’t bring herself to be mean to LWJ. Thus LWJ gains a reluctant cousin-friend, and a buff to his social interaction skills.

LXC dotes on her so unabashedly that she effectively goes speechless for the whole day out of embarrassment.

Thus LQR discovers method #3 to nerf the Little Devil of the Cloud Recesses, and is so proud of himself and his nephews.

(WWX kicks him off his laurels when he arrives.)

Endgame: post-SSC (since she’s not in a position to change much without being scrutinized), seeing the 3Zun’s essentially make an alliance sans YMJ (+ JYL being betrothed to JZX), JGS basically is the most influential leader of the cultivation world.

Fuck no.

She orchestrates a ruse, if you will. ‘Accidentally’ lets JC pull her ribbon and doesn’t object. When questioned, lies and says that ‘he was her first love since catching a glimpse during the Cloud Recesses.’ (Complete with inflectionless voice)

“well shit, there’s nothing really objectionable about this match... so... congrats on your upcoming nuptials?”

Actually using that time to 1) go back and forth between YMJ with a semi-legit reason to interact and collude with the Yunmeng sibs and warn them of the upcoming BS, 2) delay the JZX/JYL wedding, 3) give LWJ time with WWX and hopefully they both get their heads out of their asses.

Shenanigans, fake dating/betrothal-turned-real? idk.

Qishan Wen:

The worst. Worstest. 

Two options:

Option one, side-side-side branch Wen

She’s fucking off.

Learning some cultivation/stealing some manuals, do a little spying and map-making, and deserting. 

Drops some secret missives for the other main sects, when the information becomes more relevant. 

Due diligence done, fucks off to some coastal town as their standoffish, neighborhood Cultivator. 

Micromanages the town and its well-being with the tenacity of playing a city builder/animal crossing in her previous life. 

Grow old. 

Die.

Option two, Wen Qing/Wen Ning’s family, the middle child. Wen Ling 溫玲, ling for exquisite.

She’s close enough to be in WRH’s purview but not in his main family. Whew.

Tries to convince older sister WQ to turn traitor and dip. 

Almost causes catastrophic end for their family bc of premature planning. 

She can’t play the same espionage game as WQ or MY/JGY does with WRH because she knows there’s no recovering from being publicly seen supporting WRH post-SSC. So she just works as a mainline fighter bc at least she’ll be able to defend herself and feel ‘useful’.

Fakes death and deserts mid-SSC. 

If lucky, lives and reluctantly infiltrates LLJ to be in the position to rescue her family after the war.

If she’s not... WWX kills her while she’s on the battlefield. She sees him and picks that moment to fake her death.

In this case, WWX catches her in the act, kills her but she calls out for WQ.

WQ learns about her death. WN is the one to tell WWX about the relation.

Tries to revive her as ‘owing one’ to the Wen sibs, looks for her corpse, encounters LWJ, gets his help to catch her soul with inquiry.

(Prime LWJ vinegar-drinking as he makes up his own reasons for why Wen Yuan exists and why WWX is taking care of him).

Ends up possessing WN on accident when WangXian returns to the Burial Mounds, able to help avert the Qiongqi Path incident.

Grimy spytime shenanigans to fight back against LLJ and surviving, and ends up passing on once things settle.

Day 5: A Return to Childhood

I saw so many deaged SJs so I wanted to try my hand on it as well Xiao Jiu’s Qi-Ge is suddenly so big! And Yue Qingyuan can finally give him everything he couldn’t give when young.

10 Prompts to Make Your Story More Exciting:

Set someone on fire. Twice.

Pause a chase sequence for a karaoke competition. Make the song choice key to the climax.

Give the villain a parrot whose mocking repetition undermines them at the most inconvenient moments. 

Add a dragon. 

Set your romantic confession scene on a fast-moving vehicle.

Make readers think a beloved character dies, only to reveal them alive and ready for action later. You get all of the angst and none of the hate mail!

Make the power go out at the worst time.

Snow your heroes in with the villain. Do they kill each other or break out monopoly? 

Force your characters to act as other characters (disguises, body swapping, go wild with this one).

Add another dragon.

why is baki hyping up cats