Relationships, especially in beginner writer’s works, have a tendency to feel forced. Even in some popular and famous works of fiction, the relationship doesn’t feel natural. It seems like a boring afterthought which the writer added in at the last minute. Far too often, I find myself completely indifferent to a character’s romantic life. A good romance in a story will give the reader a bit of second-hand infatuation. They’ll root for the relationship, beg for it. If the romance is well written, you can make a reader smile and blush just by reading a few sentences. When done properly, it can even compensate for a weak and cliché plot.
But first, decide whether the romance is needed. If you’re adding a character to the plot simply for the sake of being a love interest, it’s probably not a needed romance. You can still add it, of course, but it will be much harder to keep your story focused on the central plot.
Step One Make sure the characters have chemistry.
The characters should compliment each other’s personalities. If he’s loud, stubborn, and aggressively opinionated, a more tranquil and soft-spoken love interest would suit him well. Two headstrong people wouldn’t be likely to have a lasting relationship in real life, unless they (impossibly) agreed upon every subject. But, there should be some similarities. While opposites do attract, polar opposites will not and the whole relationship will feel forced. The characters should have something in common. It could be morals, a parallel backstory, the same motivations, whatever. As long as there’s a reason for them to be drawn to each other, there’s potential.
Step Two Slow burn ships are fantastic.
Don’t make your characters fall in love right off the bat. There can be attraction, of course, but genuine feelings of true love don’t happen instantly. Your characters should become closer as people, feel at ease around each other, and truly know the other before they fall head-over-heels. The readers will crave the relationship far more, like dangling a treat right in front of a dog’s nose, but keep pulling it away. Teasing is a beautiful thing.
Find ways of showing (NOT TELLING) the characters are falling for each other. Have them stand up for one another, be protective. Have them break their own normal routine for the other. For example, a callous, guarded character could lower their walls for a moment if their love interest needs emotional support. These scenes can be awkward for the character changing their typical behavior and that discomfort can demonstrate how much they care for the other, altering their own selves for the other’s benefit.
Howeve, make sure that you combine these cute emotional moments with distance. Make the characters deny their true feelings or even distance themselves from their love interest upon discovering their feelings. The more the characters long for each other, the more the reader will long for them to be together. Build barriers between them for your characters to have to work to knock down. Keep them close, but maintain that distance until the moment is right.
Step Three “_____” translates to “I love you”
The first example of I think of when I think of this is The Princess Bride, where the male protagonist tells his soulmate “as you wish” when he really means “I love you.”
This falls under the category of show, don’t tell. Hearing a character say “I love you” has become so boring. Unless it’s done in a surprising confession or unique way, it’s boring and stale.
Come up with a phrase that you can repeat in moments throughout the story until it has a meaning of love for the characters and both know exactly what the other means when it’s spoken.
Step Four Taking a break can help create tension.
You know you loved someone if you leave them and feel awful. Apply this into the writing. Your characters can break up, then get back together in a joyous reunion.
Step Five Not every couple has a happy ending.
Sometimes, things don’t always work out for different reasons. An ending that leaves readers craving more can be a good move.
I was beta reading a book for a friend from the NaNo group where I live and during a certain part of the book, I sensed that someone in the story was going to die. I’d never read anything by her, so I wasn’t sure what to expect from the immanent death and it made me a bit nervous. (I even messaged her on Facebook to tell her that I would be disappointed if she “Romeo and Juliette-ed” the story.
After finishing the story, I thought it would be a good idea to write a bit about using death in your stories. What kinds of pitfalls you might encounter and how it can help your story grow.
Fiction vs Reality
Death is a fact of life. I’m sure you’ve heard this quote from Ben Franklin: “in this world nothing can be said to be certain, except death and taxes.”
It has become a bit cliche, but that doesn’t change the truth in the quote. If you ignore the revolving door of certain fictional characters, everyone is going to die.
In fiction, death is less permanent. Harry Potter (and Voldemort for that matter) died at some point in the novels. Jean Grey and death are old friends that visit from time to time. (Although Magneto has been dead more times.)
So what does this mean for your story? Here are a few suggestions:
Death has an impact on your story and the characters in your story. Do not treat a death lightly.
How will your characters grow because of this death?
How will it change the message of your story?
Ask yourself why, in the structure of your story, the character has to die.
Let’s consider a popular fictional death-Gandalf the Grey.
Gandalf is the leader of the company because of his knowledge Middle Earth. He has long wandered the highways and byways of the world and knows many of the secret places. When he leads the company to the mines of Moira, it is because the path is secret and will hide them from prying eyes.
The problem the story encounters is that Gandalf has become a crutch to the story. If he remains, then every problem can and will be solved by him. No one will grow, and the story will stagnate.
Gandalf’s death brings about many changes. Here are a few of them:
Boromir has a motive to lose faith in the company’s ability to bring the ring to Mordor.
Aragorn has to take charge of the company.
Frodo realizes that he is endangering the rest of the company.
Gandalf’s death is the catalyst for all of the action that takes place afterwards.
What purpose does death serve in a story?
Gandalf is just one example of a death in a story, and death can serve many purposes in a narrative.Let’s consider some of the ways that death can have an impact on your narrative:
Bring change to your living characters-Sometimes your characters need something to motivate them to change their lives. Death can be such a factor. Perhaps your character will decide the death is a reason to change their habits or lifestyle.
Create an emotional impact-Most of your readers will have experienced death in their lives, and these experiences cause some sort of emotional response.
Make the story longer by making it harder to accomplish the goal-What if the death is of a key character for the goal your characters are trying to accomplish? That can add to your word count as they strive to overcome this sudden lack.
Create an atmosphere-Especially if you are working in a genre such as horror, incorporating death in the story can create or enhance an aura of dread to your tale.
Accelerate the pace of the story-Death can make the elements of your story move more quickly, especially if the characters that are still alive feel a sense of immediacy.
Cause change for the sake of change- This is seen quite often during National Novel Writing Month in the form of the Traveling Shovel of Death. Killing off a character can bring about a wide variety of new dynamics in your story, but I wouldn’t recommend using it just because you don’t know what else to do.
Because art reflects life, and sometimes people die in real life- We already mentioned that death is a part of life, and sometimes death just happens, but make sure you understand how it will impact your story before you jump into it.
In order to un-kill them later/have a surprise return-This one is easy to abuse. Sure it can add to your story, but don’t do it too much.
Fulfilling revenge/just desserts- Sometimes your story just needs some payback, so why not let your character just go for it?
Demonstrate the severity of a situation- Think about every ‘bad guy’ scene in a movie. What does the bad guy do to prove just how bad he is? He shoots somebody. It may not always be fatal, but it proves a point.
Make a plan fail- Think back to Gandalf. His death upset the plan for the company to travel to Mount Doom together. This makes the story change direction.
Avoid cliches
Let’s take a moment to talk about cliches. Cliches are everywhere, and there are more of them every day. So how did cliches get to be so cliche in the first place?
A cliche is kind of like peer pressure-Everybody’s doing it. That’s how it became a cliche. In fact, every cliche was once an original idea, and everybody loved it. Just think, there was once a movie audience that had never seen any of the horror cliches, and they were amazed and shocked by the jump scares, and other overdone tricks that we groan about.
The problem with originality is that after someone sees it and wants to use it for their own project, there’s the danger of everyone wants to try it too. Before long, that unique take on the world has become overdone and boring.
What’s worse is that people are going to forget who had the original idea. If you look at the Lord of the Rings, it’s just like so much of the fantasy stories out there these days, but don’t forget that Tolkein wrote his books when the world of fantasy was young.
So what does that have to do with death in your story anyway?
Common Death Cliches
Coming back from the dead- This is a huge thing in comic books, but that is a different kind of medium and comic book companies depend on those big name characters to draw in readers, but that isn’t your book. Your story needs a sense of permanence. So when death happens, only take it back if it serves a purpose in the story.
I’m Not Dead Yet- We see this in every horror movie. the monster isn’t really dead yet. The fine fellows from Monty Python made a great scene where they spoofed this idea with the Black Knight. Even after he was only standing on one leg with no arms, he was still hopping around trying to kill Arthur.
Killing a character because you don’t know what else to do- Sure you need to introduce some change into your story, but death isn’t always the answer.
Getting rid of a character that doesn’t fit into your story- Better ways to get rid of that character include, but are not limited to: moving, getting lost, being kidnapped, alien abducted, you get the idea.
Hopefully that gives you some food for thought about death. (Yes, I am well aware that ‘food for thought’ is a cliche, but I wanted to check if you were paying attention.)
If you have other questions, let us know, and feel free to give us some feedback on the post.
Billy
Choosing a noun well will allow you to cut adjectives. This tightens your sentences and clarifies the meaning:
a young tree -> sapling
a single-storey house -> a bungalow
a young female horse -> a filly
her long thick hair -> her mane
a prudish person -> a prude.
his bald scalp -> his pate
an unpleasant smell -> a stench
a small child -> a toddler
a brown-haired woman -> a brunette
Of course, the choice of noun depends on context, but if you can use one word, why use two?
Writing style. If you have a lush writing style, you would use more adjectives compared to a terse one. However, more than three adjectives in a sentence will slow down the story.
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Yay, unsolicited advice time! Or, not really advice, more like miscellaneous tips and tricks, because if there's one thing eight years of martial arts has equipped me to write, it's fight scenes.
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It's not uncommon for two people to kick at the same time and smack their shins together, or for one person to block a kick with their shin. This is called a shin lock and it HURTS like a BITCH. You can be limping for the rest of the fight if you do it hard enough.
If your character is mean and short, they can block kicks with the tip of their elbow, which hurts the other guy a lot more and them a lot less
Headbutts are a quick way to give yourself a concussion
If a character has had many concussions, they will be easier to knock out. This is called glass jaw.
Bad places to get hit that aren't the groin: solar plexus, liver, back of the head, side of the thigh (a lot of leg kicks aim for this because if it connects, your opponent will be limping)
Give your character a fighting style. It helps establish their personality and physicality. Are they a grappler? Do they prefer kicks or fighting up close? How well trained are they?
Your scalp bleeds a lot and this can get in your eyes, blinding you
If you get hit in the nose, your eyes water
Adrenaline's a hell of a drug. Most of the time, you're not going to know how badly you've been hurt until after the fact
Even with good technique, it's really easy to break toes and fingers
Blocking hurts, dodging doesn't
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Just thought these might be useful! If you want a more comprehensive guide or a weapons edition, feel free to ask. If you want, write how your characters fight in the comments!
Have a bitchin day <3
There’s a fic on fanfiction(.)net that I’ve kept tabs on for years to see if it’s been updated or not. While I’m no longer even in the fandom it’s written for, it just has one of the greatest storylines I’ve ever read. Last time it was updated was 2011.
The other day, I decided to reread the entire thing and leave a very in-depth review of what I thought of each chapter. I also mentioned how I started reading it when I was 13 and am now 21, but always came back to see if it was ever finished because I loved it so dearly.
Today, said author sent me a private message saying that her analytics showed that the story was still getting views even after all these years, but no one ever bothered to leave reviews other than “update soon!!!”, so she never felt motivated enough to finish it. She said that me reviewing every single chapter with lengthy paragraphs made her cry and meant the world to her. She also mentioned that she felt encouraged to write the two remaining chapters needed to complete the story and that she would send me a message the night before she updates the fic.
I’m literally sobbing. I’m so excited :’)
Please always remember to leave a review when reading fanfiction!!! It means a lot to a writer.
coiling (up in a ball, in on themselves, against something, etc)
panting (there’s a slew of adjectives you can put after this, my favorites are shakily, weakly, etc)
keeling over (synonyms are words like collapsing, which is equally as good but overused in media)
trembling/shivering (additional adjectives could be violently, uncontrollably, etc)
sobbing (weeping is a synonym but i’ve never liked that word. also love using sob by itself, as a noun, like “he let out a quiet sob”)
whimpering (love hitting the wips with this word when a character is weak, especially when the pain is subsiding. also love using it for nightmares/attacks and things like that)
clinging (to someone or something, maybe even to themselves or their own clothes)
writhing/thrashing (maybe someone’s holding them down, or maybe they’re in bed alone)
crying (not actual tears. cry as in a shrill, sudden shout)
dazed (usually after the pain has subsided, or when adrenaline is still flowing)
wincing (probably overused but i love this word. synonym could be grimacing)
doubling-over (kinda close to keeling over but they don’t actually hit the ground, just kinda fold in on themselves)
heaving (i like to use it for describing the way someone’s breathing, ex. “heaving breaths” but can also be used for the nasty stuff like dry heaving or vomiting)
gasping/sucking/drawing in a breath (or any other words and phrases that mean a sharp intake of breath, that shite is gold)
murmuring/muttering/whispering (or other quiet forms of speaking after enduring intense pain)
hiccuping/spluttering/sniffling (words that generally imply crying without saying crying. the word crying is used so much it kinda loses its appeal, that’s why i like to mix other words like these in)
stuttering (or other general terms that show an impaired ability to speak — when someone’s in intense pain, it gets hard to talk)
staggering/stumbling (there is a difference between pain that makes you not want to stand, and pain that makes it impossible to stand. explore that!)
recoiling/shrinking away (from either the threat or someone trying to help)
pleading/begging (again, to the threat, someone trying to help, or just begging the pain to stop)
Feel free to add your favorites or most used in the comments/reblogs!
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While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas:
Sprained Ankle
A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.
Rib Contusion
A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.
Concussion
This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.
Fractured Finger
A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.
Road Rash
The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.
Shoulder Dislocation
This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.
Deep Laceration
A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.
Burns
Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.
Pulled Muscle
This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.
Tendonitis
Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.
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