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pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0mj6o | hc0rq24 | 1,631,071,710 | 1,631,074,601 | 1 | 2 | Complete some writing prompts, and see if there's anything there you can turn into something bigger. | Read books on how to write. Read a lot. Study the craft. Write. Have your writing critiqued. Learn from the criticism. One way to make significant gains is to write a piece, whatever it be, an essay, story, long format letter, doesn't matter, and then have a qualified, experienced editor red mark it up. Nothing like learning from one's mistakes. It obtains perspective. Teachers and professors do this for you in school. Repetition helps drive it home. But being a good writer does not give one imagination. That is a different muscle. | 0 | 2,891 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0rq24 | hc0q6lw | 1,631,074,601 | 1,631,073,724 | 2 | 1 | Read books on how to write. Read a lot. Study the craft. Write. Have your writing critiqued. Learn from the criticism. One way to make significant gains is to write a piece, whatever it be, an essay, story, long format letter, doesn't matter, and then have a qualified, experienced editor red mark it up. Nothing like learning from one's mistakes. It obtains perspective. Teachers and professors do this for you in school. Repetition helps drive it home. But being a good writer does not give one imagination. That is a different muscle. | Journal prompts | 1 | 877 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0kldr | hc0zf18 | 1,631,070,682 | 1,631,079,566 | 1 | 2 | When your stories become easy enough to follow while captivating the reader and all of the typos have been corrected. | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | 0 | 8,884 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0zf18 | hc0n5np | 1,631,079,566 | 1,631,072,047 | 2 | 1 | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | Writing is one of the few things people just expect to be brilliant at without practice. | 1 | 7,519 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0zf18 | hc0q5fk | 1,631,079,566 | 1,631,073,705 | 2 | 1 | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | You have to incorporate higher level of writing every single time you write. This means correctness in texts and any other place that doesn’t demand it. This means making statements that are thoughtful and strike resonance. This means giving people things to think about and words to remember. This means conducting yourself as you would your own prose. You don’t have to read so much as engage and listen. | 1 | 5,861 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0zf18 | hc0l6vg | 1,631,079,566 | 1,631,070,997 | 2 | 1 | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | Normally writing skill increases with time but if you feel like that isn't working I would try taking a class or two. Or acquiring tools to specifically help with grammar and that sort of route. Ultimately everyone hates their writing, it's kinda like listening to your own voice. | 1 | 8,569 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0mj6o | hc0zf18 | 1,631,071,710 | 1,631,079,566 | 1 | 2 | Complete some writing prompts, and see if there's anything there you can turn into something bigger. | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | 0 | 7,856 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0q6lw | hc0zf18 | 1,631,073,724 | 1,631,079,566 | 1 | 2 | Journal prompts | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | 0 | 5,842 | 2 | ||
pk2apk | writing_train | 0.89 | How exactly do you get good at writing? I feel that if I just "keep writing," I'll just end up producing the same quality over and over again. I tried using apps like Grammarly and ProWritingAid but it ANNOYS ME TO DEATH!!!! | hc0zf18 | hc0w9gc | 1,631,079,566 | 1,631,077,379 | 2 | 1 | Grammarly is never going to pay to read one of your stories, so its opinion of your prose is neither here nor there. It's okay at catching certain kinds of blunders but it has no concept of what a story is, so it's useless for the stuff that really matters. Focus on telling your story in a way that a human would enjoy, not in a way that leaves a robot with nothing to say. | writing comes from within, time and patience outweighs all. dedicate time daily to writing whether it makes sense or not. over time you’ll be able to paint a picture with your words | 1 | 2,187 | 2 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in56ssf | in4y4fx | 1,662,350,402 | 1,662,345,979 | 30 | 12 | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | I try to think of it as kinda like drawing an egg on white paper. You don't directly draw the egg but you draw the shadows, how the light reflects off the table it sits on, the light on the egg. You just draw everything around the egg. I don't know if that makes sense but it's kinda what I've been told. | 1 | 4,423 | 2.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in56ssf | in4wke3 | 1,662,350,402 | 1,662,345,237 | 30 | 9 | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | I like to think of the senses when doing descriptions. It can help the reader feel more like they are in a setting, or near a person. So yes, seeing is one, but even something like a smell, or sound can say a lot about a setting. Maybe you can hear classical music from upstair and the smell of chocolate drifting through the air, or maybe you can hear the drips seeping through the roof and splashing to the ground, with a hint of mould in the air. Both create different atmospheres whilst emerging the reader in the setting. Character wise, I like to describe what you can see. Sounds obvious, but if there’s a figure in the smoke far away, you won’t be able to see their green eyes, where as if the character is having a deep conversation with the focal character, their green eyes may be noticeable. If it’s from a first person point of view, what would that character actually notice first, would they look straight to the face, or look at their shoes. I’m not saying their is a right option, and this can also help develop a character, as one who looks at the shoes first may not like eye contact or something. It really depends on your character in that situation. Kind of rambled, so last thing haha. I usually won’t go into too much depth with how a character looks unless it means something. For example, a character may have a pointed nose, but it may mean more to talk about their grey skin. Having a pointed nose doesn’t actually say much about the character, but Greg skin can suggest malnourishment and how they may not be taking care of themselves. It also makes the reader want to know more about the character, as they want to understand why they have such dull grey skin. Idk if any of that helps, feel free to correct me, I’m still learning and always will be, but hopefully that helps a bit!! | 1 | 5,165 | 3.333333 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in54glt | in56ssf | 1,662,349,140 | 1,662,350,402 | 10 | 30 | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 1,262 | 3 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4zk7j | in56ssf | 1,662,346,690 | 1,662,350,402 | 5 | 30 | Use deep POV and describe only what's important to your character. Use any of these: sight, sound, smell, taste, touch. Plus, if applicable, include character's attitude toward setting and character appearance. For one example, read opening paragraph of NOBLE BEGINNINGS by L.T. Ryan. Study deep POV and read Jack Grapes' METHOD WRITING. It may be a struggle to learn it, but once you master it, you will write riveting stuff. It's worth the effort for lots of reasons. | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 3,712 | 6 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tkh4 | in56ssf | 1,662,343,812 | 1,662,350,402 | 3 | 30 | Ok so when working with a first view I highly recommend you to make a sketch on how the place is. What is the first thing you would see if it was u? Then just go describing the most important parts, if the novel/fanfiction you are writing is small try to make it objective if it is supposed to be a longer one you can describe in a more detailed way. I hope I helped in some kind of way. | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 6,590 | 10 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tn58 | in56ssf | 1,662,343,848 | 1,662,350,402 | 2 | 30 | I’m exactly the same except I have a problem with describing body language lol | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 6,554 | 15 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4yd0z | in56ssf | 1,662,346,095 | 1,662,350,402 | 2 | 30 | I rarely describe anything, and this is primarily because I don't care about the material properties of objects, characters, or settings. When I do use descriptions, I often do it from a character's perspective so that the description not only tells you what something is like, but also how characters feel about it. Give a character some thoughts about what it reminds them of, have them compare it to something they recognize, or something similar. | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 4,307 | 15 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in56j3e | in56ssf | 1,662,350,253 | 1,662,350,402 | 2 | 30 | I think every writer has the same issue, I feel the best thing to do is keep painting that mental picture even down to the last drop of water until you feel uts perfect. That's what I do in my many thousands of rewrites. | Sometimes less is more. Like for instance if you describe somebody sitting on "a white couch that had long since been stained yellow" you can kinda imagine what the rest of the room probably looks like. Also using more than just what the narrator sees but also what they hear and smell. | 0 | 149 | 15 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4wke3 | in4y4fx | 1,662,345,237 | 1,662,345,979 | 9 | 12 | I like to think of the senses when doing descriptions. It can help the reader feel more like they are in a setting, or near a person. So yes, seeing is one, but even something like a smell, or sound can say a lot about a setting. Maybe you can hear classical music from upstair and the smell of chocolate drifting through the air, or maybe you can hear the drips seeping through the roof and splashing to the ground, with a hint of mould in the air. Both create different atmospheres whilst emerging the reader in the setting. Character wise, I like to describe what you can see. Sounds obvious, but if there’s a figure in the smoke far away, you won’t be able to see their green eyes, where as if the character is having a deep conversation with the focal character, their green eyes may be noticeable. If it’s from a first person point of view, what would that character actually notice first, would they look straight to the face, or look at their shoes. I’m not saying their is a right option, and this can also help develop a character, as one who looks at the shoes first may not like eye contact or something. It really depends on your character in that situation. Kind of rambled, so last thing haha. I usually won’t go into too much depth with how a character looks unless it means something. For example, a character may have a pointed nose, but it may mean more to talk about their grey skin. Having a pointed nose doesn’t actually say much about the character, but Greg skin can suggest malnourishment and how they may not be taking care of themselves. It also makes the reader want to know more about the character, as they want to understand why they have such dull grey skin. Idk if any of that helps, feel free to correct me, I’m still learning and always will be, but hopefully that helps a bit!! | I try to think of it as kinda like drawing an egg on white paper. You don't directly draw the egg but you draw the shadows, how the light reflects off the table it sits on, the light on the egg. You just draw everything around the egg. I don't know if that makes sense but it's kinda what I've been told. | 0 | 742 | 1.333333 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4y4fx | in4tkh4 | 1,662,345,979 | 1,662,343,812 | 12 | 3 | I try to think of it as kinda like drawing an egg on white paper. You don't directly draw the egg but you draw the shadows, how the light reflects off the table it sits on, the light on the egg. You just draw everything around the egg. I don't know if that makes sense but it's kinda what I've been told. | Ok so when working with a first view I highly recommend you to make a sketch on how the place is. What is the first thing you would see if it was u? Then just go describing the most important parts, if the novel/fanfiction you are writing is small try to make it objective if it is supposed to be a longer one you can describe in a more detailed way. I hope I helped in some kind of way. | 1 | 2,167 | 4 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4y4fx | in4tn58 | 1,662,345,979 | 1,662,343,848 | 12 | 2 | I try to think of it as kinda like drawing an egg on white paper. You don't directly draw the egg but you draw the shadows, how the light reflects off the table it sits on, the light on the egg. You just draw everything around the egg. I don't know if that makes sense but it's kinda what I've been told. | I’m exactly the same except I have a problem with describing body language lol | 1 | 2,131 | 6 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in54glt | in4wke3 | 1,662,349,140 | 1,662,345,237 | 10 | 9 | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | I like to think of the senses when doing descriptions. It can help the reader feel more like they are in a setting, or near a person. So yes, seeing is one, but even something like a smell, or sound can say a lot about a setting. Maybe you can hear classical music from upstair and the smell of chocolate drifting through the air, or maybe you can hear the drips seeping through the roof and splashing to the ground, with a hint of mould in the air. Both create different atmospheres whilst emerging the reader in the setting. Character wise, I like to describe what you can see. Sounds obvious, but if there’s a figure in the smoke far away, you won’t be able to see their green eyes, where as if the character is having a deep conversation with the focal character, their green eyes may be noticeable. If it’s from a first person point of view, what would that character actually notice first, would they look straight to the face, or look at their shoes. I’m not saying their is a right option, and this can also help develop a character, as one who looks at the shoes first may not like eye contact or something. It really depends on your character in that situation. Kind of rambled, so last thing haha. I usually won’t go into too much depth with how a character looks unless it means something. For example, a character may have a pointed nose, but it may mean more to talk about their grey skin. Having a pointed nose doesn’t actually say much about the character, but Greg skin can suggest malnourishment and how they may not be taking care of themselves. It also makes the reader want to know more about the character, as they want to understand why they have such dull grey skin. Idk if any of that helps, feel free to correct me, I’m still learning and always will be, but hopefully that helps a bit!! | 1 | 3,903 | 1.111111 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tkh4 | in4wke3 | 1,662,343,812 | 1,662,345,237 | 3 | 9 | Ok so when working with a first view I highly recommend you to make a sketch on how the place is. What is the first thing you would see if it was u? Then just go describing the most important parts, if the novel/fanfiction you are writing is small try to make it objective if it is supposed to be a longer one you can describe in a more detailed way. I hope I helped in some kind of way. | I like to think of the senses when doing descriptions. It can help the reader feel more like they are in a setting, or near a person. So yes, seeing is one, but even something like a smell, or sound can say a lot about a setting. Maybe you can hear classical music from upstair and the smell of chocolate drifting through the air, or maybe you can hear the drips seeping through the roof and splashing to the ground, with a hint of mould in the air. Both create different atmospheres whilst emerging the reader in the setting. Character wise, I like to describe what you can see. Sounds obvious, but if there’s a figure in the smoke far away, you won’t be able to see their green eyes, where as if the character is having a deep conversation with the focal character, their green eyes may be noticeable. If it’s from a first person point of view, what would that character actually notice first, would they look straight to the face, or look at their shoes. I’m not saying their is a right option, and this can also help develop a character, as one who looks at the shoes first may not like eye contact or something. It really depends on your character in that situation. Kind of rambled, so last thing haha. I usually won’t go into too much depth with how a character looks unless it means something. For example, a character may have a pointed nose, but it may mean more to talk about their grey skin. Having a pointed nose doesn’t actually say much about the character, but Greg skin can suggest malnourishment and how they may not be taking care of themselves. It also makes the reader want to know more about the character, as they want to understand why they have such dull grey skin. Idk if any of that helps, feel free to correct me, I’m still learning and always will be, but hopefully that helps a bit!! | 0 | 1,425 | 3 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4wke3 | in4tn58 | 1,662,345,237 | 1,662,343,848 | 9 | 2 | I like to think of the senses when doing descriptions. It can help the reader feel more like they are in a setting, or near a person. So yes, seeing is one, but even something like a smell, or sound can say a lot about a setting. Maybe you can hear classical music from upstair and the smell of chocolate drifting through the air, or maybe you can hear the drips seeping through the roof and splashing to the ground, with a hint of mould in the air. Both create different atmospheres whilst emerging the reader in the setting. Character wise, I like to describe what you can see. Sounds obvious, but if there’s a figure in the smoke far away, you won’t be able to see their green eyes, where as if the character is having a deep conversation with the focal character, their green eyes may be noticeable. If it’s from a first person point of view, what would that character actually notice first, would they look straight to the face, or look at their shoes. I’m not saying their is a right option, and this can also help develop a character, as one who looks at the shoes first may not like eye contact or something. It really depends on your character in that situation. Kind of rambled, so last thing haha. I usually won’t go into too much depth with how a character looks unless it means something. For example, a character may have a pointed nose, but it may mean more to talk about their grey skin. Having a pointed nose doesn’t actually say much about the character, but Greg skin can suggest malnourishment and how they may not be taking care of themselves. It also makes the reader want to know more about the character, as they want to understand why they have such dull grey skin. Idk if any of that helps, feel free to correct me, I’m still learning and always will be, but hopefully that helps a bit!! | I’m exactly the same except I have a problem with describing body language lol | 1 | 1,389 | 4.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in54glt | in4zk7j | 1,662,349,140 | 1,662,346,690 | 10 | 5 | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | Use deep POV and describe only what's important to your character. Use any of these: sight, sound, smell, taste, touch. Plus, if applicable, include character's attitude toward setting and character appearance. For one example, read opening paragraph of NOBLE BEGINNINGS by L.T. Ryan. Study deep POV and read Jack Grapes' METHOD WRITING. It may be a struggle to learn it, but once you master it, you will write riveting stuff. It's worth the effort for lots of reasons. | 1 | 2,450 | 2 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tkh4 | in54glt | 1,662,343,812 | 1,662,349,140 | 3 | 10 | Ok so when working with a first view I highly recommend you to make a sketch on how the place is. What is the first thing you would see if it was u? Then just go describing the most important parts, if the novel/fanfiction you are writing is small try to make it objective if it is supposed to be a longer one you can describe in a more detailed way. I hope I helped in some kind of way. | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | 0 | 5,328 | 3.333333 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in54glt | in4tn58 | 1,662,349,140 | 1,662,343,848 | 10 | 2 | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | I’m exactly the same except I have a problem with describing body language lol | 1 | 5,292 | 5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in54glt | in4yd0z | 1,662,349,140 | 1,662,346,095 | 10 | 2 | I leave deeper descriptions for my 2nd and third draft, when I have the bones of the story down and can slow my brain down a bit to really immerse myself in the scene to see/hear/feel what those characters are feeling. If you're a visual person, find a reference photo, if you need audio, put on something ambient. | I rarely describe anything, and this is primarily because I don't care about the material properties of objects, characters, or settings. When I do use descriptions, I often do it from a character's perspective so that the description not only tells you what something is like, but also how characters feel about it. Give a character some thoughts about what it reminds them of, have them compare it to something they recognize, or something similar. | 1 | 3,045 | 5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4zk7j | in4tkh4 | 1,662,346,690 | 1,662,343,812 | 5 | 3 | Use deep POV and describe only what's important to your character. Use any of these: sight, sound, smell, taste, touch. Plus, if applicable, include character's attitude toward setting and character appearance. For one example, read opening paragraph of NOBLE BEGINNINGS by L.T. Ryan. Study deep POV and read Jack Grapes' METHOD WRITING. It may be a struggle to learn it, but once you master it, you will write riveting stuff. It's worth the effort for lots of reasons. | Ok so when working with a first view I highly recommend you to make a sketch on how the place is. What is the first thing you would see if it was u? Then just go describing the most important parts, if the novel/fanfiction you are writing is small try to make it objective if it is supposed to be a longer one you can describe in a more detailed way. I hope I helped in some kind of way. | 1 | 2,878 | 1.666667 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tn58 | in4zk7j | 1,662,343,848 | 1,662,346,690 | 2 | 5 | I’m exactly the same except I have a problem with describing body language lol | Use deep POV and describe only what's important to your character. Use any of these: sight, sound, smell, taste, touch. Plus, if applicable, include character's attitude toward setting and character appearance. For one example, read opening paragraph of NOBLE BEGINNINGS by L.T. Ryan. Study deep POV and read Jack Grapes' METHOD WRITING. It may be a struggle to learn it, but once you master it, you will write riveting stuff. It's worth the effort for lots of reasons. | 0 | 2,842 | 2.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4yd0z | in4zk7j | 1,662,346,095 | 1,662,346,690 | 2 | 5 | I rarely describe anything, and this is primarily because I don't care about the material properties of objects, characters, or settings. When I do use descriptions, I often do it from a character's perspective so that the description not only tells you what something is like, but also how characters feel about it. Give a character some thoughts about what it reminds them of, have them compare it to something they recognize, or something similar. | Use deep POV and describe only what's important to your character. Use any of these: sight, sound, smell, taste, touch. Plus, if applicable, include character's attitude toward setting and character appearance. For one example, read opening paragraph of NOBLE BEGINNINGS by L.T. Ryan. Study deep POV and read Jack Grapes' METHOD WRITING. It may be a struggle to learn it, but once you master it, you will write riveting stuff. It's worth the effort for lots of reasons. | 0 | 595 | 2.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tn58 | in5e49v | 1,662,343,848 | 1,662,354,749 | 2 | 3 | I’m exactly the same except I have a problem with describing body language lol | Fun fact: you don't have to dwell too much on character's appearance and setting to write a good book. Most authors try to do this and they end up writing purple proses. But if you really want to write these stuff. For character description: Try to expose your characters to the readers slowly. Describe small things about a character. First his hair colour, then their eyes, their facial features that stand out and their smell (trust me, it sounds weird but engaging different senses makes books more immersive) About settings, do not write lengthy setting descriptions just to fulfill a word count. Only describe settings which add to your story, make it more interesting. For example, the colour of a wall can describe the protagonists mood. The objects around the room can clarify the protagonist's motive and so on. Pro tip: Having the protagonist describe their appearance in front of a mirror is a big no-no. | 0 | 10,901 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4yd0z | in5e49v | 1,662,346,095 | 1,662,354,749 | 2 | 3 | I rarely describe anything, and this is primarily because I don't care about the material properties of objects, characters, or settings. When I do use descriptions, I often do it from a character's perspective so that the description not only tells you what something is like, but also how characters feel about it. Give a character some thoughts about what it reminds them of, have them compare it to something they recognize, or something similar. | Fun fact: you don't have to dwell too much on character's appearance and setting to write a good book. Most authors try to do this and they end up writing purple proses. But if you really want to write these stuff. For character description: Try to expose your characters to the readers slowly. Describe small things about a character. First his hair colour, then their eyes, their facial features that stand out and their smell (trust me, it sounds weird but engaging different senses makes books more immersive) About settings, do not write lengthy setting descriptions just to fulfill a word count. Only describe settings which add to your story, make it more interesting. For example, the colour of a wall can describe the protagonists mood. The objects around the room can clarify the protagonist's motive and so on. Pro tip: Having the protagonist describe their appearance in front of a mirror is a big no-no. | 0 | 8,654 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in56j3e | in5e49v | 1,662,350,253 | 1,662,354,749 | 2 | 3 | I think every writer has the same issue, I feel the best thing to do is keep painting that mental picture even down to the last drop of water until you feel uts perfect. That's what I do in my many thousands of rewrites. | Fun fact: you don't have to dwell too much on character's appearance and setting to write a good book. Most authors try to do this and they end up writing purple proses. But if you really want to write these stuff. For character description: Try to expose your characters to the readers slowly. Describe small things about a character. First his hair colour, then their eyes, their facial features that stand out and their smell (trust me, it sounds weird but engaging different senses makes books more immersive) About settings, do not write lengthy setting descriptions just to fulfill a word count. Only describe settings which add to your story, make it more interesting. For example, the colour of a wall can describe the protagonists mood. The objects around the room can clarify the protagonist's motive and so on. Pro tip: Having the protagonist describe their appearance in front of a mirror is a big no-no. | 0 | 4,496 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5e49v | in5bqa2 | 1,662,354,749 | 1,662,353,256 | 3 | 2 | Fun fact: you don't have to dwell too much on character's appearance and setting to write a good book. Most authors try to do this and they end up writing purple proses. But if you really want to write these stuff. For character description: Try to expose your characters to the readers slowly. Describe small things about a character. First his hair colour, then their eyes, their facial features that stand out and their smell (trust me, it sounds weird but engaging different senses makes books more immersive) About settings, do not write lengthy setting descriptions just to fulfill a word count. Only describe settings which add to your story, make it more interesting. For example, the colour of a wall can describe the protagonists mood. The objects around the room can clarify the protagonist's motive and so on. Pro tip: Having the protagonist describe their appearance in front of a mirror is a big no-no. | lo que siempre y sigo teniendo problema son los diálogos, las descripciones trata de ser simple pero que de mucho significado, hacer descripciones físicas y psicológicas puede cansar al lector porque pensara que tendrá que memorizar todo eso, un buen truco es hacer pocas descripciones o incompletas y con el paso de la trama dar mas datos, eso hace que el lector se interese aunque sea de un personaje secundario, capta su atención por la sorpresa. | 1 | 1,493 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5ab2j | in5e49v | 1,662,352,412 | 1,662,354,749 | 1 | 3 | Same. There's a series of thesauruses for writers that can help with descriptions. Try the Urban Setting Thesaurus and the Rural Setting Thesaurus. It gives you a full description of each area in these settings and what you might encounter, from sounds to smells. | Fun fact: you don't have to dwell too much on character's appearance and setting to write a good book. Most authors try to do this and they end up writing purple proses. But if you really want to write these stuff. For character description: Try to expose your characters to the readers slowly. Describe small things about a character. First his hair colour, then their eyes, their facial features that stand out and their smell (trust me, it sounds weird but engaging different senses makes books more immersive) About settings, do not write lengthy setting descriptions just to fulfill a word count. Only describe settings which add to your story, make it more interesting. For example, the colour of a wall can describe the protagonists mood. The objects around the room can clarify the protagonist's motive and so on. Pro tip: Having the protagonist describe their appearance in front of a mirror is a big no-no. | 0 | 2,337 | 3 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4tn58 | in5orzs | 1,662,343,848 | 1,662,362,208 | 2 | 3 | I’m exactly the same except I have a problem with describing body language lol | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | 0 | 18,360 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in4yd0z | in5orzs | 1,662,346,095 | 1,662,362,208 | 2 | 3 | I rarely describe anything, and this is primarily because I don't care about the material properties of objects, characters, or settings. When I do use descriptions, I often do it from a character's perspective so that the description not only tells you what something is like, but also how characters feel about it. Give a character some thoughts about what it reminds them of, have them compare it to something they recognize, or something similar. | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | 0 | 16,113 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in56j3e | in5orzs | 1,662,350,253 | 1,662,362,208 | 2 | 3 | I think every writer has the same issue, I feel the best thing to do is keep painting that mental picture even down to the last drop of water until you feel uts perfect. That's what I do in my many thousands of rewrites. | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | 0 | 11,955 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5bqa2 | in5orzs | 1,662,353,256 | 1,662,362,208 | 2 | 3 | lo que siempre y sigo teniendo problema son los diálogos, las descripciones trata de ser simple pero que de mucho significado, hacer descripciones físicas y psicológicas puede cansar al lector porque pensara que tendrá que memorizar todo eso, un buen truco es hacer pocas descripciones o incompletas y con el paso de la trama dar mas datos, eso hace que el lector se interese aunque sea de un personaje secundario, capta su atención por la sorpresa. | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | 0 | 8,952 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5hyro | in5orzs | 1,662,357,275 | 1,662,362,208 | 2 | 3 | I use reference pictures which make it significantly easier for me to describe | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | 0 | 4,933 | 1.5 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5orzs | in5ab2j | 1,662,362,208 | 1,662,352,412 | 3 | 1 | Yes, I have the same shortcoming with setting descriptions. What helped me: * Reading great authors who are good at this kind of prose. * Using AI program that can write some descriptions based on a prompt. It comes up with ideas I didn't think of. That seems very a limited help but I have such a long way to go, it helps me to kick things off. | Same. There's a series of thesauruses for writers that can help with descriptions. Try the Urban Setting Thesaurus and the Rural Setting Thesaurus. It gives you a full description of each area in these settings and what you might encounter, from sounds to smells. | 1 | 9,796 | 3 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5ab2j | in5bqa2 | 1,662,352,412 | 1,662,353,256 | 1 | 2 | Same. There's a series of thesauruses for writers that can help with descriptions. Try the Urban Setting Thesaurus and the Rural Setting Thesaurus. It gives you a full description of each area in these settings and what you might encounter, from sounds to smells. | lo que siempre y sigo teniendo problema son los diálogos, las descripciones trata de ser simple pero que de mucho significado, hacer descripciones físicas y psicológicas puede cansar al lector porque pensara que tendrá que memorizar todo eso, un buen truco es hacer pocas descripciones o incompletas y con el paso de la trama dar mas datos, eso hace que el lector se interese aunque sea de un personaje secundario, capta su atención por la sorpresa. | 0 | 844 | 2 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5hyro | in5ab2j | 1,662,357,275 | 1,662,352,412 | 2 | 1 | I use reference pictures which make it significantly easier for me to describe | Same. There's a series of thesauruses for writers that can help with descriptions. Try the Urban Setting Thesaurus and the Rural Setting Thesaurus. It gives you a full description of each area in these settings and what you might encounter, from sounds to smells. | 1 | 4,863 | 2 | ||
x63341 | writing_train | 0.87 | How do you write better descriptions? I’m really good at writing things that have to with characters like plot, dialogue, body language, etc. My short coming is describing things like settings and character appearance. Has anyone had the same problem? | in5ab2j | in5wkox | 1,662,352,412 | 1,662,368,649 | 1 | 2 | Same. There's a series of thesauruses for writers that can help with descriptions. Try the Urban Setting Thesaurus and the Rural Setting Thesaurus. It gives you a full description of each area in these settings and what you might encounter, from sounds to smells. | People who are "really good at writing things that have to do with characters like plot, body language etc.." also tend to be good at writing descriptions. | 0 | 16,237 | 2 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrd0ncv | hrd54rf | 1,641,395,319 | 1,641,397,119 | 8 | 16 | You can give him a save the cat moment, aka give him some redeemable qualities or moments that allow readers to root for him. Such as saving a cat from a tree. Maybe he bullies his sister, but he defends her from other bullies | Speaking more as a reader here than as a writer, have a couple of things that I think are pretty important for those types of characters: First and foremost, mean character needs to face some sort of consequences for their earlier actions. Even if they end up being better later on (honestly, I would say *especially* if they end up being better later on), the thing I loathe more than anything in these types of character arcs is when a character does assholish things and gets off scot-free. Secondly, it's important to not write excuses for them when they are being assholish. I can't speak for everyone obviously, but I know that for me personally, I can't stand it when the book I'm reading does something like "yeah he killed people, but it's ok because he had a troubled childhood, so we should forgive him" or something to that effect. Obviously a bit more drastic than the scenario you're mentioning, but the point itself still remains. Note that this isn't me saying you can't use having something tragic as a root cause for them being a jerk, because that's accurate to life. Just saying to avoid having any tragic backstory be a reason to absolve them of consequences. Lastly, make sure to give the character at least some positive qualities, and to highlight them as appropriate. The example /u/IronJuno gave is a good one for that, and there's obviously other ones that you could go for as well. | 0 | 1,800 | 2 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrd54rf | hrbzhyh | 1,641,397,119 | 1,641,373,280 | 16 | 5 | Speaking more as a reader here than as a writer, have a couple of things that I think are pretty important for those types of characters: First and foremost, mean character needs to face some sort of consequences for their earlier actions. Even if they end up being better later on (honestly, I would say *especially* if they end up being better later on), the thing I loathe more than anything in these types of character arcs is when a character does assholish things and gets off scot-free. Secondly, it's important to not write excuses for them when they are being assholish. I can't speak for everyone obviously, but I know that for me personally, I can't stand it when the book I'm reading does something like "yeah he killed people, but it's ok because he had a troubled childhood, so we should forgive him" or something to that effect. Obviously a bit more drastic than the scenario you're mentioning, but the point itself still remains. Note that this isn't me saying you can't use having something tragic as a root cause for them being a jerk, because that's accurate to life. Just saying to avoid having any tragic backstory be a reason to absolve them of consequences. Lastly, make sure to give the character at least some positive qualities, and to highlight them as appropriate. The example /u/IronJuno gave is a good one for that, and there's obviously other ones that you could go for as well. | if he's younger, infantilising him should do the trick. people are less judgmental of kids unless you really push the envelope. just make sure he's humanized enough as readers are getting to know him and it should be alright | 1 | 23,839 | 3.2 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrc1iwq | hrd54rf | 1,641,374,836 | 1,641,397,119 | 0 | 16 | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | Speaking more as a reader here than as a writer, have a couple of things that I think are pretty important for those types of characters: First and foremost, mean character needs to face some sort of consequences for their earlier actions. Even if they end up being better later on (honestly, I would say *especially* if they end up being better later on), the thing I loathe more than anything in these types of character arcs is when a character does assholish things and gets off scot-free. Secondly, it's important to not write excuses for them when they are being assholish. I can't speak for everyone obviously, but I know that for me personally, I can't stand it when the book I'm reading does something like "yeah he killed people, but it's ok because he had a troubled childhood, so we should forgive him" or something to that effect. Obviously a bit more drastic than the scenario you're mentioning, but the point itself still remains. Note that this isn't me saying you can't use having something tragic as a root cause for them being a jerk, because that's accurate to life. Just saying to avoid having any tragic backstory be a reason to absolve them of consequences. Lastly, make sure to give the character at least some positive qualities, and to highlight them as appropriate. The example /u/IronJuno gave is a good one for that, and there's obviously other ones that you could go for as well. | 0 | 22,283 | 16,000 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrbzhyh | hrd0ncv | 1,641,373,280 | 1,641,395,319 | 5 | 8 | if he's younger, infantilising him should do the trick. people are less judgmental of kids unless you really push the envelope. just make sure he's humanized enough as readers are getting to know him and it should be alright | You can give him a save the cat moment, aka give him some redeemable qualities or moments that allow readers to root for him. Such as saving a cat from a tree. Maybe he bullies his sister, but he defends her from other bullies | 0 | 22,039 | 1.6 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrc1iwq | hrd0ncv | 1,641,374,836 | 1,641,395,319 | 0 | 8 | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | You can give him a save the cat moment, aka give him some redeemable qualities or moments that allow readers to root for him. Such as saving a cat from a tree. Maybe he bullies his sister, but he defends her from other bullies | 0 | 20,483 | 8,000 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrd7lzw | hrc1iwq | 1,641,398,078 | 1,641,374,836 | 2 | 0 | Use it to your advantage and then flip it on the reader. Think about that mean critic in Ratatouille. That scene where he eats and thinks about his childhood. So let the audience hate the character , then begin to show his reasons for mangling the toys. Maybe in his mind the toys are a threat to her and he wants to protect her. Who gave her the toys? Maybe the motivation is not to hurt the girl but anger at the giver. I wish you the best! | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | 1 | 23,242 | 2,000 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrc1iwq | hrdghvk | 1,641,374,836 | 1,641,401,414 | 0 | 2 | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | I'm writing out of my ass here, but I'd try and give the reader some perspective on the way the boy views the world. If he is jealous of his sister and is being cruel just to spite her, that's relatable and he might be seen with compassion for his childish behavior. It might also help jumping from his perspective to that of his sister. The reader might be forced to take a side if we have no idea what their thought processes are all about. By that same token, you get can away with a lot of shit your characters end up doing if their motives end up sounding reasonable. | 0 | 26,578 | 2,000 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrek7eg | hrc1iwq | 1,641,416,517 | 1,641,374,836 | 2 | 0 | Mystery or suspense. Either tease something sinister will be revealed about him or that he might do something crazy. Readers will want him to live on just so they can find out/see how it plays out | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | 1 | 41,681 | 2,000 | ||
rwi8cs | writing_train | 0.78 | How do I write a mean character without making the reader root for his death I'm writing a horror story with a boy who gets into fights with his sister and steals her toys to mangle them kinda like sid from toy story. Later he becomes less of a jerk to his sister but My fear is the audience will hate him before that happens. How do I avoid this? | hrfmjq0 | hrc1iwq | 1,641,431,657 | 1,641,374,836 | 2 | 0 | My sibling and I did this to each other whenever we got really pissed off. As long as the kid grows out of it by like 10 or gets reprimanded by an adult it’s just a kid being a kid. Now if they start mangling live animals, that’s different. Another way of writing a mean character without the audience hating them is if the mean character is being mean to someone annoying. I just finished a book where the fully evil antagonist arrived to slaughter a city and I was like “THANK GOD, I don’t have to hear any more whining and bumbling idiocy.” | Hi -- please use the idea brainstorming thread on Tuesday or Friday for advice on specific stories. This includes: (not a exhaustive list) setting, character, subject matter, magic and power systems, sci-fi technology, 'how do I write X?' and anything directly connected with your story. This includes asking for general advice but then following up with details of your story project. Thanks! | 1 | 56,821 | 2,000 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucm8z7 | eucnm6w | 1,563,679,224 | 1,563,680,460 | 18 | 60 | Don't have her main reason for living be your main character. In general, characters should have their own goals and reasons for doing things, and the love interest should be no different. | Yeah she needs to have her own life going on. Sometimes she’s out. She doesn’t have to explain. I always liked how in The Hobbit Gandalf would be all “I gotta bounce- y’all be careful in Mirkwood.” It showed that the world didn’t revolve around this one story. About sex, it’s been my experience that sex doesn’t heal you. You have to be healed already to have healthy sex. | 0 | 1,236 | 3.333333 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucnm6w | euci274 | 1,563,680,460 | 1,563,675,718 | 60 | 10 | Yeah she needs to have her own life going on. Sometimes she’s out. She doesn’t have to explain. I always liked how in The Hobbit Gandalf would be all “I gotta bounce- y’all be careful in Mirkwood.” It showed that the world didn’t revolve around this one story. About sex, it’s been my experience that sex doesn’t heal you. You have to be healed already to have healthy sex. | Give her a hobby. Sure, she's a witch hunter, too, but what does she like to do in her spare time? Fishing? Sky diving? | 1 | 4,742 | 6 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucnm6w | euci2fp | 1,563,680,460 | 1,563,675,723 | 60 | 5 | Yeah she needs to have her own life going on. Sometimes she’s out. She doesn’t have to explain. I always liked how in The Hobbit Gandalf would be all “I gotta bounce- y’all be careful in Mirkwood.” It showed that the world didn’t revolve around this one story. About sex, it’s been my experience that sex doesn’t heal you. You have to be healed already to have healthy sex. | Make her arc and agency hold up whether or not there is a love connection. Also, make sure she isn't the only viable person who could be of interest and has their own arc and agency. If there's only two, don't give one to your protag as a prize for completing their character arc and kill off or otherwise mangle the other. Let them sustain their lifespan and utility beyond the interests and/or gaze of the protag(s). If the women or possible love interest(s) don't survive after saying no, it's still all bad. There are a ton of resources online to get more insights beyond your own project to see all the sneaky or subconscious ways such characters are rewarded to someone else or demoted. | 1 | 4,737 | 12 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euckhke | eucnm6w | 1,563,677,710 | 1,563,680,460 | 1 | 60 | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | Yeah she needs to have her own life going on. Sometimes she’s out. She doesn’t have to explain. I always liked how in The Hobbit Gandalf would be all “I gotta bounce- y’all be careful in Mirkwood.” It showed that the world didn’t revolve around this one story. About sex, it’s been my experience that sex doesn’t heal you. You have to be healed already to have healthy sex. | 0 | 2,750 | 60 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucm8z7 | eucs6nt | 1,563,679,224 | 1,563,684,841 | 18 | 32 | Don't have her main reason for living be your main character. In general, characters should have their own goals and reasons for doing things, and the love interest should be no different. | >How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? To put it simply, they need to have enough other stuff going on that their existence can't be fully summed up as "the love interest". To put it the long way: Character B needs the holy trinity: goals, motivation, and agency. * Goals: what they want to accomplish in their life. There needs to be something (better yet, multiple things) on that list other than "get with Character A". * Motivations: *why* they want to achieve those goals. These heavily influence the means they're willing to use to accomplish those goals, and how they approach them. For instance, the goal of 'slaying a dragon' could have a motivation of revenge ("the dragon burned my village!"), greed ("I want the dragon's hoard!"), as a stepping stone for some other goal ("The king says he'll give half his kingdom and the princess' hand in marriage to whoever kills the dragon - and the princess and I are in love"), etc. All of those motivations are going to lead to some different ideas about slaying the dragon and what it's worth risking in the process. For instance, "Revenge" is going to have a much higher likelihood of going for a suicidal attack on the dragon than our friends "Get rich" or "In love with the princess": gold doesn't do you much good if you're dead, and being a corpse gives you even less opportunities to marry the princess than failing to kill the dragon, but even if you die in the process, the dragon's still dead and you got your revenge. * Agency: this basically boils down to how much impact the character's choices have on the plot and other characters around them. Do *they* happen to other people and the plot, or do other people and the plot happen *to them*? Walter White's famous statement of "I am the one who knocks! ... I AM The Danger!" sums up the feeling of having agency pretty well. Now, this doesn't mean the character needs to be (or should be) some sort of invincible badass. You can fail and still have agency, and you don't have to be driving the plot the whole time. (Luke doesn't lose his agency along with his hand in Cloud City, y'know.) They still have to have an *impact*. The most common complaints about female characters are that they lack agency (being merely trophies to be fought over, whose decisions and actions don't impact the story) or that the writers fell into the ditch on the other side of the road and the character's a paragon who can never lose, and dances through fights and situations that would get anyone else beat to shit without so much as a scratch on her beautiful face. You want to aim somewhere between those. Now, if your Character B has all of that, it's going to be much easier to have a fun romance. Do they have the same goal, but different motivations/approaches? Do they have different goals but the same motivations? Do they have the same goals and motivations, but personalities that rub each other the wrong way a bit at first? The possibilities are endless. My top recommended reading for learning to write romance is Pride And Prejudice. Both halves of the lead couple have things about their character that attract and repel the other at the same time, both deliberately make decisions that hurt the other (although sometimes just as a consequence of pursuing a different goal), and, as a bonus, it's got a ton of examples of healthy and unhealthy romances/relationships happening around the lead couple. It *is* a dense read (I couldn't make it all the way through on my first try), but the 1995 BBC miniseries is a pretty good adaptation if you don't want to crank through the original novel. My top recommended viewing choice for learning to write romance is Hot Fuzz. Wait a second, you say, that's not a romance flick! No, but it's a *damn* good buddy cop movie, and buddy cop movies and romances run off the same fuel: putting two characters with some similarities and some things that rub each other the wrong way, but a lot of chemistry, together and watching them bounce off each other. (Screwball comedies run off this too, but I can't think of one right now, since that genre's nearly dead.) If you can subtract the romance and sexual attraction from the dynamic between Character A and Character B, and their relationship *still* works as an entertaining friendship, you have probably written a really good romance. (And, as the shipping communities for things like OG Sherlock Holmes, Lord Of The Rings, OG Star Trek, Supernatural, etc. have shown us, you don't even *need* to explicitly add romance for fans to see it there, if you nail the relationship between the characters.) | 0 | 5,617 | 1.777778 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucs6nt | euci274 | 1,563,684,841 | 1,563,675,718 | 32 | 10 | >How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? To put it simply, they need to have enough other stuff going on that their existence can't be fully summed up as "the love interest". To put it the long way: Character B needs the holy trinity: goals, motivation, and agency. * Goals: what they want to accomplish in their life. There needs to be something (better yet, multiple things) on that list other than "get with Character A". * Motivations: *why* they want to achieve those goals. These heavily influence the means they're willing to use to accomplish those goals, and how they approach them. For instance, the goal of 'slaying a dragon' could have a motivation of revenge ("the dragon burned my village!"), greed ("I want the dragon's hoard!"), as a stepping stone for some other goal ("The king says he'll give half his kingdom and the princess' hand in marriage to whoever kills the dragon - and the princess and I are in love"), etc. All of those motivations are going to lead to some different ideas about slaying the dragon and what it's worth risking in the process. For instance, "Revenge" is going to have a much higher likelihood of going for a suicidal attack on the dragon than our friends "Get rich" or "In love with the princess": gold doesn't do you much good if you're dead, and being a corpse gives you even less opportunities to marry the princess than failing to kill the dragon, but even if you die in the process, the dragon's still dead and you got your revenge. * Agency: this basically boils down to how much impact the character's choices have on the plot and other characters around them. Do *they* happen to other people and the plot, or do other people and the plot happen *to them*? Walter White's famous statement of "I am the one who knocks! ... I AM The Danger!" sums up the feeling of having agency pretty well. Now, this doesn't mean the character needs to be (or should be) some sort of invincible badass. You can fail and still have agency, and you don't have to be driving the plot the whole time. (Luke doesn't lose his agency along with his hand in Cloud City, y'know.) They still have to have an *impact*. The most common complaints about female characters are that they lack agency (being merely trophies to be fought over, whose decisions and actions don't impact the story) or that the writers fell into the ditch on the other side of the road and the character's a paragon who can never lose, and dances through fights and situations that would get anyone else beat to shit without so much as a scratch on her beautiful face. You want to aim somewhere between those. Now, if your Character B has all of that, it's going to be much easier to have a fun romance. Do they have the same goal, but different motivations/approaches? Do they have different goals but the same motivations? Do they have the same goals and motivations, but personalities that rub each other the wrong way a bit at first? The possibilities are endless. My top recommended reading for learning to write romance is Pride And Prejudice. Both halves of the lead couple have things about their character that attract and repel the other at the same time, both deliberately make decisions that hurt the other (although sometimes just as a consequence of pursuing a different goal), and, as a bonus, it's got a ton of examples of healthy and unhealthy romances/relationships happening around the lead couple. It *is* a dense read (I couldn't make it all the way through on my first try), but the 1995 BBC miniseries is a pretty good adaptation if you don't want to crank through the original novel. My top recommended viewing choice for learning to write romance is Hot Fuzz. Wait a second, you say, that's not a romance flick! No, but it's a *damn* good buddy cop movie, and buddy cop movies and romances run off the same fuel: putting two characters with some similarities and some things that rub each other the wrong way, but a lot of chemistry, together and watching them bounce off each other. (Screwball comedies run off this too, but I can't think of one right now, since that genre's nearly dead.) If you can subtract the romance and sexual attraction from the dynamic between Character A and Character B, and their relationship *still* works as an entertaining friendship, you have probably written a really good romance. (And, as the shipping communities for things like OG Sherlock Holmes, Lord Of The Rings, OG Star Trek, Supernatural, etc. have shown us, you don't even *need* to explicitly add romance for fans to see it there, if you nail the relationship between the characters.) | Give her a hobby. Sure, she's a witch hunter, too, but what does she like to do in her spare time? Fishing? Sky diving? | 1 | 9,123 | 3.2 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucp05f | eucs6nt | 1,563,681,722 | 1,563,684,841 | 8 | 32 | Let her relationship with her love interest slowly grow throughout the story. That way you will have a lot of time to have her focus on other things to develop her character, and storylines that don't involve this person. | >How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? To put it simply, they need to have enough other stuff going on that their existence can't be fully summed up as "the love interest". To put it the long way: Character B needs the holy trinity: goals, motivation, and agency. * Goals: what they want to accomplish in their life. There needs to be something (better yet, multiple things) on that list other than "get with Character A". * Motivations: *why* they want to achieve those goals. These heavily influence the means they're willing to use to accomplish those goals, and how they approach them. For instance, the goal of 'slaying a dragon' could have a motivation of revenge ("the dragon burned my village!"), greed ("I want the dragon's hoard!"), as a stepping stone for some other goal ("The king says he'll give half his kingdom and the princess' hand in marriage to whoever kills the dragon - and the princess and I are in love"), etc. All of those motivations are going to lead to some different ideas about slaying the dragon and what it's worth risking in the process. For instance, "Revenge" is going to have a much higher likelihood of going for a suicidal attack on the dragon than our friends "Get rich" or "In love with the princess": gold doesn't do you much good if you're dead, and being a corpse gives you even less opportunities to marry the princess than failing to kill the dragon, but even if you die in the process, the dragon's still dead and you got your revenge. * Agency: this basically boils down to how much impact the character's choices have on the plot and other characters around them. Do *they* happen to other people and the plot, or do other people and the plot happen *to them*? Walter White's famous statement of "I am the one who knocks! ... I AM The Danger!" sums up the feeling of having agency pretty well. Now, this doesn't mean the character needs to be (or should be) some sort of invincible badass. You can fail and still have agency, and you don't have to be driving the plot the whole time. (Luke doesn't lose his agency along with his hand in Cloud City, y'know.) They still have to have an *impact*. The most common complaints about female characters are that they lack agency (being merely trophies to be fought over, whose decisions and actions don't impact the story) or that the writers fell into the ditch on the other side of the road and the character's a paragon who can never lose, and dances through fights and situations that would get anyone else beat to shit without so much as a scratch on her beautiful face. You want to aim somewhere between those. Now, if your Character B has all of that, it's going to be much easier to have a fun romance. Do they have the same goal, but different motivations/approaches? Do they have different goals but the same motivations? Do they have the same goals and motivations, but personalities that rub each other the wrong way a bit at first? The possibilities are endless. My top recommended reading for learning to write romance is Pride And Prejudice. Both halves of the lead couple have things about their character that attract and repel the other at the same time, both deliberately make decisions that hurt the other (although sometimes just as a consequence of pursuing a different goal), and, as a bonus, it's got a ton of examples of healthy and unhealthy romances/relationships happening around the lead couple. It *is* a dense read (I couldn't make it all the way through on my first try), but the 1995 BBC miniseries is a pretty good adaptation if you don't want to crank through the original novel. My top recommended viewing choice for learning to write romance is Hot Fuzz. Wait a second, you say, that's not a romance flick! No, but it's a *damn* good buddy cop movie, and buddy cop movies and romances run off the same fuel: putting two characters with some similarities and some things that rub each other the wrong way, but a lot of chemistry, together and watching them bounce off each other. (Screwball comedies run off this too, but I can't think of one right now, since that genre's nearly dead.) If you can subtract the romance and sexual attraction from the dynamic between Character A and Character B, and their relationship *still* works as an entertaining friendship, you have probably written a really good romance. (And, as the shipping communities for things like OG Sherlock Holmes, Lord Of The Rings, OG Star Trek, Supernatural, etc. have shown us, you don't even *need* to explicitly add romance for fans to see it there, if you nail the relationship between the characters.) | 0 | 3,119 | 4 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euci2fp | eucs6nt | 1,563,675,723 | 1,563,684,841 | 5 | 32 | Make her arc and agency hold up whether or not there is a love connection. Also, make sure she isn't the only viable person who could be of interest and has their own arc and agency. If there's only two, don't give one to your protag as a prize for completing their character arc and kill off or otherwise mangle the other. Let them sustain their lifespan and utility beyond the interests and/or gaze of the protag(s). If the women or possible love interest(s) don't survive after saying no, it's still all bad. There are a ton of resources online to get more insights beyond your own project to see all the sneaky or subconscious ways such characters are rewarded to someone else or demoted. | >How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? To put it simply, they need to have enough other stuff going on that their existence can't be fully summed up as "the love interest". To put it the long way: Character B needs the holy trinity: goals, motivation, and agency. * Goals: what they want to accomplish in their life. There needs to be something (better yet, multiple things) on that list other than "get with Character A". * Motivations: *why* they want to achieve those goals. These heavily influence the means they're willing to use to accomplish those goals, and how they approach them. For instance, the goal of 'slaying a dragon' could have a motivation of revenge ("the dragon burned my village!"), greed ("I want the dragon's hoard!"), as a stepping stone for some other goal ("The king says he'll give half his kingdom and the princess' hand in marriage to whoever kills the dragon - and the princess and I are in love"), etc. All of those motivations are going to lead to some different ideas about slaying the dragon and what it's worth risking in the process. For instance, "Revenge" is going to have a much higher likelihood of going for a suicidal attack on the dragon than our friends "Get rich" or "In love with the princess": gold doesn't do you much good if you're dead, and being a corpse gives you even less opportunities to marry the princess than failing to kill the dragon, but even if you die in the process, the dragon's still dead and you got your revenge. * Agency: this basically boils down to how much impact the character's choices have on the plot and other characters around them. Do *they* happen to other people and the plot, or do other people and the plot happen *to them*? Walter White's famous statement of "I am the one who knocks! ... I AM The Danger!" sums up the feeling of having agency pretty well. Now, this doesn't mean the character needs to be (or should be) some sort of invincible badass. You can fail and still have agency, and you don't have to be driving the plot the whole time. (Luke doesn't lose his agency along with his hand in Cloud City, y'know.) They still have to have an *impact*. The most common complaints about female characters are that they lack agency (being merely trophies to be fought over, whose decisions and actions don't impact the story) or that the writers fell into the ditch on the other side of the road and the character's a paragon who can never lose, and dances through fights and situations that would get anyone else beat to shit without so much as a scratch on her beautiful face. You want to aim somewhere between those. Now, if your Character B has all of that, it's going to be much easier to have a fun romance. Do they have the same goal, but different motivations/approaches? Do they have different goals but the same motivations? Do they have the same goals and motivations, but personalities that rub each other the wrong way a bit at first? The possibilities are endless. My top recommended reading for learning to write romance is Pride And Prejudice. Both halves of the lead couple have things about their character that attract and repel the other at the same time, both deliberately make decisions that hurt the other (although sometimes just as a consequence of pursuing a different goal), and, as a bonus, it's got a ton of examples of healthy and unhealthy romances/relationships happening around the lead couple. It *is* a dense read (I couldn't make it all the way through on my first try), but the 1995 BBC miniseries is a pretty good adaptation if you don't want to crank through the original novel. My top recommended viewing choice for learning to write romance is Hot Fuzz. Wait a second, you say, that's not a romance flick! No, but it's a *damn* good buddy cop movie, and buddy cop movies and romances run off the same fuel: putting two characters with some similarities and some things that rub each other the wrong way, but a lot of chemistry, together and watching them bounce off each other. (Screwball comedies run off this too, but I can't think of one right now, since that genre's nearly dead.) If you can subtract the romance and sexual attraction from the dynamic between Character A and Character B, and their relationship *still* works as an entertaining friendship, you have probably written a really good romance. (And, as the shipping communities for things like OG Sherlock Holmes, Lord Of The Rings, OG Star Trek, Supernatural, etc. have shown us, you don't even *need* to explicitly add romance for fans to see it there, if you nail the relationship between the characters.) | 0 | 9,118 | 6.4 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euckhke | eucs6nt | 1,563,677,710 | 1,563,684,841 | 1 | 32 | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | >How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? To put it simply, they need to have enough other stuff going on that their existence can't be fully summed up as "the love interest". To put it the long way: Character B needs the holy trinity: goals, motivation, and agency. * Goals: what they want to accomplish in their life. There needs to be something (better yet, multiple things) on that list other than "get with Character A". * Motivations: *why* they want to achieve those goals. These heavily influence the means they're willing to use to accomplish those goals, and how they approach them. For instance, the goal of 'slaying a dragon' could have a motivation of revenge ("the dragon burned my village!"), greed ("I want the dragon's hoard!"), as a stepping stone for some other goal ("The king says he'll give half his kingdom and the princess' hand in marriage to whoever kills the dragon - and the princess and I are in love"), etc. All of those motivations are going to lead to some different ideas about slaying the dragon and what it's worth risking in the process. For instance, "Revenge" is going to have a much higher likelihood of going for a suicidal attack on the dragon than our friends "Get rich" or "In love with the princess": gold doesn't do you much good if you're dead, and being a corpse gives you even less opportunities to marry the princess than failing to kill the dragon, but even if you die in the process, the dragon's still dead and you got your revenge. * Agency: this basically boils down to how much impact the character's choices have on the plot and other characters around them. Do *they* happen to other people and the plot, or do other people and the plot happen *to them*? Walter White's famous statement of "I am the one who knocks! ... I AM The Danger!" sums up the feeling of having agency pretty well. Now, this doesn't mean the character needs to be (or should be) some sort of invincible badass. You can fail and still have agency, and you don't have to be driving the plot the whole time. (Luke doesn't lose his agency along with his hand in Cloud City, y'know.) They still have to have an *impact*. The most common complaints about female characters are that they lack agency (being merely trophies to be fought over, whose decisions and actions don't impact the story) or that the writers fell into the ditch on the other side of the road and the character's a paragon who can never lose, and dances through fights and situations that would get anyone else beat to shit without so much as a scratch on her beautiful face. You want to aim somewhere between those. Now, if your Character B has all of that, it's going to be much easier to have a fun romance. Do they have the same goal, but different motivations/approaches? Do they have different goals but the same motivations? Do they have the same goals and motivations, but personalities that rub each other the wrong way a bit at first? The possibilities are endless. My top recommended reading for learning to write romance is Pride And Prejudice. Both halves of the lead couple have things about their character that attract and repel the other at the same time, both deliberately make decisions that hurt the other (although sometimes just as a consequence of pursuing a different goal), and, as a bonus, it's got a ton of examples of healthy and unhealthy romances/relationships happening around the lead couple. It *is* a dense read (I couldn't make it all the way through on my first try), but the 1995 BBC miniseries is a pretty good adaptation if you don't want to crank through the original novel. My top recommended viewing choice for learning to write romance is Hot Fuzz. Wait a second, you say, that's not a romance flick! No, but it's a *damn* good buddy cop movie, and buddy cop movies and romances run off the same fuel: putting two characters with some similarities and some things that rub each other the wrong way, but a lot of chemistry, together and watching them bounce off each other. (Screwball comedies run off this too, but I can't think of one right now, since that genre's nearly dead.) If you can subtract the romance and sexual attraction from the dynamic between Character A and Character B, and their relationship *still* works as an entertaining friendship, you have probably written a really good romance. (And, as the shipping communities for things like OG Sherlock Holmes, Lord Of The Rings, OG Star Trek, Supernatural, etc. have shown us, you don't even *need* to explicitly add romance for fans to see it there, if you nail the relationship between the characters.) | 0 | 7,131 | 32 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euci274 | eucm8z7 | 1,563,675,718 | 1,563,679,224 | 10 | 18 | Give her a hobby. Sure, she's a witch hunter, too, but what does she like to do in her spare time? Fishing? Sky diving? | Don't have her main reason for living be your main character. In general, characters should have their own goals and reasons for doing things, and the love interest should be no different. | 0 | 3,506 | 1.8 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucm8z7 | euci2fp | 1,563,679,224 | 1,563,675,723 | 18 | 5 | Don't have her main reason for living be your main character. In general, characters should have their own goals and reasons for doing things, and the love interest should be no different. | Make her arc and agency hold up whether or not there is a love connection. Also, make sure she isn't the only viable person who could be of interest and has their own arc and agency. If there's only two, don't give one to your protag as a prize for completing their character arc and kill off or otherwise mangle the other. Let them sustain their lifespan and utility beyond the interests and/or gaze of the protag(s). If the women or possible love interest(s) don't survive after saying no, it's still all bad. There are a ton of resources online to get more insights beyond your own project to see all the sneaky or subconscious ways such characters are rewarded to someone else or demoted. | 1 | 3,501 | 3.6 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucm8z7 | euckhke | 1,563,679,224 | 1,563,677,710 | 18 | 1 | Don't have her main reason for living be your main character. In general, characters should have their own goals and reasons for doing things, and the love interest should be no different. | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | 1 | 1,514 | 18 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euci2fp | eucp05f | 1,563,675,723 | 1,563,681,722 | 5 | 8 | Make her arc and agency hold up whether or not there is a love connection. Also, make sure she isn't the only viable person who could be of interest and has their own arc and agency. If there's only two, don't give one to your protag as a prize for completing their character arc and kill off or otherwise mangle the other. Let them sustain their lifespan and utility beyond the interests and/or gaze of the protag(s). If the women or possible love interest(s) don't survive after saying no, it's still all bad. There are a ton of resources online to get more insights beyond your own project to see all the sneaky or subconscious ways such characters are rewarded to someone else or demoted. | Let her relationship with her love interest slowly grow throughout the story. That way you will have a lot of time to have her focus on other things to develop her character, and storylines that don't involve this person. | 0 | 5,999 | 1.6 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euckhke | eucp05f | 1,563,677,710 | 1,563,681,722 | 1 | 8 | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | Let her relationship with her love interest slowly grow throughout the story. That way you will have a lot of time to have her focus on other things to develop her character, and storylines that don't involve this person. | 0 | 4,012 | 8 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | euckhke | eucvzsd | 1,563,677,710 | 1,563,689,035 | 1 | 4 | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | Oh hey, I'm learning about this too! Here's some awesome advice I've been given. For a well written relationship with rounded characters, you need three essential things. 1: Character A needs growth, goals, and emotions. 2: Character B needs growth, goals and emotions. And most importantly, 3: Character's A and B need *intertwined character growth.* It isn't enough to have Character A work through his issues. Character B needs to be involved, and work through her own issues with Character A at the same time. Oftentimes this is seen when some big trial hits them both, and they survive together, but there are tons of applications. Realizing they have things in common, arguing about big emotions, and internal conflict can all contribute to good intertwined character growth. People like relationships with lots of emotion. Negative or positive. A mix is usually best. If their personalities clash sometimes, readers will be more invested in the outcome. And their growth should absolutely be interconnected, instead of having two separate character arcs. | 0 | 11,325 | 4 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud0186 | euckhke | 1,563,694,231 | 1,563,677,710 | 3 | 1 | Agree with all in this thread: Treat her like a person apart from the story. Perhaps write her own storyline along with the MC's, but without divulging it to the readers. A great example of a love interest that has her own life is Denna in The Kingkiller Chronicle. She feels very multi-facetted, even though we as readers don't know what most of those facets are. Besides being an absolute delight to read in general, I would recommend those books for the inspiration. | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | 1 | 16,521 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucx6ty | eud0186 | 1,563,690,483 | 1,563,694,231 | 1 | 3 | I’d focus on what makes her necessary and interesting to the story and let the romance just develop naturally. If she’s mainly there to be a love interest, that will define her character. If she has her own arc and role to play in the story then it should avoid that problem | Agree with all in this thread: Treat her like a person apart from the story. Perhaps write her own storyline along with the MC's, but without divulging it to the readers. A great example of a love interest that has her own life is Denna in The Kingkiller Chronicle. She feels very multi-facetted, even though we as readers don't know what most of those facets are. Besides being an absolute delight to read in general, I would recommend those books for the inspiration. | 0 | 3,748 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucx9w1 | eud0186 | 1,563,690,589 | 1,563,694,231 | 1 | 3 | Our beta readers had this very problem with our MC's love interest and advised that she needed an agenda of her own to become interesting. My wife then developed a motive for her why she would hook up with a foreigner in the first place: illegal migration. And it worked! Now she exceeds pressure on him to take her into custody, and he doesn't know what to do about it. - That's how you create an interesting arrangement of characters in love. | Agree with all in this thread: Treat her like a person apart from the story. Perhaps write her own storyline along with the MC's, but without divulging it to the readers. A great example of a love interest that has her own life is Denna in The Kingkiller Chronicle. She feels very multi-facetted, even though we as readers don't know what most of those facets are. Besides being an absolute delight to read in general, I would recommend those books for the inspiration. | 0 | 3,642 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eud1t7o | 1,563,715,368 | 1,563,696,767 | 3 | 2 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | Basically create a bunch of other character with goals and arcs, and then pick one which would be best suited as romance option. Scrap others. Write the selected character as you would any other and then have them interact, hopefully they'll have some chemistry going on. | 1 | 18,601 | 1.5 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eud7hok | 1,563,715,368 | 1,563,705,724 | 3 | 2 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | If your main character is a witch-hunter, it could be interesting if his love interest is a witch. That way you could go for the forbidden love angle. It is only my opinion, but trauma as a reason to not have sex is lame. But if the love interest is a witch, then they can't do it because they are enemies at first, and then possibly because they are hunted by both their groups or something. | 1 | 9,644 | 1.5 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | euckhke | 1,563,715,368 | 1,563,677,710 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | 1 | 37,658 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eucx6ty | 1,563,715,368 | 1,563,690,483 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | I’d focus on what makes her necessary and interesting to the story and let the romance just develop naturally. If she’s mainly there to be a love interest, that will define her character. If she has her own arc and role to play in the story then it should avoid that problem | 1 | 24,885 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eucx9w1 | 1,563,715,368 | 1,563,690,589 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | Our beta readers had this very problem with our MC's love interest and advised that she needed an agenda of her own to become interesting. My wife then developed a motive for her why she would hook up with a foreigner in the first place: illegal migration. And it worked! Now she exceeds pressure on him to take her into custody, and he doesn't know what to do about it. - That's how you create an interesting arrangement of characters in love. | 1 | 24,779 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud15rb | eudf86z | 1,563,695,813 | 1,563,715,368 | 1 | 3 | Flesh out the love interest’s character. While your primary goal for her part in the story is to be a love interest, that may not sit well as their goal. What do they think they want? Have they been running on autopilot with half-thought or outright thoughtless goals? What were they like before encountering the protagonist? What would they have been like without the protagonist? What do they do without the MC? Bear in mind, that no matter how well you flesh out the character, even if the love interest part became an after-thought in their development, there will be those that see them as nothing but a love interest. That’s okay too. But if your character doesn’t grow/develop/progress because of them, then that is when you fail her part in the story. | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | 0 | 19,555 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eud1nog | 1,563,715,368 | 1,563,696,537 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | As others have said, she should have her own life going on. We don't necessarily need to see every aspect of it but there needs to be a sense that yes she has her own life and problems and goals aside from the relationship. It doesn't have to be intersecting or getting in the way of the romance side of things, but there should be enough there that it doesn't seem like she disappears once the love interest scenes are over and reappear only when she's needed for them. It can be subtle but not so subtle people will miss it. | 1 | 18,831 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eud1r3u | 1,563,715,368 | 1,563,696,681 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | Make sure you pass the bechdel test | 1 | 18,687 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudf86z | eud4rgw | 1,563,715,368 | 1,563,701,352 | 3 | 1 | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | Give her more to worry about than just being the love interest. Three-dimensional characters need to have more than just one thing in their lives, they need hopes, dreams, fears, strengths, weaknesses, and character arcs. If she's not as much of a main character as your main character, then make it shorter, but to be fleshed out she needs to be doing things and going through her own arc. TL,DR: Don't treat her like a love interest that needs to be more three-dimensional, treat her like a three-dimensional character who falls in love with the protagonist. | 1 | 14,016 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud5sq9 | eudf86z | 1,563,703,010 | 1,563,715,368 | 1 | 3 | The problem I see with how you describe what you want her to be is that you need her as a plot element for your main character. If her purpose in the story is as a love interest and doesn't serve the plot in any other way, no amount of character building will fix that. A love interest character is still a character that needs depth, agency, and purpose. Even if the character doesn't really do anything plot wise, having them exist as a philisophocal foil to your MC gives her reason for existing as it challenges what he may do or think. | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | 0 | 12,358 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud7sl0 | eudf86z | 1,563,706,196 | 1,563,715,368 | 1 | 3 | What I could do is having a character in head, who already have purpose in the story, and turn them into the love interest. So I'd mix them up. Idk just giving out ideas. | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | 0 | 9,172 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudco8g | eudf86z | 1,563,712,676 | 1,563,715,368 | 1 | 3 | Focus on the characters and their relationship Not their plot relevance Make her a a character not a plot device Why does he love her? Why does she love him ? What kind of character would he fall for? | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | 0 | 2,692 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eude0ot | eudf86z | 1,563,714,135 | 1,563,715,368 | 1 | 3 | I think for a very concrete benchmark that will help deliver it home: the love interest should make a self-interested decision that negatively affects the main plot goal of the protagonist. However small the set back should be, it should be there. By “main plot goal”, I think this could be either the active narrative (tracking down the big bad Witch) or the thematic narrative (hero overcomes his trauma). Either way, a decision made by the love interest should set him back. If the love interest is just constantly helping him along the way, it feels too convenient. And the decision should be made out of self-interest. That would be the way to show that the love interest has agency and different desires, rather than telling us that and never having that affect the central story. | You're saying she's a main character, but you also fear she'll end up being just a love interest. That's a contradiction. If she's main character she must have something else going on. Also try to see the relationship from her point of view. Why should she fell in love with the other character? What doesn't she like of him but must cope with? What does she do other than liking the other character? | 0 | 1,233 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud1t7o | eui24ay | 1,563,696,767 | 1,563,838,833 | 2 | 3 | Basically create a bunch of other character with goals and arcs, and then pick one which would be best suited as romance option. Scrap others. Write the selected character as you would any other and then have them interact, hopefully they'll have some chemistry going on. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 142,066 | 1.5 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud7hok | eui24ay | 1,563,705,724 | 1,563,838,833 | 2 | 3 | If your main character is a witch-hunter, it could be interesting if his love interest is a witch. That way you could go for the forbidden love angle. It is only my opinion, but trauma as a reason to not have sex is lame. But if the love interest is a witch, then they can't do it because they are enemies at first, and then possibly because they are hunted by both their groups or something. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 133,109 | 1.5 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudijjq | eui24ay | 1,563,718,413 | 1,563,838,833 | 2 | 3 | How much of this are you planning to write from her point of view? Does she even want to be the "healer of his trauma?" How emotionally available is he to help her through her own problems & traumas? If he has sexual conflicts, how much of that sexual anxiety / dysfunction is she willing to put up with? Why does she even fall in love with him in the first place? You don't have to answer me, but I think these questions are important to think about. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 120,420 | 1.5 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | euckhke | 1,563,838,833 | 1,563,677,710 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | Make her human (relatable). Hobbies, flaws, strengths, goals, dreams, favorite weapon. And then somewhere in the story or near the end make her die. Nothing makes people see the realness in a character more than death. Especially a character who is likely badass and hard for a lot of people to imagine being in the shoes of... | 1 | 161,123 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucx6ty | eui24ay | 1,563,690,483 | 1,563,838,833 | 1 | 3 | I’d focus on what makes her necessary and interesting to the story and let the romance just develop naturally. If she’s mainly there to be a love interest, that will define her character. If she has her own arc and role to play in the story then it should avoid that problem | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 148,350 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eucx9w1 | eui24ay | 1,563,690,589 | 1,563,838,833 | 1 | 3 | Our beta readers had this very problem with our MC's love interest and advised that she needed an agenda of her own to become interesting. My wife then developed a motive for her why she would hook up with a foreigner in the first place: illegal migration. And it worked! Now she exceeds pressure on him to take her into custody, and he doesn't know what to do about it. - That's how you create an interesting arrangement of characters in love. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 148,244 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eud15rb | 1,563,838,833 | 1,563,695,813 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | Flesh out the love interest’s character. While your primary goal for her part in the story is to be a love interest, that may not sit well as their goal. What do they think they want? Have they been running on autopilot with half-thought or outright thoughtless goals? What were they like before encountering the protagonist? What would they have been like without the protagonist? What do they do without the MC? Bear in mind, that no matter how well you flesh out the character, even if the love interest part became an after-thought in their development, there will be those that see them as nothing but a love interest. That’s okay too. But if your character doesn’t grow/develop/progress because of them, then that is when you fail her part in the story. | 1 | 143,020 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eud1nog | 1,563,838,833 | 1,563,696,537 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | As others have said, she should have her own life going on. We don't necessarily need to see every aspect of it but there needs to be a sense that yes she has her own life and problems and goals aside from the relationship. It doesn't have to be intersecting or getting in the way of the romance side of things, but there should be enough there that it doesn't seem like she disappears once the love interest scenes are over and reappear only when she's needed for them. It can be subtle but not so subtle people will miss it. | 1 | 142,296 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eud1r3u | 1,563,838,833 | 1,563,696,681 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | Make sure you pass the bechdel test | 1 | 142,152 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eud4rgw | eui24ay | 1,563,701,352 | 1,563,838,833 | 1 | 3 | Give her more to worry about than just being the love interest. Three-dimensional characters need to have more than just one thing in their lives, they need hopes, dreams, fears, strengths, weaknesses, and character arcs. If she's not as much of a main character as your main character, then make it shorter, but to be fleshed out she needs to be doing things and going through her own arc. TL,DR: Don't treat her like a love interest that needs to be more three-dimensional, treat her like a three-dimensional character who falls in love with the protagonist. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 137,481 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eud5sq9 | 1,563,838,833 | 1,563,703,010 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | The problem I see with how you describe what you want her to be is that you need her as a plot element for your main character. If her purpose in the story is as a love interest and doesn't serve the plot in any other way, no amount of character building will fix that. A love interest character is still a character that needs depth, agency, and purpose. Even if the character doesn't really do anything plot wise, having them exist as a philisophocal foil to your MC gives her reason for existing as it challenges what he may do or think. | 1 | 135,823 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eud7sl0 | 1,563,838,833 | 1,563,706,196 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | What I could do is having a character in head, who already have purpose in the story, and turn them into the love interest. So I'd mix them up. Idk just giving out ideas. | 1 | 132,637 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eudco8g | 1,563,838,833 | 1,563,712,676 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | Focus on the characters and their relationship Not their plot relevance Make her a a character not a plot device Why does he love her? Why does she love him ? What kind of character would he fall for? | 1 | 126,157 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | eude0ot | 1,563,838,833 | 1,563,714,135 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | I think for a very concrete benchmark that will help deliver it home: the love interest should make a self-interested decision that negatively affects the main plot goal of the protagonist. However small the set back should be, it should be there. By “main plot goal”, I think this could be either the active narrative (tracking down the big bad Witch) or the thematic narrative (hero overcomes his trauma). Either way, a decision made by the love interest should set him back. If the love interest is just constantly helping him along the way, it feels too convenient. And the decision should be made out of self-interest. That would be the way to show that the love interest has agency and different desires, rather than telling us that and never having that affect the central story. | 1 | 124,698 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eudi8ef | eui24ay | 1,563,718,141 | 1,563,838,833 | 1 | 3 | Write her as if she was a main character in her own story and plot. Just make sure it intersects with your actual main character. | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | 0 | 120,692 | 3 | ||
cfu0e8 | writing_train | 0.84 | How do I write a love interest for my character without making her nothing but a love interest? I don’t know if that title made much sense, but here’s a better explanation: When writing my story, I’m planning on giving my main protagonist, who is an assassin working for a secret society of witch hunters, a love interest. I think she’s going to be another witch hunter, but I’m not sure yet. Another thing to mention is that my main character is terrified of relationships, or at least those of a sexual kind, because he was sexually abused by his mother after his father’s death. Towards the end of book 3 of my 4 (or maybe 5) book series, I plan on them finally hooking up. I know for a fact that sex isn’t a cure-all for abusive trauma, but it does send him down the path of healing. My main worry is that in writing this character as a love interest, I may be demoting her to nothing BUT a love interest, like she’ll have nothing else to do for the story other than focus her energy on her man, or that she’ll become a bad plot device to further develop my main character’s character without developing her own. That’s a fairly common trope in writing, and I’d like to avoid it at all costs. TLDR; How do I write a healthy, shippable relationship between two main characters without demoting character B to nothing but a love interest or a plot device? | eui24ay | euf6bqy | 1,563,838,833 | 1,563,763,848 | 3 | 1 | Give her her own life. Make sure she has a part in the story other than to be the wife/girlfriend/mistress/whatever. | My main character has a mild love interest who is trying to fix him in a way. She sees he needs to be taken care of and is trying to sort of fill the void of her divorce by being with him. The main character questions the motivation and I think it's a little more interesting | 1 | 74,985 | 3 |
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