bela lugosi is dead

MAY YOU NEVER LOSE YOUR HYPERFIXATION

1. borrowing misery from future

2. carrying grief of the past

V.E. Schwab's advice for creating memorable characters - works for both protagonists and villains

It also ties neatly into the simplest version of the formula for getting people emotionally engaged with your characters: or how to build the moment in which your character starts moving from their initial state to the state in which they'll start changing their own lives.

First, you figure out the one important thing the character believes that they're wrong about. There's usually a core misperception that they haven't examined. Once they're forced to engage with it, it'll start to change everything about their perception of the world they're inhabiting and/or the people in it.

Then, as V.E. says, you identify the character's great desire and their great fear: the thing that character wants more than anything, and the thing or situation that terrifies them, and that they'll go to any lengths to avoid.

And having identified these two objects or situations, you build a situation in which the two forces will be in close, direct opposition to one another... then drop the character down in between them, and squeeze. Those two opposing forces become the jaws of a vise... and you crank the vise more and more tightly closed until the character has no choice but to acknowledge those opposing forces, and start (even in a small way) to deal with the pressure being exerted and push their way through.

This does not have to be, initially, a great climactic moment. In fact, it works better if it's not. It's more effective if your character has a brief low-intensity brush with these conditions-in-conflict early on. That way, when your big resolution scene comes along about two-thirds or three-quarters of the way along through the story arc, you'll have set up a resonance between that earlier hint or intimation of what's to come, and the really big blowoff. Your readers will recognize the resonance—the throb of tension between the two occurrences, like the vibration of a plucked string—and will find satisfaction both in the true resolution having been partially telegraphed earlier, and in how it's now being experienced and resolved in full.

This approach also allows you to set up more minor resonances between the realization of the conflict and its final resolution. These can serve to bind the structure of the work more closely together: to make it look (and be) less like a series of loosely strung-together plot events, and more like a unified whole, in which ripples of story business flow backwards and forwards, interpenetrating and influencing one another, and hinting at the big one to come.

But none of this can happen until the paired and opposing what-do-they-most-desire, what-do-they-most-fear axes have been defined. So that's a subject it's smart to spend some while thinking about (and for all your characters, not just the major ones), to be sure you're getting it right.

Posting the vulture article on Neil Gaiman especially since one part of article highlights many victims were not warned about him while people around him knew and left them with him in isolation

Editor’s note: This story contains content that readers may find disturbing, including graphic allegations of sexual assault.

(reblog and brainstorm, lovelies! u can also write drabbles with theseee )

if they're met face to face with their plot, with no warning?

if they're stressed?

if they're happy? who will they want to share it with?

if they're sad? will they go to anyone for comfort? if yes, who?

if they're forced into a life of death situation?

if they're being threatened?

if they're kissed by their ex?

if they're confessed to by someone who they had no clue liked them? (given, they're single or not)

if their lover betrays them?

if they're coughing up blood out of the blue?

if there's a strange presence in the room, and it feels ominous?

if they discovered a dead body?

^ if the dead body is their best friend? (great question to start and develop a plot)

if their enemy is at their doorstep, bruised and injured?

if they had to share a bed with someone they don't particularly hate? ahem

if they had to be fed by someone they didn't like/their crush?

if their partner-to-be? enemy? pulls them into a secluded and shushes them? (their bodies pressing and all that!!)

when asked to choose between their family and their lover? (given the circumstances of ur story)

when kissed on their head by their enemy after a near death experience?

if they're dancing with a stranger, and the stranger says 'stop dancing, sweetheart and you'll hunted. do u wanna die?' ?

if they find out the food that served to them has glass dust on it? (who is it served by?)

when being pulled into a hug when they most need it by someone they least expect?

when they have to hold someone they loved at a gun point? why would it even occur?

when they have to choose between their own life and their lover's?

A very totally incredibly non-delulu list by Writerthreads

arm/shoulder/waist/SMALL OF THE BACK touches

HANDS BRUSHING, BUT TOO NERVOUS TO DO ANYTHING MORE

calling them by their name ("What's your opinion on this, X?") (they way they say their name makes their heart do funny things)

the way their voice goes heavy/breathy

CHIN RESTS ON THEIR SHOULDER

whispering into their ear and the way their breath tickles

non-affectionate nicknames just for them

recognising their laugh and trying to make them laugh just to hear it again

little private smirks/winks, watching their reaction when someone makes a joke

sniffing their hair/recognising their on their shampoo

eye contact so deep they feel like sinking

SMALL PECKS ON THE CORNER OF THEIR MOUTH/CHIN/FOREHEAD

recognising the sound of their footsteps

co-existing in the same space, acknowledging their presence and feeling safe

CARESSING THEIR CHEEK WITH THEIR THUMB

recognising their nervous ticks and comforting them, like putting a hand on their bouncing leg

tracing scars, freckles, moles, lines of their muscle, you name it (SCREAMS)

grinning when they blush

watching with pride as the other does a presentation/leads a mission/takes charge

making up private signals for each other

HAND KISSES

NECK KISSES

playing with their hair/brushing their hair/braiding their hair