Shardkeeper

Complications and smaller problems are a natural consequence of your characters being characters and not just plot-executing automatons. If your characters feel too married to the plot to have non-plot wants and needs, it might be worth going into your mind-palace and asking them a few questions:

What do you do when nothing needs doing? How do you relax? CAN you relax?

How do you handle peace? Do you enjoy it? Do you trust it? Do you look for distractions, or for threats?

What would you be doing if the plot wasn't in the way? Have you ever really thought about it?

Now that things have slowed down a little, how do you feel about the stuff that just happened? Do you need to talk about it?

I'm the writer, so I know what's coming next, but you don't. What uncertainties are currently preying on your mind? Do you want to do anything to resolve them? How do you handle it if you can't?

What goals do you personally have that aren't shared with the rest of your crew? Do you have an opportunity to pursue that right now? Do you think anyone else in the crew might want to help you with that?

The camera mostly focuses on the important plot beats, but what do you do when the camera's off? What's your morning routine? What do you do for dinner? What does a Normal Day look like when the plot's not intruding?

Here's a few fun ways to explore queerness with non-human cultures for your fantasy and scifi worlds!

- give them more cultural genders. Not just "nonbinary as a third gender", give them some weird genders! Sub-genders, even! And don't make it all tied to their biology, though having a variety of biological sexes is also a lot of fun.

- maybe they don't have genders the way we usually define them, and they use something else as an important identity with associated pronouns and outward expression.

- get creative with their relationship structures. Maybe polyamory is their normal. Maybe they have a committed partner most of the time, but then they have a breeding season where anything goes. Maybe they are functionally an aromantic culture and they don't really do committed relationships like that.

- if they have distinct biological sexes, what options are available for those who want a medical transition? Maybe it's a more low fantasy world in a historical setting and they don't have that option, but what other steps might they take to "pass"? If their concept of gender or an equivalent identity has nothing to do with their biology, what does it even mean for them to be trans?

- in a species where biological sex is naturally flexible, shifting between egg and sperm production on a whim or just because of environmental changes, what does that do for their gender culture?

- interspecies relationships are inherently a little queer, when you think about it. What does attraction between species look like? Are there some cultural barriers they have to navigate?

- if queerphobia exists in your world, don't be shy about exploring the effects it actually has on the characters. If there is no queerphobia, what does that really look like? Was it a struggle to make that happen? Think about the generational history a little, and how different it might look to our own reality.

Your action hero just got shot in the shoulder, stitched it up in a motel bathroom, and is now running through a forest. I need you to know that a shoulder wound severs muscle, nerves, and sometimes bone, and the human body's response to that is not "mild wincing followed by full range of motion." here is what injuries actually do to peoplee...

⊹ Adrenaline is REAL and it does allow people to do extraordinary things immediately after injury, BUT it is a loan, not a gift. you borrow the function and you pay it back later with interest. Your character might genuinely be able to run for twenty minutes after being stabbed. and then the adrenaline drops and everything the body was delaying arrives all at once. the collapse is NOT weakness. it's biology collecting its debt. write the debt collection. it's more interesting than the heroic sprint anyway.

⊹ Blood loss changes cognition before it drops you. you don't go from "fine" to "unconscious." you go through a whole middle stage of confusion, poor decision-making, emotional dysregulation, a strange calm, tunnel vision, difficulty forming sentences. Your injured character making a bad call, saying something they normally wouldn't, becoming suddenly and inexplicably gentle--that's blood loss. use the middle stage. it's dramatically rich and almost nobody writes it.

⊹ Recovery has a timeline and the timeline is long and boring and inconvenient to plot. a broken rib takes six weeks and during those six weeks sneezing is a genuine emergency. a concussion means no screens, no reading, no bright lights, and symptoms can persist for months. a stab wound to the abdomen means weeks of infection risk, limited mobility, and a specific kind of exhaustion that has nothing to do with sleep. Your character being sidelined and frustrated and useless for a long time is not a narrative problem. it's the story.

Saw this on Twitter. What 3 potions would you drink?

Your characters only get one introduction, and from that very first moment, readers will form their opinions and impressions of that character. Once they have, it’s incredibly hard to change their minds, so you have to make sure that you make the right first impression.

In my last novel (currently querying right now!) I had a beta reader come back to me to say that he really didn’t like my female protagonist. However, in his notes on the actual manuscript, there were several parts he highlighted because he was very sympathetic to her—so why didn’t those parts sway him? It was because they came too little, too late. He’d already formed his thoughts on the protagonist as a person.

I heard recently that Finding Nemo’s flashback that the movie opens with was initially later in the film to explain why Marlin was such an overprotective parent, but test audiences really hated him, and by then, all the tragedy in the world wouldn’t convince them otherwise. Instead, Disney moved the flashback to the beginning so that we started the movie sympathetic to him, and were able to overlook or understand his more annoying/frustrating traits.

I’m saying that right out of the gate, if we’re meant to root for them, you need to show us why. If we’re meant to hate them, you also need to show us why. Don’t hold onto your cards, don’t keep secrets too late, because once we form an opinion on someone, it’s difficult to change.

When that opinion does need to change (such as when you’re pulling off a villain redemption arc), it typically takes the entire story and genuine character growth to do.