#ff102

          What we usually see in child OCs is that they are cut back emotionally and mentally to the age of a common 3-year old. Pervocracy wrote a great memo on how to handle children while they worked as a childless nurse. I will summarize that memo and add my own notes as well. It will be cited below for your convenience.

          From the time of birth to a year old, the child is a baby. They can crawl and walk, and may have a few words or be able to recognize people, may know parts of the body “Can you show me where your feet are?” but they are essentially small animals. You have to be gentle and affectionate, and don’t expect them to cooperate. Babies cry, but more often than not they cry as a means to communicate.

          A child aged 1-2 years old is a bit more difficult. They have more mobility and have gained more of a voice. The “terrible twos” come in to play here and the child is able to walk and run around. Often children at this age are dependent on the response of their caregivers. If a child falls, they only will make a big deal out of said fall because their caregiver does. They cry because their caregiver has clued them in socially that they are hurt. That’s why you see a lot of moms tell their babies, “it’s okay!” or “you’re okay.” They have to reassure the child that they are in fact fine so the child does not react. Children at this age can speak, but it may still be simple sentences. They can’t get deep yet. They also will recognize strangers and want to avoid them.

          A toddler/preschool child is around the age of 3-5 years old. They are more socialized, given this is the age where most children go to daycare, preschool, or kindergarten. They are potty trained by this age. Do not write a 3-5-year-old OC and have her still in diapers. That isn’t realistic. These kids are also fully mobile, and this is the age where you can start seeing the baby’s personality. Are they a hyper child? Do they like animals? If the child dances, most dancers start pre-ballet classes at this age. Do they want to go outside all the time or are they more comfortable spending time inside? Babytalk from the child, ie: mama, dada, I want, etc. Is not realistic. Again, the child may have simple sentences, but they’ve learned enough words at this point to not have to resort to speaking like that. These kids are easily distracted and likely have been weaned off naps. Parents can still babytalk these kids, a phrase here which means speak to them in that sweet little-kid voice, but the baby will not babytalk to their parents.

          A small child is roughly the ages of 6-10. These kids in America are already in school. A 6-year old is the average age of first graders, and a 9/10-year-old is roughly a 3rd grader. They will not respond well to babytalk. These kids want to be treated like adults but may still have childlike tendencies (may still pout, whine, cry, etc.). They have been fully socialized by this point as they will have had years in daycare or school racked up at this point. They are outgoing and less afraid of strangers. Most prodigy children who play an instrument will have started their instrument around age 5 or 6 (source: was a prodigy child. Started violin at 6). They like to see cool or fun or gross facts and are eager to learn and joke around. At this age you’re still watching Spongebob unironically, so treat them as such.

          A preteen is around the ages of 11-14. The child, if it’s a girl, may experience her first period, the child, if it’s a boy, will go through puberty. Girls may develop quicker, as many boys can recall a point in like 5th grade where all the girls were suddenly taller than them. These children are fussy and frustrated because they think they know more than they actually do, but are still treated for the most part like kids. They still need bedtimes and house rules and restrictions, but they don’t want them. A child will likely learn swearwords and start using them out of sight of their parents around the age of 12. This is also where a child’s cringe phase comes in because they will be going through middle school, which is the worst time in every kid’s life and a time that they all want to forget.

          A teenager is around 15-18. These are young adults. They have freedoms, mainly the ability to drive a car, but their life experience is limited. Around this age is where a child would get a girlfriend or boyfriend. No sex at this age. Don’t do that to your OCs. In Harry Potter, we often see writers jumping the gun and having their OCs hook up with Draco Malfoy in the third year. That’s too early for a kid. That kid would still be a preteen, and their life experience is limited. They also would be incapable of giving consent for something like that. Wait until they are 15-18. In Harry Potter fanfic, that would be years 5-7. This age of OC will want some autonomy away from their parents. If they visit the doctor’s office they may want to go alone. If you offered them a sticker at the doctor’s office, they’d take it ironically. They may experience early stages of depression, anxiety, or stress that can be caused by their school or home life because they have more expectations placed on them. They may have hobbies or be involved in after-school activities. A 17-year-old or 18 year old will be thinking about college.

          Notice the progression as the ages go up. A 5 or 6-year-old won’t have the pressures of a 17-year old, but they can still hold a conversation and do similar activities to the teenager. A 1-year old will speak in baby talk, but that window is very small and narrow, and in fanfiction we often see it carry on for much longer than it should. Babies grow faster than you think. They develop faster too, and you don’t want to limit your OC’s ability for growth because you’ve shoehorned them into one specific age. Child OCs deserve character growth just like adult OCs. The fun part about writing kid OCs is that the audience can see them grow into what would be already-developed personality traits and hobbies in an adult OC. The things that would get added to your internal character bio get to grow and blossom right in front of us. If you write a child OC, give them the chance to do that. Give them the chance to grow.

          Finally, most Harry Potter or Percy Jackson fanfics start the OC off as a first-year, which luckily for us is the same age as a new camper at Camp Half-Blood. Both are 11 or 12. We had a note for young OCs in Fanfiction 101 Unit 3: Please Stop Using Emily Rudd. I will reiterate that point: these OCs are 11-12 at the start of the fanfic. You should not be describing how “strikingly beautiful” an 11 or 12-year-old is. On top of that, children don’t notice things like that. Save attraction for when they’re like 14. That’s when it’ll have a more meaningful impact.

          Next week we’ll be getting more technical. The next unit is a topic the Editor and I have a lot of experience in, and hopefully, we’ll be able to bring in some outside perspectives.

Xoxo, Gossip Girl.

Sources:

          If you’re straight or cis and writing a gay or trans character, you need to do your research to accurately portray the character in a realistic and believable way. An example we love is Todd Chavez in Bojack Horseman, who portrayed an asexual character, and Todd’s journey as he came into his own. Bojack Horseman also portrayed polyamory with Hollyhock, who was the adopted daughter of 8 dads. What we enjoyed was that Todd’s sexuality added dimension to his character. It didn’t reduce him to being the token LGBT representative, and it didn’t force him into a box where he could only focus on LGBT issues. Todd was and is so much more than that, and his sexuality is a part of his story, but it’s not the sole story.

Rick Riordan is a master of writing experiences that are not his own, and he cheated the system by basing his characters off of people he knew. This is a method that you can use. You can base your characters off of friends, public figures, etc. If you decide to not do that, googling what transgender men and women have to experience or what top surgery is isn’t enough. I would suggest looking to Youtube, where many transgender and LGBT  influencers have talked about their experiences. I would suggest looking to forums, Reddit being one of them. Yahoo Answers is also a really good source. What you want is as many experiences as you can get: ones that are similar, and ones that contrast. The goal is to combine them and make your own character in a melting pot of other experiences. You owe it to not only those who read your story but yourself to do the research. You want your characters to represent the communities you do, and the ones you don’t as best you can.

          Let’s move on to people of color (POC). The same rules we’ve discussed prior apply: A poorly written POC is worse than no POC (Looking at you Baljeet). In addition, that POC’s ethnicity should not be their entire personality, and if you are creating a character just to say that you have made a POC, then you have already failed. There are many issues we see when we find people of color in fanfiction. Among them are language barriers, naming, and a misinterpretation of cultural values and experiences.

          Putting words in a foreign language in the middle of fanfic is very, very common. You see it everywhere. In Avengers fanfic it’s Russian or Norse. In Batman fanfic, it’s any of the languages that the Batkids speak. The writers put in these conversations that sometimes go on for pages in another language, and then add an author’s note at the bottom with the translation. This is awkward, and when you read books, this is something you never see. If you want your character to speak another language, you don’t need to actually write the other language. Putting a few sentences through Google translate doesn’t make you a better or more dedicated writer than someone who adds the tag: “she was screaming now, all her words coming out in rapid French.” Tags can be used to dictate a change in language, and I encourage you to use them. Now, there are of course exceptions to this rule, and those exceptions usually lie in food, names, and things. Calling someone a name that is in another language is fine. Describing food in another language is fine, and things are generally ok. But that’s just for you. Your characters also have to speak the language.

          No one worth their salt or heritage is going to go through a moment where they start out speaking in their fluent tongue and then “forget” to switch back and forth between English and their native language. It is so incredibly unrealistic and awful and it lets the reader know someone who is not actually bilingual wrote this piece of work. When you learn two languages, here’s what really happens: you forget words. You have to stumble through words in your own language before you get to the one you need. You call things, “that thing.” You point. You sometimes say “what’s that called?” you find aspects of the second language, or even your own language stupid and you don’t want to do it. You get words mixed up and you make mistakes. That’s all okay, and that all happens, and should be written as such. One of my teachers never forgot the French word for spider because she got the shit scared out of her by one and didn’t know what to call it when she needed someone to kill it. My aunt took 3 years to learn Turkish by immersion and now can speak it fluently. You don’t even need to be fluent in every language, and many people only know a handful of words in one or a few sentences in another. That’s totally okay! If anything that’s more realistic because it’s super hard to learn a new language and speak it fluently. Don’t force your characters into a box like that. Let them make mistakes.

          Culture is a huge thing when writing POC. You have to keep in mind that culture shifts, and what may have been culturally huge for one set of characters won’t be as significant for others. You want your characters to interact with their culture in a way that is realistic, and not reductive. Kelly from the Office is a great example, as she invites the office to celebrate Diwali with her. Lara Jean from To All the Boys I’ve Loved Before is another example. We see her eat Korean food at home, and in the books, she still celebrates Korean holidays. Where the shift comes into play can be seen in Never Have I Ever where Devi is not as Indian as her parents, and we see her struggle with the culture. She still goes to Hindu association things, Ganesh puja, and she wears Indian clothes. However, she’s still a normal teenager out chasing boys and worrying about colleges. In Superstore the Muslim character prays 5 times a day, and still works at the grocery giant. The big takeaway is that these people have lives that include, but aren’t limited to their cultures. They aren’t reduced to stereotypes.

          Naming characters is already rough. However, naming characters from a different background than you are even tougher. The Editor has a lot of anger towards Panju Weasley, from Harry Potter and the Cursed Child. Her exact words, as they were texted to me:

**

>Like Cursed Child where Ron and Padma has a kid named Panju.

>What the fuck is a Panju?

>That’s literally the dumbest name in the world

>All she had to google was Indian names.

>There are so many fucking lists.

>I dont even think it’s an actual name. Like it might be a nickname for some people but I dont think people have actually named their child panju.

**

          As usual, the Editor is very correct. There is a simple solution to getting around what we’ll call the Panju Dilemma- a phrase which we’ll use to describe terrible naming choices of POC. In Fanfiction 101 we had an entire unit centered around naming. Nameberry.com exists, and if they don’t have it all you need to do is Google the country of origin and the sex of the OC. Sometimes you can add in the year the OC was born, to really get a feel for the time period, but that doesn’t always work. For example, in one of our stories we have a cluster of kids from Syria. When it came time to name said kids, we Googled: popular Syrian names 2003. That’s how we got our OCs: Reem, Nour, Nizar, Jano, and Stella. Naming is very important, and you owe it to your readers and your characters to do them justice, and not saddle them with a terrible name.

          The final note of diversity we want to talk about is actual ability. Ableism is often overlooked in movies, shows, or books. It is something that is shoehorned in as an extra adversary for the OC or the cast, only *gasp* This time the biggest adversary is themselves. I hate that. I want to eliminate that because as someone with a disability and someone who has worked with kids with disabilities, you can absolutely write and code characters like that in so long as, and say it with me now, it is not their entire personality.

          You can totes write a character with anxiety and/or depression, so long as you don’t snub these very real mental disorders that millions face on a daily basis. You also have a duty, especially with anxiety and depression, to not glorify, glamorize, or romanticize either. Do not romanticize self-harm. Do not romanticize anxiety. Do not romanticize depression. They are not cruel tricks of life that befall beautiful intelligent women. It is not “tragically beautiful.” Depression and anxiety and self-harm are not a paragraph for you to lament on while the OC gazes longingly out the window at her lover. Anxiety keeps some people from talking on the phone they’re so nervous. It gives girls panic attacks in mall food courts because they don’t know what’s going on anymore. Depression isn’t your OC watching the rain in a hoodie and sweats, it’s not showering for days on end because you can’t find the motivation to. It’s having insomnia because you can’t sleep. Self-harm is not an OC’s love interest holding their wrists and telling them to stop. It is deep pain and numbness and hurting yourself to try and feel something. It is rubbing Neosporin on your cuts and hoping they go away. It is forcing your friends to keep it a secret because you don’t want anyone to know because what if they take it away from you. These mental disorders are not yours to romanticize. They are yours to show the growth and power and strength of your characters. They are yours to use to show how trauma has affected your character and can represent normality behind mental health and emotion and talking about things like this. Even more so than girls, writing a male OC with anxiety or depression is more empowering because you are allowing a character to talk about their feelings when that isn’t seen as acceptable by their sex. If you feel you are able to take that plunge, and you can do the adequate research to represent the disorder well, go for it.

          In addition to mental health, physical disabilities are often overlooked. I have a chronic illness. I have never seen in a book, movie, TV show, or fanfiction anyone with a chronic illness, let alone my chronic illness. That in of itself is a broad term, and I’ll let chronic illness mean anything from lupus and POTS to asthma and anemia. These disabilities make a character have to work harder, but hey, look at Captain America. The boy had every disability under the sun and he got out alright. No one is going to make changes for you. You have to be the change you want to see. If I want OCs with chronic illnesses, I have to write them and do them justice by not only my community but the communities that I don’t represent. Jeremy Scott’s The Ables is a great example of writing disability and using it as part of, but not a character’s entire identity. The main characters all have superpowers but are put in a class that doesn’t allow them to use said powers. This is because they are all disabled. The main character is blind and telekinetic, another can read minds but is in a wheelchair, another is a genius but has cerebral palsy. Their disabilities are a minor obstacle, but not the big bad, and that is a great way to write disability. People who live with physical disabilities or chronic illnesses have to deal with said limitations every day. To us, as time goes on it becomes less of the monster at the end of the story and more of an everyday beast. It becomes normal, and there are bigger things for us to worry about than just our disease. This speaks for every aspect of diversity we have covered in this chapter: The people with said note have to live with it every day. It is a common enemy, not the final boss. To treat it as such is to say that it is our biggest concern in life. I wish my chronic illness was my biggest concern, but I have other fish to fry.

          What we have done here is not an all-inclusive list of diversity. This chapter took 2 weeks to write because the Editor and I wanted to do right by our community. Not just the communities we proudly represent but the communities we don’t. There are many more nuances and aspects to diversity that are out there, and what we have presented is our best. Yet it is still incomplete. If there is something important that you feel we have left out, we sincerely apologize. We acknowledge that what we have written here is not all-encompassing for diversity. We wanted to talk about issues that are common occurrences. However, what we have covered is not the end-all of what’s out there. We apologize for the delay, and to make up for it, our next unit Writing Children will be published at the same time as this one. We sincerely apologize for the delay.

          A common exception to writing flaws in superpowers is DC or Marvel Comics. I have seen many many times the scene where, “an OC’s file gets passed around and we the audience get to read a laundry list of superpowers including but not limited to fire, ice, air, metal, lightning, etc.” I understand that superheroes in DC Comics have an abundance of superpowers. Look at Wonder Woman or Superman. Do not fall down that rabbit hole. You will struggle to write conflict for your character if you give them that many abilities. Hell, Superman’s own writers struggle to write conflict for him. It’s why he’s the most iconic but ultimately most boring character. On top of that, the “passing around a file” scene is another very overused cliche. I understand that it’s an easy way for the audience to see what the OC can do, but I think we as writers can challenge ourselves to be better than that. In addition, don’t take away the choice to share from the OC. If we’ve learned anything from X-Men, it’s that superpowers aren’t always taken well and some would rather die than be seen as a mutant or a freak. We know that these unnatural abilities are strange and confusing and that the people who have them need time to grow. They don’t need their supervisors outing them to God and everyone. Let your characters share their powers on their own terms. Let them have a special moment with the cast where they get to feel wonderful and special and magical. You’ll reveal more about the OC’s personality and develop a deeper relationship with the cast. Here’s an example.

          Let’s say we’re writing Avengers fanfic. Let’s say we give our OC control over light. Here are two scenes that are revealing the same information to Captain America. One is done on the terms of the OC, who we’ll call Astrid, the other is done by Nick Fury.

*****

          Astrid led him back to her room. It was like his own, the same size, and the same basic tidings- bed, dresser, desk, chair. While his had been dark gray, as had the rest of the team’s, Astrid’s was bright white. Steve noticed heavy black curtains tucked back from her window. The black stood out against the white of the rest of her room. She had a smile on her face. Her eyes were alight with excitement, and she pointed up at the ceiling.

          Covering the ceiling of Astrid’s bedroom were over a hundred hanging crystals. They had different shapes, sizes, and lengths and all swung from the ceiling on thin clear strings. Astrid turned off the lights. She pulled the black curtains out and covered her window which plunged them both into darkness.

          “I had to beg Nick for these. I told him it would be good practice.”

          “Practice for what?” A light turned on. It took Steve a moment to realize the light was coming from Astrid’s own hand.

          “No one’s really told you what I can do yet. I wanted to show you myself.” Carefully, she pulled one of the crystals down and let it rest in the palm of her hand.

          Rainbows bounced off the walls. Tiny refractory lights bounced around the room, off each crystal that was a brilliant gem in the darkness. Off the metal of Steve’s shield. Off the brass buckles of Astrid’s shoes. She grinned merrily, a beautiful cascade coming around the both of them.

          “It takes me forever to fall asleep. I never want to stop looking at them.” Steve smiled, studying the way the light danced on her walls.

          “Yeah.” He breathed. “I get it.”

*****

And the other, done by Nick Fury.

*****

          Steve sat at a roundtable with the rest of the team. At least, he thought he did. Looking around, he could see one person missing from the group.

          “Where’s Astrid?” Fury and Coulson exchanged a look. Coulson handed over a file and strode out of the room.

          “Agent Dawes is currently occupied. We thought it best to tell you without her.” Fury slid the file across the table. “Along with being an Agent of SHIELD, Agent Dawes joined up because of her… condition.”

          Steve opened the file. He could see a picture of a much younger Astrid looking back at him. Her date of birth, her parents, everything was laid out before him. When he flipped the page he found page after page of notes.

          “She can do what?”

          “We don’t have a real name for it yet. Just light manipulation.” Steve kept reading. The reports dated back years prior, with medic referral forms, personal statements, and even more photographs of Astrid.

          “Is Astrid a potential threat too, Director?”

          “We all are. Agent Dawes recognized her own risk ahead of time.” Fury took the file back. “She’s been training for years. She has it under control. Stark and Banner already know about her-”

          “I’m the last to know?” Steve said angrily. He looked at Tony and Bruce.

          “Hey, not my fault you got here late.” Tony turned back to his phone.

*****

          Do you see the difference? See how much more personal the first one is? Not only do we get to see Astrid actually use her powers, but we get a moment of bonding and trust between her and Steve, whereas in the second one her personal information is being divulged on her behalf. Not by her. It’s beneficial to make these superpowers personal, in the sense that the OC should be able to tell people on their own. Let them establish that trust with their team, and don’t shove it off to Nick Fury or Coulson or even Batman. It’s their gift, they need to share it on their terms.

          Superpowers and The Rules of the Universe go hand in hand in many ways. What I mean is the Rules of the Universe apply to superpowers as much as they do to timelines and cast desires and canon. When you write superpowers, they have to make sense with the world they live in, and not every OC needs superpowers. If you look at Twilight, you’d most likely have an OC with more subtle, less combat-oriented abilities (see Edward’s mind-reading or Alice’s seer talents). If you give an OC something heavy combat-oriented in this universe it feels a little clunky, and a little more like the Avengers but vampires instead of vampires with talents. On top of that, not every vampire needs to have a talent. It’s totally okay to have a vampire who can’t do anything special. I’m more compelled to read stories with those characters because they seem more realistic. It’s okay to have a character less important to the Volturi than Edward or Alice, or less gifted than Jasper. You can explore their individuality without tying them or limiting what makes them special to “they are a vampire and they have a gift.” Another example is Harry Potter. In that universe, the only extraordinary gifts we know of are Olcummency and Parseltongue. One is something you’re born with, the other takes patience and practice. It would be unrealistic to give a Harry Potter OC additional gifts. It would be rare to give them either of the aforementioned gifts because if something is described as rare in the canon, it shouldn’t include your OC. Your OC is not an exception to something’s scarcity.

          Let’s talk about powers themselves. I have several gripes with superpowers, and we are going to discuss all of them. First and foremost, something that kind of shows your own ass as a writer is using the -kinesis phrase of a superpower beyond the common ones people know (telekinesis, psychokinetic, etc.). It looks like you just googled, ‘list of superpowers’, and found atmokinesis and put it in because you liked the description. Who talks like that? No one knows what those -kinesis phrases actually mean we just use them because we think they sound cool. Don’t tell me that the character has atmokinesis, just tell me they can control the weather. You don’t need to use big words to make your gift sound impressive. It’s what they do with the gift that makes it impressive. Going off of this, not every superpower needs to be combat-oriented. You don’t need to give people super-strength, invulnerability, or fire powers for them to matter or be useful. It’s actually more creative and more unique if you take a superpower that isn’t combat-oriented and find a way to make it mean something. The best example is the Tumblr post that will be linked below, where the OC’s main ability was helping. It was helping out wherever they could and trying to make a difference and making the lives of their friends, who had some of the “strongest” superpowers in the universe, better. It is beautifully written, an incredible short story, and shows the value of being there for others versus trying to save the day. If you are writing a character with superpowers, I would absolutely recommend reading it.

          Finally, make it make sense. With superpowers, it’s kind of like the old saying, “if you describe a hammer hanging on the wall you better use the hammer before the end of the story.” Don’t describe something that you won’t use. So things like controlling taste, smell, temperature, those are things we never see used in the narrative, so there’s no need for the character to have control over them. If you’re struggling to come up with superpowers, the Editor and I have a few methods we’ve developed over the years to get off of and stay off of the superpower list websites:

I like to have my superpowers mirror the character’s backstory. I have a character who was kicked out of their home at 16 and therefore became a “hearth” where they could bind one location to appear at many, and with the turn of a knob bring the group from New York to Seattle to London. I did this to represent the character making their own home once they were exiled. Another example is a character who was almost killed in a tsunami. They can breathe underwater, and swim impossibly fast. You can give characters with a passion for drawing the ability to bring inanimate objects to life, characters who went to Antarctica as a researcher who came back with ice powers, characters who lost their twin that can multiply themselves, or characters who suffered amnesia that can now modify the memories of others. It’s fun to tie the gift to the story, and to me personally, it feels more cohesive when I do that. However, this isn’t for everyone. When you do this, the character’s superpowers shouldn’t become their whole personality. That should never happen in the first place, but especially here.

Another method we’ve used and we like is contrasting superpowers. If your character is blind, give them telekinesis (Scott 2015). If your character is afraid of heights, give them the ability to fly. If they’re afraid of dogs, make them talk to animals. Learning to get over their fears and weaknesses in the grand journey of mastering one’s powers shows growth, and shows character development, and we should never shy away from an opportunity for character development.

A final method that we’ve recently adopted is genetics. Something you see in Avengers fanfics is that the OC was inexplicably kidnapped and experimented on by HYDRA despite them having no shortage of volunteers as we see in Avengers: Age of Ultron, therefore, the existence of these OCs who are usually kidnapped doesn’t make sense. That is only mildly my business. What is my business is these test subjects having powers that don’t really make sense or that we don’t understand how they got them. It would make sense realistically, that a character who HYDRA experimented on would have powers that affect their vulnerability and less “shoots fire out of their hands.” This is because we can only assume that if they’re not using an Infinity Stone, they’re splicing and combining genes from animals to make a perfect soldier. If that’s your cup of tea, using a genetic connection to explain someone’s powers, go for it. The Editor and I have been using recently is the idea of gifts passing through generations. Let’s return to our new hero Astrid. Instead of being experimented on by HYDRA, having a backstory where she was maybe mugged or is afraid of the dark, or a backstory where she loves creepy-crawly dark spaces, we can say the following:

**

          “Wait… How many people can do what you can?” Tony looked up from his phone to Astrid, who had become engrossed in her newest prism. “Hey! Glow-stick!”

          “Mmm?” Tony tossed her his phone. “Oh… you don’t have to friend him.”

          “Why isn’t he here?” Astrid stood up and walked back to Tony, handing him his phone.

          “Why isn’t who here?” asked Steve.

          “My brother Jeremy. He’s like me.” She shrugged her shoulders. “He didn’t want to go. I texted him when Director Fury reached out, and he didn’t want to give up on his Northern Lights project. My cousins said no too.”

          “What do you mean, your cousins?”

          “Didn’t you know? I thought you knew everything Stark. My gift’s genetic. It’s been in my family for generations. I have my brother, and like, 3 other cousins who can do what I can. I’m the only one who responded to Director Fury’s text.” Astrid sighed. “If my cousin Dixie were here, she’d tell me that means I’m the idiot of the group. C’est la vie.”

****

          You can totally make superpowers genetic. It’s something that isn’t done often and is very fun because you can get into subtle mutations or variations of the same power. With Astrid, since we know she controls light, maybe the gene mutates with one of her cousins who can bend light in a way that they appear invisible. Maybe one of Astrid’s children can make the light into solid objects. Try making your superpowers a recessive gene. It could be a fun way to showcase the OC’s support network and give an explanation for their gifts that’s uncommon.

Our final note is that if you are writing a character with superpowers, we want to see the character learn to use those powers. It is so boring to have a character come out of the gate with gifts that they’ve mastered perfectly, OR, have a character initially struggle, but learn and master their gifts in 1 training session. That’s so boring to the reader, because there’s no development, and there’s no struggle. If a character earns their powers and is experiencing the new and wonderful, we want to see that struggle. That way at the end of the story when they have near-perfect control the ending is so much more satisfying because we know what went into that. Look at Avatar: The Last Airbender. The final fight with Ozai and Zuko’s final fight with Azula is the ultimate show of growth and mastery. You clearly see that neither of these boys are the same kids from the beginning of the series. The same is true for Percy Jackson, where all the Olympians have moments where they have powers, but don’t know or can’t use them. Let us see the struggle. It makes the journey more worthwhile. And, speaking of Avatar, no more “can control the four elements.” We’ve all seen the show. We all know the source material. It’s not original and your OC is not the Avatar.

          Next week is a big one! We’re talking about diversity. Not only diversity in race but diversity in LGBT, in experience, and how to capture and make your stories diverse, and where it makes sense to have a story that’s diverse.

Xoxo, Gossip Girl

References:

The Ables. https://www.goodreads.com/work/best_book/41929531-the-ables. Accessed 26 July 2020.

          Villains are the most difficult to figure out. When you write a villain, you are writing a character and explaining to yourself, and therefore the audience, not only why this person is a bad guy, but why they’re doing bad things. I do not like villains who are Bad Guy McBadGuys that exist solely to make the OC’s life miserable. That isn’t a villain. That’s an asshole. These characters are the most common villains we see, and I myself am guilty of writing them in the past because we don’t want to give the bad guys thought. Usually, the writer wants to focus on the protagonist, but the side characters and opposing characters need way more thought than the OC. The OC’s motivations are easy to figure out. Their job is to complete the quest, save the day, and oppose the villain. Their entire goal as a character can be written around a villain, and when that happens you better be damn sure you know why the villain is doing what they’re doing. One-note villains are common in both Harry Potter and the Avengers. Usually, this is because the villain is either a Death Eater or HYDRA, and they can be bad for the sake of being bad because we know both groups are bad guys. I want you to remove yourselves from that approach. I would highly encourage you to read the comic series published a few years back called Captain America: Hail HYDRA. If you know Avengers you probably know this comic, because it’s the one where the writers tried to say that Captain America, God’s Righteous Man, has been a secret HYDRA agent this whole time. It was a whole Twitter moment, it was the #saynotoHYDRACap thing. That comic. In that comic, along with Captain America pledging his support to HYDRA, is an account from a character named Robbie Dean Tomlin. We as the audience follow Robbie’s story and see how a young kid can get wrapped up in an organization like HYDRA and get beaten and broken down to the point that he’s willing to become a suicide bomber for them. What Hail HYDRA can teach us is how to make a villain relatable, and how a normal character can get wrapped up in a group that we as an audience can look at and immediately know is bad. We see them as evil, but we never question why or how a character gets involved in that. If you are going to write a villain that can compel an audience, you need to start asking those questions. Why is this character where they are? Are they angry? Are they scared of someone else? Does this character think they’re doing the right thing? If so, why are they/do they use violence to accomplish their goals? Why is that necessary? When you look at Robbie Dean Tomlin’s story you can answer all those questions. You get him not as a villain, but as a character, and that’s where it starts.

          Another great example of villains as characters and not as bad guys is found in Avatar: The Last Airbender. Specifically the episode ‘The Boiling Rock’ where Sokka and Zuko break into the Fire Nation’s highest security prison and pretend to be guards. Their goal is to break Sokka’s dad and girlfriend Suki out of prison. The important note is that during the episode Sokka is able to chat with the Fire Nation guards. These people are his adversaries in this episode. They could imprison or kill him if he is discovered, but the guards aren’t set on that. They aren’t hell-bent on torturing the prisoners either. They’re just people. Not only that they’re nice people. The guards are nice to each other. They’re nice to Sokka, and they give not only their characters but the Fire Nation more dimension. Not every Death Eater under Voldemort is going to share his exact viewpoints or his bloodthirst. They are not all hell-bent on, ‘I must capture and kill Harry Potter,’ or, ‘I must spit in the face of muggles and mudbloods because they have to know their place.’ The same is true for HYDRA, or the Empire if you’re writing for Star Wars or the Fire Nation. You have to start writing your characters as people and give them the backstory and reasoning that would make them evil.

          Me personally, when I am writing a story the villain is the first character I write. I want to know them and know why they’re about to be mean to my OC. We’ll use two different villains I’ve written as examples: Anna and Sion. We will also use a common villain from fanfiction, Dolores Umbridge, for comparison.

          Treat your villains like protagonists. In a sense, they are the protagonists of their own stories, they just happen to be the antagonists of your OC’s. Know about their hobbies. Whether they have a family. If they don’t, what happened to that family? This information doesn’t need to be used necessarily, but it helps you as a writer know your antagonist as a person. For Anna, I know that she loves the outdoors. She likes rock-climbing and kayaking and she enjoys time outside. I know she has a son that she loves dearly, and she has a specific brand of French candy that she keeps well-stocked for herself. Sion, I know she has been married twice and has kids from both marriages. I know she likes fantasy novels because the idea of mythical beasts sounds cool to her. Dolores Umbridge, we know as readers loves the color pink. She likes frilly and lacy things. She loves cats. She’s the epitome of the old white ladies who shop at Dillards. It’s okay for you to give your villains something that isn’t stereotypically villainous. When we get into good examples of villains we’ll explain more why quirks and characterization is so important.

          Once you’ve created a character with a personality, start to flesh out where they work. What they do. This will give you a better idea of how they will interact with the OC. This too can be against the grain of stereotypical villains, which the Editor and I usually see as men in dark rooms brooding over something we the audience don’t know and beating the OC because it’s fun. Again, that isn’t a villain, that’s just an asshole. I also as a reader don’t know who that villain is as a person. I just know that I’m supposed to really really hate him or her because they’re mean to the OC. So, give them a personality, and tell me about their life. Are they the CEO of a massive corporation? Are they politicians? A teacher? A spy? Give me something I can take in and help me as the reader understand who this person is. We know Dolores is senior undersecretary to the Minister. She is a woman in a high place who loves her job. Anna, for example, we’ll say is a former spy. She was a spy when she was younger and has moved up in her organization to the point where she oversees other agents and acts as their support. Sion on the contrary is the head of the department of Chemistry wherever she works. She oversees students and has her own research lab. All characters have opportunities to interact with people, and therefore the OC. Your villain shouldn’t be a hermit. That’s less realistic, because then, how can we expect them to go antagonize the OC if they never leave the house?

          So, we now have a character with a personality, and we have a character with a career that fits their story. A good way that I’ve found to turn a character who would otherwise be good evil, is to pile on those flaws and have them act on their weaknesses more so than their strengths. We give our protagonists strengths and weaknesses but seldom do they lean on their weaknesses and put faith in insecurities. Let your villains down that kool-aid. It’ll make the drop into madness smoother. For Sion, we’ll have a character who is insecure. She is insecure about her usefulness, she’s worried her department will be absorbed into another, she’s insecure about her age and about some freak from nowhere with none of her training or experience being able to take away and undercut her value in the society she lives in. She has many children to provide for, and has a lot to lose should she lose her job (psst, this is where the OC comes in). Anna as a character grew a bit differently. Her insecurities came from her backstory, where she fell in love with another spy, had a long happy life with that spy until the same life that brought them together and made the world a game killed him. Her weaknesses come in that she feels abused by the system, and that she will not let others be abused by the same system. She feels more gallant than a character like Sion, and that she is saving characters who wouldn’t listen to her otherwise. Who doesn’t understand that the world is filled with bad people and no one else is willing to take out bad people? (psst, this is the easy driving force for the protagonists to oppose). Dolores’s insecurities come from ignorance. She follows the Minister on blind faith and doesn’t want to be proven wrong. If he fails she sees herself as failing too. In addition, she has internalized intolerance that has built up over time because of the oppression of half-breeds and muggle-borns. She helps write laws that oppress muggle-borns. She makes them submit for questioning. Dolores is happy where she is because her prejudice is a blanket of security for her. She loves her job, and she wants to stay where she is. So when Dumbledore or Harry try to uproot her, she is antagonistic.

          The impact of Sion, Dolores, and Anna, is that you end up with characters who do bad things but don’t see themselves as bad people. Anna believes she is doing the work that no one else is willing to do. That she is going after bad guys. Sion believes she is keeping her department alive. That she is looking out for the good of her people. Dolores is serving her ministry. None of these characters are truly evil, but when you present a young upstart who comes out of a factory that gets the spotlight and attention, or a group of ragtag kids who are trying to save as many people as they can regardless of experience because, “you can’t change where you come from,” or a wizard trying to shake down the years of intolerance at the central government, you get antagonism that is natural and makes sense. You get conflict that makes sense not only for the protagonists, but it makes sense for the antagonists to oppose them. That should be your goal when writing a villain. It should make sense for the villain to oppose the protagonist and vice versa, and it shouldn’t be because the villain is evil and that’s it.

          Now, to drive these points home further we’re going to break down great villains from the media and discuss why they are successful in the context that we’ve given you. We hope that by explaining these villains in the terms that we’ve just described, the importance of creating villains as characters first will make more sense.

          Let’s talk about Azula. She was the first to come up when the Editor and I discussed villains. We as an audience know Azula’s backstory. We know she was “born lucky,” and was beloved and revered by her father and grandfather. We know she had a bad relationship with her mother. We know she had friends. These are all aspects of personality that make Azula someone we can understand. Azula is serving her father and the Fire Nation. It just so happens that that nation is under more evil leadership. When we see the downfall of Azula, we see how the writers used her own insecurities to become her undoing. We see her instead as a deeply paranoid person, who is afraid of being betrayed by people she is supposed to trust. You see her crack under her own pressures. The brilliance of Azula is that we as an audience can relate to her in her downfall, and we see who she is beyond being a bad guy. She’s not like General Zhao, whose motivations and desires were more straightforward. She has complicated goals and wishes and desires that allow us to understand who she is as a person.

          Lucifer from Supernatural is another great example of a compelling villain. You see it in his development. He is meant to be the ultimate evil because he is after Sam and wants the end of the world. What the writers on Supernatural did is really explore the why of Lucifer’s actions. You see it in how his brothers talk to him. You see how Lucifer was, “the only one who could see what was going on.” That he couldn’t handle the new baby (mankind) coming home and lashed out. That he was kicked out of heaven by trying to prove that humans weren’t perfect. You see in the actor himself, that Lucifer is given a reason to be angry and a methodology behind his anger. This makes him more compelling as a villain. He isn’t evil just to be evil and he isn’t opposing humanity just to do it, he has a reason behind what he does. It makes us understand him as a character because his anger is relatable.

          Loki is often a villain or a love-interest in fanfiction. Sometimes when we’re feeling spicy, he’s a villain turned into a love interest because oh my god growth. Loki is given familial relationships and friendships that help us understand who he is as a character. On top of that, he’s given justifiable anger similar to that of Lucifer’s, which makes him act bad but believe he is in the right. Often when we read Loki fanfiction we see the tortured soul Loki who needs someone who can “understand” and “see him” in ways that his brother of 100-odd years somehow inexplicably cannot. This does not just apply to Loki (see Draco Malfoy, Lucifer, and sometimes Paul Lahote but he isn’t a villain). If you are going to give Loki a family that doesn’t know or understand him, you need to give Loki character traits that said the family wouldn’t know about. Hobbies he likes, activities he enjoys. Often Loki is reduced to reading, but in-depth analysis can allude to his reading being a means of escaping a bad situation. Does he write too? Tell me more. Loki is often reduced to either the tortured soul or the lunatic and he is neither. He is a boy first and foremost, who has been lied to his whole life, who was taken in as a political prop and was shoved aside and made to feel unwanted because he was not the blood son. That kind of stuff stays with a person. It messes you up and puts a lot of negative ideas in your head. From here is the source of Loki’s anger, but don’t say that his family doesn’t know him. They do, what they don’t do is accept or nurture him. The exception to this is Frigga. Loki’s motivations as a villain come from his backstory and the relationship he has with both his father and brother. Where fanfic writers often stumble is this dynamic, which is not one of unfamiliarity but one that lacks acceptance. Loki was ostracized for being different, but that isn’t to say Thor and the Warriors Three didn’t know he was different.

          Let’s talk about the Death Eaters. The Death Eaters are a great example of how systemic intolerance shapes a generation. They serve Voldemort out of both fear and loyalty because his power is something that is ingrained in their minds as something that is right. His ideas are perpetuated by Salazar Slytherin and enforced by pureblood families. The Death Eaters are examples of those who grew up in intolerance. They don’t necessarily follow Voldemort because they agree with him, but because their families do, their colleagues and friends do. They are so deep in this life they don’t know how to get out. Look at the obvious discomfort of the Malfoys in books 6 and 7. They clearly don’t want to be there. Death Eaters are way more complex than people give them credit for. If you’re writing Death Eater characters, lean into the Draco Malfoys and the Regulus Blacks of the world. Study how people in cults act and reflect on their time after leaving the cult. These resources will help you write characters that are more compelling than just, ‘Mudbloods suckkkk lmao.’

          Because he is so popular as a villain, we’re going to talk about Lucius Malfoy in addition to Death Eaters. Lucius Malfoy’s representation in fanfiction is horribly executed 9 times out of 10. This is because he follows the same fate of many characters that we discussed in Fanfiction 101. Lucius Malfoy is reduced to one-note beats and the most blatant parts of his personality. Because he is a villain, that beat is “I hate mudbloods and love Voldemort.” He’s like one of those MLM moms who are like, “love my God and my Essential Oils.” Lucius Malfoy should not be reduced to MLM moms with Live Laugh Love and internalized misogyny. He is way smarter than that. You don’t become one of Voldemort’s most devoted followers and come back from that without having your wits about you. Lucius is way smarter than what fanfiction writers commonly give him credit for. He’s intelligent. He’s driven. He was a Head Boy in his time at Hogwarts, and he knew how to try and sink his enemies without implicating himself. If you write Lucius Malfoy you need to dip into the cat-and-mouse games that are Lucius's personality. He’s not aggressively evil. He’s quiet. He slips in after the fighting is done and takes what he wants. The best example of this is during Harry Potter and the Chamber of Secrets. Everyone knew that it was Malfoy who slipped Tom Riddle’s diary in Ginny’s cauldron. However, there was no proof. Lucius Malfoy is a careful man, and in fanfiction that needs to be reflected.

          Villains are the most important character in your narrative. You need to view them as people. As characters first and as bad guys second. Your OC’s story can be centered around the villain, who should be complex, thought-out, and should have methods behind their madness. The audience needs to understand who your villain is by reading about them, just as much as your OC or side characters.

          Next week we’re discussing superpowers. We’ll break down how to make a cool set of superpowers, the common mistakes in superpowers, and give good and cringe examples.