Fantasy art and writing by Sputnik

Start with the absolute basics, which I would say is 'laws of the universe'. These are meta statements about the worldview of your setting, that can act as a guide to yourself to determine whether something fits in your world or not, helping you to narrow down and solidify your lore until it all feels cohesive.

Examples of laws of the universe for different stories:

'The good guys always win in the end' - fairytale setting

'No good deed goes unpunished' - grimdark setting

'Fate is more important than individual choices' - mythology setting

'Power always corrupts' - political setting

This can help set the tone, and gives you a shorthand to explain your world's mood to people quickly. You can also include magic rules in your laws of the universe, such as 'The dimensions can be traversed on magic airships'.

Once you have these, find the absolute most important features of your setting. For The Hunger Games, this would be the districts and the hunger games themselves. For D&D's Eberron, this is the dragonmarked houses and magical infrastructure like the lightning rail.

Make a new page to act as your landing page on google docs, or notion, or obsidian, or whatever platform you use to organise your notes. Give yourself 3-5 headings that focus on the absolute most important aspects that make your setting stand out to you.

Some example headings would be 'War-torn Nations' for a setting that has just recovered from a massive war, 'Heroes of a Lost Age' for a setting with mysterious powers leftover from eras past. Write only one paragraph for each heading, summing up how that particular subject presents itself in your world, whether it be in the form of what type of characters might be found in the setting, what type of environments exist as a result of conflicts, etc. Don't worry about writing well, just get the info across for now, since this bible is for your own reference first and foremost.

If you flip to the front page of a TTRPG setting book, you might find a page like this summing up the setting in a few paragraphs. I know for certain that 7th Sea has a page like this in their book, it's part of where I got this landing page idea from.

Then, make a new page for every key word you mentioned on your landing page. Going back to the Hunger Games setting example, the landing page may mention 'the reaping' so you'd make a new page for that, it might mention the capitol, you'd make a new page for that, and career tributes, and so on. You're essentially making your own wiki branching outwards from the most important aspects of your setting, in a way that all links back to your landing page to keep it cohesive.

And then if you ever need to sum up your setting quickly, you can just list off the headings from your landing page and form them into a quick setting premise.

I'm planning on making my own lore bible soon, so hopefully I might have more ideas and advice once I've worked on that. I hope some of this helped, good luck with your wargame lore!

You can use the decoration of a room to show how neurotic a character is, what they prioritize in life, what they like, dislike, their emotional life, how they lead a private life, how they are truly like in the comfort of their own homes. How an office looks, how a desk is set up, or cluttered. These things will tell you more about the character who owns them than having lines and lines of dialoge. And this can be done in one or two paragraphs. For example this snippet:

Our first insult as we opened the door was the acrid scent of trash and decay mixed in with that of rotting food. In de darkness piles of unwashed pots and pans littered the sink to heights that should have toppled over, abandoned weeks ago. Empty takeout containers filled each counterspace available, along with cans and bottles of alcohol. Paintings that were on the walls hung askew and covered in dust, while the curtains at the end of the room blocked all but the faint sliver of sunlight that cut through the apartment, revealing a sliver of the true extent of our friend’s living state.

See what I mean? You can tell a lot about the person by this description. Here is another one:

The room was dim, light filtering in through the half-open shades, walls painted a healthy earthy green. A few plants hung near it from hooks, casting shadows all over the room. A desk that was rarely used by the thin layer of dust over the keyboard, and the smell of lavender that hung faintly in the air. Shelves lined up a wall of the room, one covered in trophies of track and field as well as snowboarding, while another was filled to the brim with books of varying generes. A cat tower sat in a corner, and the bed was neatly made, plushies and pillows of varying colors bringing vibrancy to the room, yet complimenting the rest of the colors.

As you saw above, how you describe the living spaces/personal spaces tells a lot more about characters than what a lot of dialogue can do. Yes, you can mention in dialogue that a character is chronically depressed or they love plants and animals and sports, but a visual description sometimes is better than a clunky line of dialogue.

As with everything, use it as you see fit and however it best fits your book/story. These are tricks and ideas that have helped me a lot in my own works and I can’t recommend them enough.

but you know what’s actually scarier than the thought of failing? the thought of never actually writing the book i’ve always dreamt of reading. the thought of never even attempting to write it.

Anger is really easy to show in an argument: arguing, yelling, hitting people or things. As tension builts, anger rises, and once the argument is over, your character might still be angry.

Here are some ways you can show how anger builds or lingers.

Clenching fists, jaw or grinding teeth.

Tapping fingers or foot impatiently.

Giving short, clipped answers.

Forced or fake smiles.

Glaring or narrowed eyes. Rolling eyes.

Cold, sarcastic comments disguised as jokes.

Slamming doors or dropping objects.

Withdrawing from conversation or space. Or walking away mid-conversation.

Pacing or restless movement.

Muttering under breath.

Sudden, sharp gestures.

Ignoring someone deliberately.

Excessive cleaning or other nervous habits to distract themselves

Picking fights over trivial things.

Staring silently, making the other person uncomfortable.

Repeating the same point over and over again, or doing the same thing over and over again.

Controlling or micromanaging situations.

Using humor to mask irritation.

Cold touch (like a stiff handshake).

1. Give them power over something the reader cares about A villain who can’t actually hurt anything important is just annoying. Give them control over a person, a system, a truth, or a resource the protagonist and reader are emotionally invested in.

2. Make them punch down, not up Readers hate villains who abuse people with less power. Targeting children, the vulnerable, the innocent, or the desperate instantly signals moral rot.

3. Let them feel justified The most infuriating villains believe they’re right. They don’t see themselves as cruel, they see themselves as necessary, logical, or “doing what must be done.”

4. Make them calm while doing terrible things Cold politeness, soft voices, or pleasant manners paired with cruelty feels far more disturbing than loud rage. It creates emotional whiplash that sticks.

5. Give them small, petty cruelty on top of big evil Genocide is abstract. Stealing someone’s last comfort, humiliating someone publicly, or enjoying another person’s fear feels personal — and that’s what makes readers angry.

6. Let them win more than feels fair A villain becomes hateable when they keep getting away with it. Let them succeed. Let them walk free. Let them hurt people without consequence — for a while.

7. Deny the reader catharsis Cut away before justice. Interrupt revenge. Delay consequences. The lack of emotional release builds frustration that gets attached directly to the villain.

8. Make them emotionally invasive They don’t just hurt bodies — they manipulate, gaslight, shame, isolate, and reframe reality. They make the protagonist doubt themselves.

9. Let them corrupt something good They twist love into control, faith into obedience, loyalty into fear, or law into cruelty. Watching something pure rot because of them creates hatred fast.

1. The Setup (Separate Worlds)

Each character is introduced in their own emotional world. We see:

Their wounds, needs, and flaws

What they want vs. what they actually need

Why love is currently not working for them

This stage sets up why the romance matters.

2. The Meet Cute or First Collision

They meet in a way that creates friction, curiosity, or disruption. This can be cute, hostile, awkward, or intense — but it must change something for both of them.

3. Attraction and Tension

They feel drawn to each other, but:

There are obstacles (external or internal)

They deny, resist, or misinterpret their feelings

Chemistry builds through proximity, conflict, or emotional glimpses

This is the slow pull stage.

4. Forced Proximity or Emotional Intimacy

Circumstances push them together:

Working together

Traveling together

Being trapped together

Sharing secrets or vulnerability

This is where emotional bonding starts, even if they don’t admit it.

5. The First Shift (Romantic or Emotional Breakthrough)

A moment changes the nature of their relationship:

First kiss

Confession

One saves the other

A moment of deep understanding

After this, the story is no longer “will they notice each other?” but “what does this mean now?”

6. The Honeymoon or Hope Phase

Things feel good. There’s closeness, trust, or passion. The reader is allowed to believe the relationship might actually work.

This makes the coming conflict hurt more.

7. The Break (The Black Moment)

Something shatters the relationship:

A betrayal, lie, misunderstanding, or revelation

A fear or wound resurfaces

External pressure pulls them apart

This is the emotional low point of the romance.

8. The Growth and Choice

Both characters grow:

They confront their flaws or fears

They choose love intentionally, not accidentally

They become capable of sustaining the relationship

This is where love becomes a decision, not just a feeling.

9. The Reunion and Resolution (HEA or HFN)

They reunite with honesty and emotional maturity. The story resolves with:

A Happily Ever After (HEA) or

A Happy For Now (HFN)

The emotional promise of the genre is fulfilled.

✦ Why This Structure Works

Romance isn’t just about attraction — it’s about emotional transformation through love. Each stage:

Builds intimacy

Introduces risk

Forces growth

Rewards vulnerability

Ways That Fear Can Show Up (Without Saying “Fear”)

When it creeps: • Foreboding — the air feels wrong before anything actually happens. • Ominousness — silence that feels almost... purposeful. • Misgiving — your instincts tugging at your sleeve, whispering, "Don't."

When it hits fast: • Shock — your brain blanks • Startled— your heart slams, you inhale • Panic — thoughts fracture; your instincts beg for escape

When it lingers: • Tension — jaw locked, shoulders up near your ears. • Anxiety — background noise that lingers in every thought • Dread — knowing something bad is coming and having to wait for it.

When it turns physical: • Shivers — cold crawling up the spine. • Sweat, dilated pupils, skin gone pale — your own body betrays you. • Weakness — knees like jelly, grip unreliable.

When it overwhelms: • Terror — too big to think around. • Horror — something has gone wrong. • Paralysis — body refusing orders.

When it distorts reality: • Paranoia — patterns where there are none. • Suspicion — every sound feels intentional. • Unease — the sense of being watched without proof.

Are your characters the type to fight, flight, freeze or fawn?

Vinsa: Freeze

Bardi: Fawn

Saxe: Fight

Ferren: Freeze

Raissa: Fight

To write a compelling badass character, you should focus on demonstrating their strength through actions rather than labels, balancing their competence with vulnerability, and potentially using the element of surprise.

Show, Don’t Tell

One of the most important rules is to never explicitly call your character a "badass" or have other characters refer to them as such in dialogue or narration. Let their skill, fearlessness, and confidence speak for itself through their actions. If you constantly remind the reader of a character's status, it can lead to "overkill" and make the character feel unearned. Instead, present the character as they are and let the reader decide if they are worth championing.

The "Crouching Moron, Hidden Badass" Technique

You can create a highly memorable character by utilizing the element of surprise. This involves starting with a character who appears to be an unserious, clumsy, or foolish "lovable fool".

The Contrast: Establish a stark difference between their initial "moron" persona and their hidden abilities.

The Trigger: Use a profound event to spark the transformation, such as a desperate need to protect someone they care about or an emotionally charged memory.

The Shift: When triggered, the character should undergo a "night and day" shift, becoming resolute, intense, and displaying skills (like advanced intellect or physical prowess) that were previously hidden.

Emotional Control and Presence

A classic badass often maintains a "straight-faced" demeanor, showing little emotion even during intense conflict.

Coolness Under Pressure: While they may feel emotions internally, they often suppress them in key moments of conflict to remain effective.

Avoid Over-Cockiness: Be careful not to make them so arrogant that they lose focus. A character who loses a won fight because they "wouldn't shut up" or became too cocky can be a disappointment to the audience rather than a badass.

Moral Boundaries: A true badass often knows when the fight is over and does not continue to attack an opponent who can no longer fight back.

Resilience and Proactivity

Badassery is often defined by a character's refusal to give up, regardless of the odds.

Proactive Failure: They should remain proactive even when they fail. Characters like Geralt of Rivia are considered badass not because they are invincible, but because they keep going despite being tricked, roughed up, or outmatched.

The Underdog Factor: Badasses are often underdogs or outcasts who face insurmountable obstacles. While a normal underdog might barely win, a badass turns the situation around to achieve a crushing victory.

Dialogue and Personality Flaws

To keep a badass character from feeling like a one-dimensional "goody two-shoes," give them a distinct voice and realistic weaknesses.

Sarcastic Wit: If a character is highly competent, giving them a cocky or sarcastic edge can make them feel more badass. Since you have time as a writer, use it to craft the "best comeback possible" that the character can deliver in the moment.

Meaningful Flaws: Give them things they are genuinely bad at. A character who is human, makes mistakes, and gets scared but continues to move forward is often more compelling than an immortal, perfect hero.