97 Character Motivations

19 points

Writer Bingo

What’s your final score? 👀

sometimes you need dialogue tags and don't want to use the same four

mages in glass houses shouldn't throw fireballs.

The Emotion Thesaurus: Amazement

Hello everyone! This post will discuss the emotion amazement.

This section is taken from the Emotion Thesaurus by Angela Ackerman and Becca Puglisi.

Amazement

Definition: overwhelming astonishment or wonder

Physical Signals:

widening of the eyes

a slack mouth

becoming suddenly still

sucking in a quick breath

a hand covering one's mouth

stiffening posture

giving a small yelp

rapid blinking followed by open staring

flinching or starting, the body jumping slightly

taking a step back

a slow, disbelieving shake of the head

voicing wonder: I can't believe it! or Look at that!

pulling out a cell phone to record the event

glancing to see if others are experiencing the same thing

pressing a hand to one's chest, fingers splayed out

leaning in

moving closer

reaching out or touching

eyebrows raising

lips parting

a wide smile

spontaneous laughter

pressing palms to cheeks

fanning oneself

repeating the same things over and over

squealing dramatically

Internal Sensations:

a heart that seems to freeze, then pound

rushing blood

rising body tempreture

tingling skin

stalled breaths

adrenaline spikes

Mental Responses:

momentarily forgetting all else

wanting to share the experience with others

giddiness

disorientation

euphoria

an inability to find words

Cues of Acture of Long-Term Amazement:

a racing heartbeat

shortness of breath

knees going weak

feeling overwhelmed as if the room is closing in

collapsing

May Escalate To: Curiosity, Disbelief, Excitement

Cues of Suppressed Amazement:

holding oneself tightly (self-hugging)

walking in jerky, self-contained strides

clamping the hands to the chest

looking down or away to hide one's expression

eyes widening a bit before control is asserted

mouth snapping shut

a stony expression

taking a seat to hide emotion

making excuses if reaction is noticed

stuttering, stammering

“Why should rich people pay more” because fuck ‘em

“So you are okay for paying more when you have money” I am not excluded from ‘fuck ‘em’ when relevant

Does this story need to be written down? Is it not enough to have it simply live in my head?

There's a post floating around the tumbls to the tune of "stop writing your characters like they're winning at therapy." The overall thrust of this "advice" seems to be that it's not interesting characterization or good fiction to write characters who already have good self-awareness and the ability to communicate with the people around them.  The strong implication of the post was that self-awareness and therapy are boring, so don't put them to paper.  

There's another post that's a kind of follow up, talking in a more nuanced way about how characters, like real-life people, may well have extreme difficulty 1) identifying the emotions they're having, much less 2) being able to talk about them, or 3) being willing or feeling safe enough to say it aloud.  It's not such an intentionally quelling piece of direction about how to write effectively, but it still comes down on the side of "conflict makes for more interesting reading in the end." 

The other implication of "this isn't good writing" is that those kinds of stories do not hold value, and that conflict has a very narrow meaning.

It's true that people grow up in all kinds of situations that affect their understanding of their feelings, much less their ability to communicate them or ask for help. Those folks may struggle alone for a long time before they are in a place where it's safe to slow down and think things through.  Some folks may never get to that place, and it's important to read their stories and struggles.

It's true, too, that there are people who are naturally more self aware, who are able to speak up for themselves regardless of any past trauma or any ongoing anxiety disorder or whatever other thing might have otherwise hampered their insight and communication about their needs and desires. Their current success doesn't mean their story isn't worth penning.

Here's what the "don't write it, it's not realistic" crowd and the "don't write it, most people don't have these skills" folks fail to answer: why is it wrong to write and read stories where the characters behave like self-actualized people who love themselves enough to spend the time doing the work getting over their shit, and who love and respect the people around them enough to communicate clearly with them?  Why is it wrong for a writer to give a reader a lens into a world where some people reach a point in their life where they don't have to deal with drama, understand why they feel a certain way, and take affirmative steps to solve their problems?  Why is it wrong for some writers and readers to want a story where there isn't conflict, and where there is a calm, peaceful ending for everybody involved?

"Conflict's more interesting!" 

Maybe, but it also contributes to stress, anxiety, depression, physical health issues, sleep disruption, anger issues, violence, crime, self-harm, and suicide.  Acting like everyone ought to be writing conflict instead of healthy communication is racist, ableist, and classist as hell-- pretty mean-spirited, too, if all you care about is the drama.  It's also incredibly intellectually lazy.

It's pretty rude to assume you know what all writers ought to write, or what all readers must read.

People write for all kinds of reasons, and people read looking for all kinds of things-- mirrors of their own life, but also windows with views onto something they might not have been able to imagine before reading your story. 

Some people have already been through the wringer and did the work, and want to write a world where they can remind ourselves and other people that it's possible to do the work-- even when it's hard-- and end up on the other side of things in a better place.  We've been through conflict, and we don't want anyone else to have to go through it, either. We want to share our tools and coping mechanisms and reframing devices so that others who are having a hard time while they are reading have at least one positive view that gives the reader permission.  Stories that write about winning at therapy are important, because they say this: 

"Go ahead, you're allowed.  Acknowledge that what's happening to you isn't fair or healthy.  Admit that you deserve better, because you know that the character in this story is like you and you can see clearly for them what's still hard to accept for yourself.  Understand that you're not a failure for having strong feelings. Know that it's not selfish to take care of yourself and to read the books/see the therapists/erect the boundaries/take the meds you need in order to feel like life can be better."

Getting better and staying that way isn't boring or unrealistic, and neither is writing about it. One of the hardest stories I ever wrote was a story about communicating about mismatched needs. When it was done, I reread it and saw-- oh, I need to do the thing I just put my characters through the therapeutic exercise of figuring out for themselves.  It was embarassing, to know myself better through fiction writing than through therapy-- but the process of writing let me figure out on paper what I wanted to happen. The kick in the teeth of realizing it wouldn't happen was what let me make a hard decision-- that my story gave me permission to make.  And then I published the fic, which was more embarrassing because there were several folks IRL who realized what it meant for my offline life. I published it anyway, and few years ago, someone read the fic and commented something along the lines of:  "I'm going to therapy and making X decision because of reading this fic." 

My uninteresting story about a character telling another character that they needed to talk some things through and get help?  It helped someone else.  And it was a popular story, because lots of people who read it understood-- the struggle to understand yourself and your needs is one of the hardest conflicts all of us face, and coming out on the other end of it is a victory that we deserve to share with others, in the hope that they'll see a way through too. 

So, dearly beloveds-- please be assured that you have at least one writer's permission to write boring, uninteresting stories about people who know how to solve their own problems and put on their own emotional oxygen mask before helping others.  I, for one, can't wait to read your story and tell you how much I enjoyed it, and how happy I am that you're sharing that kind of success and the hope it might give to others.  

look, i'm sorry to say it, but if you really truly want to see more queer representation in media, you're going to need to be okay with seeing representation that you don't relate to at all. you need to be okay with media that has queer characters but none who share your specific identity. you need to be okay with media that has queer characters who do share your identity but who you find completely unrelatable. this is because you are not the only queer person on the planet and queer people who are not you, including queer people who you share no similarities with besides your queerness, deserve to see themselves represented.

you also need to be okay with media that shows a queer experience that you personally find uncomfortable. it's okay if you hate coming out stories, but other people find them valuable, so they need to exist. it's okay if you're a masc trans guy and you feel uncomfortable seeing femme transmasc characters, but femme transmascs do exist in real life and also deserve to see themselves represented. it's okay if you're uncomfortable with queer stories that involve cheating or abusive/toxic relationships or queer characters who are not good people, but other people find a lot of meaning in those stories, so you need to be okay with the fact that they exist.

please stop calling out creators—particularly queer creators—for writing queer representation that you don't personally relate to. if you want every queer person to be able to feel represented in media and if you want every queer creator to be able to make the stories they want to tell, you're going to have to learn to accept that some stories will feel completely unrelatable to you, and that's okay, and it doesn't mean those stories are "problematic" or "bad representation"

You run a Bakery, just a normal bakery, the only problem is that your customers at midnight to 6AM are mythical creatures who pay with gemstones and ancient gold and silver coins

Creepy things to add to settings

Just to make things a bit more interesting

—Water stains from flooding

—Withered down machinery resulting from weather

—Torn fabric caught on spikes

—Attempting to find a hiding spot, only to turn around and find the skeleton of the last person who tried to hide there

—Expecting to see spiders and other bugs, only for them all to scurry away as a new presence enters the room

—Fog slithering in through holes in the walls or open windows

—Stepping on the dead, crunchy leaves of plants that started growing inside

—The characters knowing the floorboards will creak, so they try really hard to keep quiet as they travel. Make them all freeze when they hear something else coming at them and decide if they should stand still to keep from attracting any more attention or if they run for their lives

—The wallpaper and paintings on the wall torn off and scattered against the floor, leaving the walls barren and lifeless

it’s all about how you describe it! Find things that get under people’s skin (bugs, snakes, certain sounds, etc) and connect them to whatever you’re trying to make creepy