Showing 'Fear' In Writing

Let's talk about character development.

Creating multidimensional characters make them more relatable to your readers. They add richness and complexity to the narrative, enhancing its overall depth and resonance.

So. How?

Complex motivations: Characters should have motivations that go beyond simple desires or goals. Delve deep into their past experiences, fears, and desires to understand what truly drives them. Keep them consistent yet nuanced for realistic character growth and change throughout the story.

Flaws and vulnerabilities: Avoid creating characters who are too perfect or flawless. Imperfections make characters relatable and interesting. Give them vulnerabilities, weaknesses, and struggles to overcome. This adds depth to their personalities and creates opportunities for character development.

Internal conflict: Explore the internal conflicts within your characters. This could be moral dilemmas, inner turmoil, or conflicting emotions. Internal struggles can be just as compelling, if not more so, than external conflicts, and they add layers to your characters' development. (See my previous post about this!)

Consistent behaviour: Make sure to keep your characters' actions, reactions, and decisions consistent with their established personalities, backgrounds, and motivations. Inconsistencies can break the reader's immersion and credibility in the story. And the fandom will hunt you down mercilessly.

Unique voice: Each character should have a distinct voice and mannerisms that reflect their personality, background, and worldview. Pay attention to the way they speak, their vocabulary, and their gestures. This will really help to bring your characters to life.

Dynamic relationships: Develop dynamic relationships between your characters. Interactions with other characters should reveal new facets of their personalities and contribute to their growth or downfalls. Explore different types of relationships (friendships, romances, rivalries, family dynamics, etc.) to add depth to your characters' experiences.

Arc of change: Consider how your characters evolve over the course of the story. What lessons do they learn? How do their experiences shape them? Every significant event should impact your characters in some way, leading to growth, transformation, or regression.

Happy writing ❤

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Show, don’t tell

"Show, don’t tell" means letting readers experience a story through actions, senses, and dialogue instead of outright explaining things. Here are some practical tips to achieve that:

1. Use Sensory Details

Tell: "The room was cold."

Show: "Her breath puffed in faint clouds, and she shivered as frost clung to the edges of the window."

Tell: "He was scared."

Show: "His hands trembled, and his heart thudded so loudly he was sure they could hear it too."

2. Focus on Actions

Tell: "She was angry."

Show: "She slammed the mug onto the counter, coffee sloshing over the rim as her jaw clenched."

Tell: "He was exhausted."

Show: "He stumbled through the door, collapsing onto the couch without even bothering to remove his shoes."

3. Use Dialogue

What characters say and how they say it can reveal their emotions, intentions, or traits.

Tell: "She was worried about the storm."

Show: "Do you think it'll reach us?" she asked, her voice tight, her fingers twisting the hem of her shirt.

4. Show Internal Conflict Through Thoughts or Reactions

Tell: "He was jealous of his friend."

Show: "As his friend held up the trophy, he forced a smile, swallowing the bitter lump rising in his throat."

5. Describe the Environment to Reflect Mood

Use the setting to mirror or hint at emotions or themes.

Tell: "The town was eerie."

Show: "Empty streets stretched into the mist, and the only sound was the faint creak of a weathered sign swinging in the wind."

6. Let Readers Infer Through Context

Give enough clues for the reader to piece things together without spelling it out.

Tell: "The man was a thief."

Show: "He moved through the crowd, fingers brushing pockets, his hand darting away with a glint of gold."

7. Use Subtext in Interactions

What’s left unsaid can reveal as much as what’s spoken.

Tell: "They were uncomfortable around each other."

Show: "He avoided her eyes, pretending to study the painting on the wall. She smoothed her dress for the third time, her fingers fumbling with the hem."

8. Compare to Relatable Experiences

Use metaphors, similes, or comparisons to make an emotion or situation vivid.

Tell: "The mountain was huge."

Show: "The mountain loomed above them, its peak disappearing into the clouds, as if it pierced the heavens."

Practice Example:

Tell: "The village had been destroyed by the fire."

Show: "Charred beams jutted from the rubble like broken ribs, the acrid smell of ash lingering in the air. A child's shoe lay half-buried in the soot, its leather curled from the heat."

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Resources For Writing Sketchy Topics

Medicine

A Study In Physical Injury

Comas

Medical Facts And Tips For Your Writing Needs

Broken Bones

Burns

Unconsciousness & Head Trauma

Blood Loss

Stab Wounds

Pain & Shock

All About Mechanical Injuries (Injuries Caused By Violence)

Writing Specific Characters

Portraying a kleptomaniac.

Playing a character with cancer.

How to portray a power driven character.

Playing the manipulative character.

Portraying a character with borderline personality disorder.

Playing a character with Orthorexia Nervosa.

Writing a character who lost someone important.

Playing the bullies.

Portraying the drug dealer.

Playing a rebellious character.

How to portray a sociopath.

How to write characters with PTSD.

Playing characters with memory loss.

Playing a pyromaniac.

How to write a mute character.

How to write a character with an OCD.

How to play a stoner.

Playing a character with an eating disorder.

Portraying a character who is anti-social.

Portraying a character who is depressed.

How to portray someone with dyslexia.

How to portray a character with bipolar disorder.

Portraying a character with severe depression.

How to play a serial killer.

Writing insane characters.

Playing a character under the influence of marijuana.

Tips on writing a drug addict.

How to write a character with HPD.

Writing a character with Nymphomania.

Writing a character with schizophrenia.

Writing a character with Dissociative Identity Disorder.

Writing a character with depression.

Writing a character who suffers from night terrors.

Writing a character with paranoid personality disorder.

How to play a victim of rape.

How to play a mentally ill/insane character.

Writing a character who self-harms.

Writing a character who is high on amphetamines.

How to play the stalker.

How to portray a character high on cocaine.

Playing a character with ADHD.

How to play a sexual assault victim.

Writing a compulsive gambler.

Playing a character who is faking a disorder.

Playing a prisoner.

Portraying an emotionally detached character.

How to play a character with social anxiety.

Portraying a character who is high.

Portraying characters who have secrets.

Portraying a recovering alcoholic.

Portraying a sex addict.

How to play someone creepy.

Portraying sexually/emotionally abused characters.

Playing a character under the influence of drugs.

Playing a character who struggles with Bulimia.

Illegal Activity

Examining Mob Mentality

How Street Gangs Work

Domestic Abuse

Torture

Assault

Murder

Terrorism

Internet Fraud

Cyberwarfare

Computer Viruses

Corporate Crime

Political Corruption

Drug Trafficking

Human Trafficking

Sex Trafficking

Illegal Immigration

Contemporary Slavery 

Black Market Prices & Profits

AK-47 prices on the black market

Bribes

Computer Hackers and Online Fraud

Contract Killing

Exotic Animals

Fake Diplomas

Fake ID Cards, Passports and Other Identity Documents

Human Smuggling Fees

Human Traffickers Prices

Kidney and Organ Trafficking Prices

Prostitution Prices

Cocaine Prices

Ecstasy Pills Prices

Heroin Prices

Marijuana Prices

Meth Prices

Earnings From Illegal Jobs

Countries In Order Of Largest To Smallest Risk

Forensics

arson

Asphyxia

Blood Analysis

Book Review

Cause & Manner of Death

Chemistry/Physics

Computers/Cell Phones/Electronics

Cool & Odd-Mostly Odd

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Corpse Location

Crime and Science Radio

crime lab

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Cults and Religions

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Misc

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On This Day

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Trauma

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How to Make Your Writing Less Stiff 9 | Modifiers

Part 8

Part 7

Part 1

I can't believe there's now 9 of these holy butts

I’ve already talked about crutch words like “character feels” but I want to focus this list specifically on modifiers, and why they’re way less necessary than they seem. Full freedom if they're in dialogue of course, we're talking about the narration itself here.

Modifiers include:

Almost, nearly, slightly, very, a bit, certainly, probably, likely, definitely, really, basically, totally, virtually, rather, quite, etc. (here is a long list of filler words to work off)

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These words seem necessary because we say them all the time without thought, and their inclusion tends to make the distinction between a literal amount and hyperbole (though even “literally” is rarely used properly anymore).

“I nearly slept a week” is hyperbole, we all know you did not sleep for an entire week straight.

“I totally died” is also, obviously, hyperbole, unless you’re a zombie.

However.

There are times when these words are necessary.

“I almost stopped for gas” does not mean the same thing as “I stopped for gas”.

But “She laughed almost childishly” pretty much does mean the same thing as “She laughed childishly”.

What’s the difference you’re trying to highlight, and is it such a bad thing that she does indeed laugh like a child?

In essence, a modifier tends to be necessary when discerning between whether an action was or was not done, vs how that action was or was not done.

“He almost kissed them” vs “He kissed them.” Well, did he or didn’t he?

“He kissed them almost tenderly” vs “He kissed them tenderly.” What even is ‘almost’ tenderly? If you delete the modifier, you probably won’t realize it’s missing the next time you read that line.

Is a venue basically filled, standing room only? Or is it filled, standing room only? What difference does 'basically' make? Give your prose confidence!

Hope this helps!

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Writing Dialogue: Ways of Saying No

When your characters are saying no without saying "no"

INARTICULATE

Ah

Oh

APOLOGETIC/UNCOMFORTABLE

Alas ⚜ Can’t help ⚜ Do me a favour ⚜ Give over

I’m afraid… ⚜ Sorry ⚜ Unfortunately

EVASIVE

Any other time… ⚜ Ask Arthur ⚜ ‘Bye ⚜ Must run

Not right now ⚜ Talk to me later ⚜ The thing is… ⚜ What a pity

DEFINITE (with negative word)

No can do ⚜ No chance ⚜ No go ⚜ No way (José)

Never (in a thousand years) ⚜ Not in a million years

Not on your nelly ⚜ I should say not

DEFINITE (no negative word)

Are you serious? ⚜ Drop dead ⚜ Fat chance

Get lost / knotted / stuffed… ⚜ God forbid ⚜ Hard cheese

I’d rather die ⚜ Impossible ⚜ Over my dead body

Push off ⚜ See you in hell first ⚜ Tough titty

Unthinkable ⚜ You must be joking ⚜ You’ve had it

EXCUSES

If it were up to me ⚜ I’m right out ⚜ It’s more than my job’s worth

It’s not in my hands ⚜ Love to, but…

EUPHEMISMS/CLICHÉS

Chance would be a fine thing ⚜ Closed for business

Correspondence closed ⚜ If wish were father to the deed

Je regrette, mais… ⚜ Not my department ⚜ Not my remit

The editor regrets… ⚜ The umpire’s decision is final

Would that it were possible

Parents begin to teach their children to read between the lines in this way at an early age. Here are some of the negative responses used by parents to a request by their 4-year-old for another biscuit.

You’ve just had one ⚜ It’ll be tea time soon

Ask Daddy ⚜ I haven’t heard the magic word yet

Source ⚜ Word Lists ⚜ Notes & References ⚜ Writing Resources PDFs

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10 Non-Lethal Injuries to Add Pain to Your Writing

While lethal injuries often take center stage, non-lethal injuries can create lasting effects on characters, shaping their journeys in unique ways. If you need a simple way to make your characters feel pain during a scene, here are some ideas: 

Sprained Ankle

A common injury that can severely limit mobility, forcing characters to adapt their plans and experience frustration as they navigate their environment.

Rib Contusion

A painful bruise on the ribs can make breathing difficult and create tension, especially during action scenes, where every breath becomes a reminder of vulnerability.

Concussion

This brain injury can lead to confusion, dizziness, and mood swings, affecting a character’s judgment and creating a sense of unpredictability in their actions.

Fractured Finger

A broken finger can complicate tasks that require fine motor skills, causing frustration and emphasizing a character’s dependence on their hands.

Road Rash

The raw, painful skin resulting from a fall can symbolize struggle and endurance, highlighting a character's resilience in the face of physical hardship.

Shoulder Dislocation

This injury can be excruciating and often leads to an inability to use one arm, forcing characters to confront their limitations while adding urgency to their situation.

Deep Laceration

A cut that requires stitches can evoke visceral imagery and tension, especially if the character has to navigate their surroundings while in pain.

Burns

Whether from fire, chemicals, or hot surfaces, burns can cause intense suffering and lingering trauma, serving as a physical reminder of a character’s past mistakes or battles.

Pulled Muscle

This can create ongoing pain and restrict movement, providing an opportunity for characters to experience frustration or the need to lean on others for support.

Tendonitis

Inflammation of a tendon can cause chronic pain and limit a character's ability to perform tasks they usually take for granted, highlighting their struggle to adapt and overcome.

Looking For More Writing Tips And Tricks? 

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors! Instagram Tiktok

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There's such a thing as too much showing

While “show, don’t tell” is great advice, it’s easy to go overboard. Not everything needs lots of description, so it's important to get the balance right.

Choose what you describe in detail by how relevant it is to your story or its setting. If it's important, immerse your readers. If it's just flavour, sometimes it's ok to just tell your readers the information. You don’t want to overwhelm readers with too much unnecessary detail. The trick is to be intentional with your choices.

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The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

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Writing Advice: How To Trauma

In seeing the recent explosion of my "How To Write Trauma With Humanity" post, I have decided to jump back into this topic!

This cute post will be covering how to write complicated individuals with Trauma. From the good, the bad, and especially the ugly since people tend to assume that victimhood is inherently seperated from assholehood

A) Being A Person And Afraid

In my experience, the majority of people with trauma have simultaneously existing fears and desires that often contradict, complicate, or outright hurt themselves.

I call them "fear combinations"

It's these fear combinations that cause people with trauma to often act in ways that seem confusing to outsiders.

For example, the person that's always on the hunt for a relationship but whenever an opportunity for romance strikes, they create relationship havok so the relationship can end

Or a person tries to always sincerely bring attention to themselves but whenver the attention is on them, they just shrug it off as not being worthy of it

This behavior seems kinda weird until you stop to take a closer look at their psyche.

Example 1 is based off of my character, Monday Vũ who has a tendency of jumping into relationships with a sincere desire to find romance until the honeymoon period ends as Monday realizes that if the relationship continues they might have to settle down, forgo their entire identity, and all of their freedom. Then they sabotage the relationship under the guise that it's a selfless endeavour.

Example 2 is based off my character, Niko Preyr who uses grand public gestures and his friendships to prop himself up as a person to be known but if you ever spoke to him then you would quickly see one of the most insecure yet attention-hungry individuals you have ever seen.

"Fear Combinations" are an excellent device in making your characters complex. In my opinion, the trauma-writing scene is just a little bit too neat in it's displays of trauma. It's too logical. It doesn't feel real to my personal experiences.

"he has trust issues because of trauma" What if he also had issues with being clingy to people he sees as trust-worthy?

What if your characters weren't so easy to understand? But I hear you wondering.

How? How do these people manifest such confusing behavior? Why should I add this into my characters?

I'll tell you

B) Instinct Vs Terror, Fighting Against Yourself

In my opinion, "fear combinations" are either caused by the distortion of a human fear or the event in which an intrinsic desire is contrasted against a "survival method".

Humans are born with certain "intrinsic" fears and desires. Humans are born with a desire for belonging, a desire for vulnerability, a desire for self-fulfillment, a desire for independence, a desire for security in themselves.

And with desire comes the fear of "missing out". The fear that you want something that everyone wants but for some reason you won't be able to get it. The fear that you'll loose it. And the fear that your desire might put you into danger. What if you get rejected? What if you never find that group? What if you never find freedom?

In not-traumatized individuals, while it may take some introspection, people can and often do reconcile their fears and desires in a movie-montage when they're children with the help of a strong support system.

In traumtized individuals, what tends to happen is that either the fear of lose and the fear of gain tend to be increased to unpredencented levels

Either that, or a lack of a strong support system doesn't allow the child to safely confront their fears in order to get what they want.

This causes "fear combination"

Niko Preyr has the natural desire to be validated as "good", as "special", as "worthy". A desire we are all born with. However, his upbringing convinced him that he is underserving of what we all need. This causes Niko Preyr to use attention as validation. However whenever he receives this attention, his gifted fear that he is undeserving causes him to reject the attention. But he continues searching for attention to serve that need for validation. A hellish cycle.

Monday Vũ has two understandable fears that we all have. The fear of losing two necessary things: indepedence and security. Monday fears being abandoned, fears being engulfed into relationships. While children and adults can often reconcile those fears in their childhood through a strong support system, Monday never had that. Instead she had her father who emotionally left her and her mother who literally left her. Monday only had herself to rely on, at least thats how she felt. And now, as an adult, Monday wants to fulfill that desire we all have. To be loved. To be connected. But she's afraid. Afraid of being blindsided. Afraid of not having the last laugh. Afraid of being apart of something.

What if that loner wolf found someone who they think is perfect. Someone worthy of their trust. Do you really think that all those years of yearning for love, for connection, are just going to be smothered when they have the perfect person to unleash their childish, half-developed, horrifying emotions onto?

But what next? After we have our character's contradictory fears and desires, after we have the justification for why they feel like this, what's next?

It's this:

C) Self-Destructive Habits: Why We Understand And Can't Change

Let me tell you, unless in very specific conditions such as certain personality disorders and so on, people tend to understand that their behavior is foolish, illogical, and hurting other people.

Monday knows that betraying other people, hurting their trust and faith in their relationships, and entering relationships when she understands her history is bad. It makes her a bad person.

Niko knows that their habits are actively hurting their chances at finding worth.

That "Lone Wolf" understands, deep down, that no single person can handle the high expectations and emotions.

They know it because they can see it. Many times. Monday can see that characters in movies who have their relationship history tend to be casted as the antagonist. Niko can hear the gossip. That "Lone Wolf" can see the way that their loved ones cracked under the pressure and guilt.

So why do they do it? It feeds into their idea of the world. It feeds into what they want to be perceived as. It feeds into their stagnancy.

If Monday can ignore how they hurt others, then they can live under the Martyr label for the rest of their life without having to come to term with the fact that this isn't selflessness, it's called being pathetic.

If Niko can ignore how deep that hurt goes, then they never have to actually make the effort to change. To take that potential and make themselves into something. To be responsible.

If "Lone Wolf" can ignore how nobody can meet their expectations without crumbling down, then they use everyone's failure to feed into their cynical, self-hating notion of how nobody's trustworthy. How they don't have the responsibility of being considerate.

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Writing References: Plot

Basics: Plot Structure & Narrative Arcs

Basics: Plot & Other Elements of Creative Writing

Plot Methods: Save the Cat! ⚜ The Story Circle

Plot Development: The Transformation Test

Plot-Driven Story ⚜ Plotting a Novel ⚜ Plot-Planning Worksheet

Plot Twists ⚜ Types of Plot Twists ⚜ Subplots

Ten Story Genres ⚜ Elements of the 10 Story Genres

The 3-Act Structure: History & Elements ⚜ A Guide

The Shape of Story ⚜ The Shapes of Stories by Kurt Vonnegut

Tips

From Margaret Atwood ⚜ From Rick Riordan

Before Writing your Novel ⚜ Burying Information

How to Get "Unstuck" when Writing your Novel

Editing

Chapter Maps ⚜ Editing your Own Novel

Plot Holes & Other Structural Issues ⚜ Structural Edit

Self-Editing ⚜ Novel Editing

For Inspiration

Archetypal Narrative Arcs ⚜ Character & Literary Tropes

Snowflake Method ⚜ Ways to Generate an Idea

More References: Character Development ⚜ World-building

Writing Resources PDFs

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