Character Careers That Aren't Clichés

Ways I Show a Character Is Falling Apart While Pretending to Be a Perfectionist

Some characters don’t collapse in a blaze of glory. No, they disintegrate politely, with color-coded planners and a frozen smile that says, "Everything’s fine, Susan, stop asking."

They cling even harder to routines. Morning jog, 5 a.m. journaling, bullet-journaling their dog’s bowel movements. Because if they just keep checking boxes, they can pretend nothing’s crumbling underneath.

They hyperfixate on weird tiny details. The report can be on fire, but by god, they will die on the hill of choosing the right font. ("If I find the perfect serif, maybe my life will stop feeling like it's slipping through my fingers!")

They say "I'm just really busy!" like it’s a badge of honor, when it’s actually a giant red flag made out of calendar invites and suppressed emotions.

They can't finish anything anymore. They start 14 different projects, convinced each new thing will "finally get them back on track"…and end up ghosting every single one like a bad Tinder date.

Their compliments to others are laced with self-hate. "You’re so talented, I could never pull that off" they say, smiling while beating themselves bloody on the inside.

They apologize. For everything. Late by two minutes? "I’m so sorry." Sent an email? "Sorry if that’s annoying!" Existing? "Sorry for breathing the same air!"

They're "fine." Always "fine." It's said with the same energy as someone duct-taping a broken chair and inviting you to sit on it.

They self-medicate with "productive" coping. Organizing their spice rack at midnight? Totally normal. Redesigning their resume for no reason while crying into a box of crackers? Absolutely fine. Nothing to see here.

They get defensive about the dumbest things. “Of course I’m okay! Look at my to-do list!” (Sure, babe. Tell that to your bloodshot eyes and the way you just called your boss "Mom" on Zoom.)

Their version of self-care is making another list titled “How to Fix Myself” and then immediately feeling guilty for needing it.

Making a Character Whine in Monologue

I’m a big believer in letting characters bleed quietly. You know, the kind of emotional tension that simmers just under the surface—not the dramatic “I am torn!” speeches. Here’s how I like to sneak internal conflict into my writing without making my characters feel like they belong in a bad soap opera... Have Fun! (｡♥‿♥｡)

╰ Saying the opposite of what they feel. Like insisting they’re fine while gripping a coffee mug like it personally insulted their ancestors.

╰ Pausing before responding to something simple. Because sometimes the silence says “I’m thinking too hard about this” louder than a whole paragraph ever could.

╰ Changing the subject when things get too close to their emotional soft spot. Classic evasion. Bonus points if they pretend it's for someone else’s sake.

╰ Making choices that contradict their stated goals. "I swear I’m over them"—cut to them rerouting an entire road trip to pass by their ex’s hometown.

╰ Being too nice. Yep. People-pleasing? Avoidance in a trench coat.

╰ Fixating on a tiny, irrelevant detail while avoiding the bigger thing. They can’t deal with their grief, but they can definitely spend 12 minutes lining up pens perfectly.

╰ Snapping at someone they trust—then immediately regretting it. Because pain has to leak out somewhere, and it’s usually not in a convenient monologue.

╰ Doing something “just in case,” but obviously hoping for the opposite. Packing a goodbye gift they never plan to give. Writing a message they never send.

╰ Rewriting memories in their head. “It wasn’t that bad. They didn’t mean it. I probably deserved it.” A spiral in slow motion.

╰ Being hyper-aware of how others are reacting to them. Internal conflict often turns into external paranoia: “Did she flinch? Was I too cold? Did he see that?”

How Body Language Changes When a Character Is Falling in Love (Whether They Admit It or Not)

When someone starts to fall, it shows up everywhere—not in the love confession (that’s the easy part), but in the twitch of a smile, in the silence that suddenly feels charged, in the way someone’s hand almost reaches out before pulling back.

╰ They start listening… with their whole damn body

Suddenly, they’re turned toward this person all the time. Full body facing them. Chin tilted slightly in. They lean forward during small talk like it’s breaking news. They notice things, like the rhythm of their voice, the way their lips move when they think too hard. They stop fiddling with their phone. Their knee bounces until the other person speaks, and then, stillness. They’re so present, it hurts.

╰ Their eye contact gets… weird

Sometimes they can’t stop looking. Sometimes they can’t look at all... There’s that moment—the pause, the flicker—where their eyes land on the other person’s mouth for just a second too long. Or they track their hands. Or notice how their hair falls into their face. It’s not about lust. It’s yearning, and it’s quiet and stupid and full of panic. And when the person catches them looking? Immediate eye dart. Back to their drink. To the sky. To anywhere else. Guilty. Flushed. Terrified.

╰ Their hands get stupid

They’re suddenly very aware of what their hands are doing. They fidget more. Or freeze. They keep their arms close to their body, like they’re worried they’ll accidentally reach out. If they touch the other person, even casually, it lingers. Not long enough to be noticed, but long enough to matter. Sometimes they adjust the other person’s collar or brush something off their sleeve and then have a tiny meltdown inside. That kind of touch feels too intimate. It’s not flirtation. It’s reverence.

╰ Their silence means more than their words

They trail off mid-sentence. Laugh at things they don’t usually laugh at. Start saying something and stop themselves. It’s because their brain is trying to do too many things at once—act normal, sound chill, don’t make it weird, try not to look like you’re in love. Meanwhile, the body is over here sweating, shifting, subtly turning toward the other person like a sunflower in denial.

╰ Their whole vibe gets softer

There’s a gentleness that creeps in. Even if they’re a sharp, snarky character, there’s a moment where they look at the person like they’re a planet they’ve just discovered. It’s brief. It’s devastating. It’s involuntary. And they might pretend it didn’t happen. But the reader saw it. The love interest definitely saw it. And suddenly, everything is different.

╰ Bonus: They mirror the other person without meaning to

Their arms cross when the other person’s do. Their head tilts. They laugh a beat after. This is subconscious connection at work. Their body wants to match this person. Sync with them. Be close without being obvious. And when they stop mirroring? That’s a sign too. Maybe something hurt. Maybe they’re trying to pull away. But the body always tells the truth, even when the character’s mouth is lying through its teeth.

10 Lies Your Character Believes About Themselves (And They’d Die Before Admitting It)

These aren't the fun, Disney Channel lies like “I'm just a regular girl” while literally being a secret pop star. These are the ugly ones. The ones that get in your character’s blood and start rewriting their whole life without them noticing.

» “If people really knew me, they'd leave.” Not "might." Would. No question. So they smile bigger. They edit harder. They keep conversations surface-level. All while carrying this bone-deep certainty that love is conditional... and they are dangerously close to failing the test.

» “I have to earn every good thing.” Rest? Happiness? A day without guilt? They treat those things like prizes at the end of a brutal obstacle course. No one told them they could just have good things. No strings. No blood price. (So they keep bleeding anyway.)

» “I'm too much.” Too loud. Too intense. Too sensitive. Too complicated. They know it. They've been told. So now they pull themselves in, hold their breath, bite back everything real until they barely take up space at all. (And ironically, they still think they’re being "too much.")

» “I'm not enough.” Neat little trick, right? They’re both "too much" and "not enough" at the same time. Magic. They're convinced everyone else got the secret manual for how to be lovable and they somehow missed it.

» “If I'm strong enough, nothing can hurt me.” They call it resilience. Other people call it stubbornness. Reality calls it self-destruction. They've mistaken numbness for healing and independence for invulnerability. But hurt still gets in. It just hits harder when it’s been bottled up for years.

» “I’m responsible for everyone's happiness.” Caretaker. Peacemaker. Therapist friend. Emotional sponge. They’ve appointed themselves as everyone's safety net, believing that if they don’t hold everything together, everything will fall apart. (Newsflash: it's not their circus, and it never was.)

» “I don't need anyone.” Need is a dirty word. It’s weak. It’s dangerous. So they white-knuckle their way through life, collecting scars and pretending it’s freedom. But late at night? In the dark? They’d sell their soul for someone to just... stay.

» “I'm the villain in someone else's story and they might be right.” They know they've hurt people. Made bad calls. Left damage. And no matter how much good they do now, some part of them whispers, You don’t get to come back from that.

» “My best days are behind me.” Whether they peaked in high school, lost their shot at something important, or just carry a chronic ache of nostalgia, they believe it’s too late. That nothing good can be built from where they are now. (Which, ironically, makes them waste even more time.)

» “This is as good as it gets.” They settle. For bad love. Boring jobs. Half-dead dreams. They tell themselves it's "realistic." "Mature." "Practical." But underneath? It's fear. It's heartbreak. It's the quiet belief that hope is something they can’t afford anymore.

The fuck are you supposed to do with the semicolon ; ?

We’ve discussed the comma and the dash brothers—finally, the time has come for the less sexy relative: the semicolon. But how do we use it?

1. To link two related independent sentences

He didn’t believe in fate; she made him reconsider.

The forest was silent; even the wind held its breath.

Slap a semicolon between two complete sentences that are closely related but not joined by a coordinating conjunction (like and, but, or so). This creates a subtle pause—somewhere between a comma and a period—and it shows the relationship between the two sentences.

2. To separate items in a complex list

She packed her bags with care: a red silk dress, delicate and expensive; an old photograph, creased and faded; and a knife, sharp as her resolve.

As you can see, semicolons help with clarity. If the items in your list already contain commas, use semicolons to avoid confusion.

3.  To balance contrast or comparison

He spoke in riddles; she answered in truths.

The sun warmed their backs; the storm waited ahead.

Here we have a slightly sexier use of semicolons. They can elegantly balance two ideas that contrast or reflect one another.

How to Write a CHARMING Villain

Everyone loves a good villain, and they especially love a charming one. If you want to write an antagonist who's both evil yet irresistible, look no further!

1. Show Their "Kindness"

Kindness? Wait, I thought you said we're writing a villain today.

Yup, I mean it--make your antagonist appear kind. Realistically, someone who's polite and friendly is often considered more attractive than someone who's rude and judgmental, so make them kind. It doesn't have to be honest kindness, but you want your readers to doubt the malevolence of your character, if that makes sense.

You can show this kindness through small, daily actions; they don't have to have a lot of impact on the story. Something simple like leaving a big tip, granting a minion a vacation, letting someone go first in the line, and holding open the door all contribute to this image.

2. Smooth Talker

Effective communication is everything. If your villain is eloquent, they seem more capable and intelligent! However, if you're looking to expand further, explore what they can do with their speech.

Does everyone pay attention when they start speaking? Are they able to calmly resolve conflicts verbally? Are they really persuasive? Do they speak elegantly?

Show the effects of their communication skills!

3. Good leader

Make them a good leader. Make them consider how their subordinates might feel. Make them choose good decisions. Perhaps they give their workers days off when they need it. Perhaps they engage with their followers often. Perhaps they're more down-to-earth.

A solid leader looks respectable while a poor one looks ridiculous.

4. Intelligent + Logic

I say this all the time, but make your villains smart, make them logical, make your readers understand where they're coming from. Some of the best antagonists I've ever seen are not the ones that seem excessively evil or unhinged, but rather the ones that seem logical in their actions. And knowing that they're well-aware of their actions and the consequences makes things that much scarier.

if you want a charming villain, you have to start with someone who is competent.

5. Conflicting Moments

At the end of the day, your character is still the antagonist. Yes, they might appear kind, but that's not going to last forever. There will be times when they act unnecessary cruel, and that's okay.

Your audience might be unsettled and confused from the whiplash, and that's okay. Don't force your character into being someone else to satisfy the readers. Embrace the difference.

6. Backstory

Backstories matter for all different types of reasons. From establishing the basis to one's goals, morals, and values to providing the foundation for their character, an effective backstory can do a lot.

However, I want to specifically talk about how the backstory demonstrates someone overcoming their obstacles. If they made it to the present, then they really defied all odds to be here, and honestly? That's admirable (and attractive), no matter what kind of person they turn out to be.

Now, if you're thinking "what if I don't give the antagonist a painful backstory?", I'll address that real quick. You don't have to give them a super depressing past, but there will always be pain and hurt in their past, even if it isn't something "lifechanging" or there 24/7. There is no such thing as a perfect, happy past.

CONCLUSION

To quickly conclude, a charming villain is often not one who appears visibly evil, but one who appears compassionate, intelligent, well-spoken, and acts like a good leader.

Happy writing~

3hks :)

Character Movements #1

╰ Sighing

Not just “he sighed.” That’s lazy. Give us the why behind the air. Is it the kind of sigh that deflates their whole chest, like they’ve been holding the world on their lungs? Or one sharp exhale through the nose, all frustration and fed-up energy? Maybe it’s quiet—barely audible. Maybe they don’t even realize they’re doing it. But the room shifts a little when they do. Sighs can mean “I give up,” or “finally,” or “not this sh*t again.” Just depends on what’s dragging at their ribs.

╰ Shivering

This isn’t just about cold. A character can shiver in a warm room if they’re scared enough. Maybe their skin prickles before it starts, like tiny goosebumps racing up their arms. Maybe it hits in a full-body tremble, their breath catching like something primal in them just screamed “danger.” Or maybe it’s subtle, like a soft internal quake they’re trying not to show. It’s the kind of movement that betrays the truth they won’t say out loud.

╰ Trembling Hands

Shaking hands are so intimate. They’re not dramatic—they’re revealing. It’s the way their fingers fumble to light a cigarette. The way they have to tuck their hands under their thighs so no one sees. Maybe they keep reaching for the glass but can’t quite get a grip. Or maybe they do grip and the tremor runs through the whole glass like a warning. It’s not about the shake. It’s about the fact they wish they weren’t shaking at all.

╰ Clenching Fists

This one? Its tension incarnate. And it doesn’t always mean someone’s about to punch something. Sometimes they ball their fists just to keep from crying. Or because they’re trying so hard not to say something they’ll regret. Look for the subtleties: white knuckles, nails digging into palms, fists flexing open and closed like they’re trying to wring out emotion. It’s control. Rage. Determination. Or the act of stuffing all that inside a cage of fingers.

╰ Biting Nails

It’s more than “they’re nervous.” It’s compulsion. Habit. A survival tic. They might not even realize they’re doing it—just fingers to mouth, chewing down without looking, like their body’s trying to chew through the waiting. Maybe their nails are ragged. Maybe they flinch when they bite too deep. Maybe it’s the sound, the soft click of teeth and nail in a dead-silent room. It’s vulnerability dressed up as fidgeting.

╰ Tapping Fingers

This is the soundtrack of a restless mind. Is the rhythm sharp? Fast? Jittery? Are they tapping with one finger like a countdown—or all five, like a rainstorm on the table? They might not even notice. But other people do. Someone asks them to stop, and they bristle. Or they stop mid-tap when someone says the wrong thing, and that silence? That silence is loud. Tapping fingers are rarely idle. They’re keeping time with the character’s thoughts.

╰ Pacing

Pacing isn’t just walking back and forth—it’s the body trying to outrun a thought. They stand. They sit. They stand again. They move because stillness feels like being buried alive. Maybe their footsteps are soft, barefoot across carpet. Or hard-soled and echoing through a hallway like a threat. Maybe they walk a perfect loop, over and over. Maybe it’s erratic, jerking toward the door, away, toward again. Their mind is spinning, and their body’s just trying to keep up.

╰ Slumping Shoulders

This isn’t just a posture change—it’s the moment the weight wins. Shoulders that sag say “I lost.” Or “I’m done.” Or “Please don’t ask me to care anymore.” Maybe they slump in a chair and stare at the floor. Maybe they’re standing, but something in them folds anyway. Their spine’s still straight, but their shoulders fall like scaffolding giving way.

╰ Tilting Head

Simple movement—loaded meaning. They tilt their head when someone says something that doesn’t quite click. Or when they’re trying to listen harder, like angling their body will help them hear the truth under the words. Maybe the tilt is sharp and skeptical, like “You sure about that?” Or soft and curious, like “I’m trying to understand.” Or just a little too slow, too drawn out—like a predator sizing up prey. It’s instinctual. And it always means they’re paying attention.

╰ Rubbing Temples

This one screams I’m trying to hold it together. It might be frustration. Migraine. Bone-deep exhaustion. They press fingers to their temples like they’re physically trying to squash the problem before it leaks further into their head. Maybe their fingers circle gently, trying to soothe themselves. Maybe it’s two fingers, firm pressure, eyes closed, jaw clenched. It’s the gesture of someone whose brain won’t shut up—and whose body knows it.

100 Dialogue Tags You Can Use Instead of “Said”

For the writers struggling to rid themselves of the classic ‘said’. Some are repeated in different categories since they fit multiple ones (but those are counted once so it adds up to 100 new words). 

1. Neutral Tags 

Straightforward and unobtrusive dialogue tags: 

Added, Replied, Stated, Remarked, Responded, Observed, Acknowledged, Commented, Noted, Voiced, Expressed, Shared, Answered, Mentioned, Declared.

2. Questioning Tags 

Curious, interrogative dialogue tags:

Asked, Queried, Wondered, Probed, Inquired, Requested, Pondered, Demanded, Challenged, Interjected, Investigated, Countered, Snapped, Pleaded, Insisted.

3. Emotive Tags 

Emotional dialogue tags:

Exclaimed, Shouted, Sobbed, Whispered, Cried, Hissed, Gasped, Laughed, Screamed, Stammered, Wailed, Murmured, Snarled, Choked, Barked.

4. Descriptive Tags 

Insightful, tonal dialogue tags: 

Muttered, Mumbled, Yelled, Uttered, Roared, Bellowed, Drawled, Spoke, Shrieked, Boomed, Snapped, Groaned, Rasped, Purred, Croaked.

5. Action-Oriented Tags 

Movement-based dialogue tags: 

Announced, Admitted, Interrupted, Joked, Suggested, Offered, Explained, Repeated, Advised, Warned, Agreed, Confirmed, Ordered, Reassured, Stated.

6. Conflict Tags 

Argumentative, defiant dialogue tags:

Argued, Snapped, Retorted, Rebuked, Disputed, Objected, Contested, Barked, Protested, Countered, Growled, Scoffed, Sneered, Challenged, Huffed.

7. Agreement Tags 

Understanding, compliant dialogue tags: 

Agreed, Assented, Nodded, Confirmed, Replied, Conceded, Acknowledged, Accepted, Affirmed, Yielded, Supported, Echoed, Consented, Promised, Concurred.

8. Disagreement Tags 

Resistant, defiant dialogue tags: 

Denied, Disagreed, Refused, Argued, Contradicted, Insisted, Protested, Objected, Rejected, Declined, Countered, Challenged, Snubbed, Dismissed, Rebuked.

9. Confused Tags 

Hesitant, uncertain dialogue tags:

Stammered, Hesitated, Fumbled, Babbled, Mumbled, Faltered, Stumbled, Wondered, Pondered, Stuttered, Blurted, Doubted, Confessed, Vacillated.

10. Surprise Tags

Shock-inducing dialogue tags:

Gasped, Stunned, Exclaimed, Blurted, Wondered, Staggered, Marvelled, Breathed, Recoiled, Jumped, Yelped, Shrieked, Stammered.

Note: everyone is entitled to their own opinion. No I am NOT telling people to abandon said and use these. Yes I understand that said is often good enough, but sometimes you WANT to draw attention to how the character is speaking. If you think adding an action/movement to your dialogue is 'good enough' hate to break it to you but that ruins immersion much more than a casual 'mumbled'. And for the last time: this is just a resource list, CALM DOWN. Hope that covers all the annoyingly redundant replies :)

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!

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How to Write Toxic Characters Effectively

Writing toxic characters can be challenging because we often avoid these personality types in real life—they’re socially draining and cause harm wherever they go. However, toxic characters can serve an important purpose in storytelling, adding depth, conflict, and drama to a narrative.

This post was inspired by a personal experience of being falsely accused of creating fake accounts to contact someone who pretended to be a friend. While the accusations are completely untrue and unfounded, I wanted to turn this negativity into positivity by sharing writing tips for creating compelling toxic characters.

Toxic Character Traits

Here are some common traits of toxic people that you can incorporate into your characters:

- Playing the Victim: They act as if they’ve done nothing wrong, blaming others for their problems while refusing to take accountability.

- Accusing Others: They enjoy accusing others of things, whether those accusations are true, fabricated, or even projections of their own actions.

- Talking Behind People’s Backs: Gossip and spreading lies are their forte—they share secrets or fabricate stories about others to create drama.

- Telling Lies: They thrive on creating falsehoods to draw people to their side and control the narrative.

- Playing a Fake Version of Themselves: They avoid authenticity, crafting a persona to alienate others and boost their fragile sense of self-worth.

- Turning People Against Each Other: They manipulate conversations, taking words out of context to sow discord between friends or allies.

- Twisting the Truth: They distort reality to craft harmful narratives that suit their agenda.

- Making Themselves Look Better: Toxic characters fabricate achievements or victim stories to elevate themselves and deceive those around them.

- Refusing Responsibility and Accountability: They refuse to accept their wrongdoings, often shifting blame to maintain their self-image.

Conclusion

Toxic characters can play crucial roles in storytelling, serving as instigators of conflict or catalysts for growth in other characters. While they can be exhausting to write, they offer valuable lessons about the consequences of toxic behavior and its impact on those around them.

However, I recommend using these characters sparingly, unless your story revolves around the specific theme of toxicity and its repercussions. When approached thoughtfully, toxic characters can add depth and complexity to your narrative.

Happy writing!

When Your Characters Feel Flat....

1. Give Them Contradictions

Nobody is consistent 24/7, and your characters shouldn’t be either.

“She was always kind, always helpful, always smiling.” what is she, Jesus? “She was kind, but she had a sharp tongue when someone pushed her limits.” not perfect but we can fork with this

Contradictions add dimension. A character who is kind and irritable when tired, is more human than one who’s perpetually pleasant.

2. Give them flaws and shit

“He was brave, but his impulsiveness often made things worse before they got better.”

3. Add habits or what they say, umm....quirks

Quirks make your characters memorable without needing an info dump.

“She was shy.” or maybe.... “She tugged at her sleeves whenever someone asked her a direct question, her gaze darting across the room like she was searching for an escape route.”

4. Their interactions with people, animals, objects

“He was a loner.” that's it? or...“He kept his coworkers at arm’s length — just a guy in the background, clocking his hours, counting down the minutes until he could go home to Dusty, his dog, his favorite being in the world.”

5. Their habits/traits/quirks could be explained by their backstories

Why are they the way they are?

“She never trusted anyone.” Or...“She never trusted anyone—not after her best friend turned on her in high school, a betrayal that still stung ten years later.”

6. Add some form of "Internal Conflict"

“He didn’t want to leave.” Or...“He didn’t want to leave, but staying meant admitting he cared—and caring always led to heartbreak.”

7. You could make them perfect if you want but please for the love of God, don't.

Just don't. It's a major turn-off.

“She was confident in her abilities.” or....“She was confident in her abilities—until she stood on stage and realized she couldn’t remember the first line.”

8. Allow them a character arc. Evolution.

Because simply put, Stagnant characters are flat characters.

Let's say there's a girl who sees asking for help as weakness — she hides her bruises, builds her walls, endures alone. But over time, not through grand speeches but through small seemingly unsignificant moments she learns that letting people in isn’t weak. She realizes relying on others, and letting others rely on her gives her strength and hope.