WARNING: SPOILERS AHEAD FOR UNDERTALE!
One of the stranger polarizing issues I’ve come across in the game community is silent protagonists. Some people love them and think they add to the immersion. The player is not forced into a character’s dialogue choices, and they can feel more like they are the character due to the silence. Other people hate them. They often view it as a developer being lazy, and they also believe that it makes a character very flat since they have no real personality without dialogue to convey it.
This being the case, indie devs and homebrew devs may find themselves in an odd situation. Should they risk people’s ire and make a silent protagonist, or should they risk a different people’s ire and have their character have spoken dialogue? This can be a crucial decision when handling the writing of a game. However, it is my opinion that what matters more is the protagonist is written and executed well, regardless of whether or not they’re silent. Thus, today I would like to bring to you three questions you can ask yourself before you decide to make your protagonist silent or not. These will prioritize the quality of the story versus other factors.
If you’re like me, you really like writing and coming up with stories. Adventurous knights, brave space heroes, the averagely unique schoolkid, and wild settings all tickle your imagination every waking moment. If you’re also like me though, you also have a critical weakness: the middle of the story.
The middle in a story can often be a writer’s bane no matter their skill level. You can picture point A and point B clear as day, but somehow the line between them is hazy at the best of times. Even as you flesh that line out, there’s still often that point where you know something should happen but aren’t sure what that something is. So, what does one do when they find themselves in this situation? Despair and accept there’s no hope?
No. That’s a bit dramatic. Instead, I have some tips for you today to help you work through the middle of your story when you just aren’t sure what to do. Keep in mind that there are a bunch of methods you can try, and everyone has something different that works for them. These are just the personal techniques I use, and they’ve helped me out immensely over that middle story blue’s bump. Let’s sit back, put on those thinking caps, and dive in.
On my blog I’ve had several posts relaying my personal writing tips. Magic systems, point-of-view transitions, and more have been covered. However, one topic I have not covered is dealing with writer’s block. Writer’s block is a very popular topic of discussion, as numerous writers have reported just simply hitting a wall being unable to write. Now of course, there is actually debate about whether this is a thing or not, as numerous people claim it’s a falsehood to cover-up laziness or lack of skill. I am not here to weigh in completely on that debate, though.
Instead, regardless of what you want to call it, I want to relay my personal tips for when you’re struggling on ideas of what to write. These can generally be applied whether you’re writing non-fiction (like updating a blog regularly) or want to write fictional stories. The dreaded writer’s block can strike at any time or moment, but with these tips, hopefully you can lessen the time you spend flailing around waiting for an epiphany.
One of the more difficult things to talk about when it comes to writing, in my opinion at least, is point-of-view. Though the concept itself is pretty easily grasped, it’s also a major one that gets brushed off as unimportant in a lot of cases. Particularly for writers who write their stories by instinct, the point-of-view is something that happens naturally depending on what they’re going for. Unfortunately, this can often result in the point-of-view being written poorly.
However, of particular note for today’s tips, we’re going to focus in on stories where the point-of-view is limited, but the limited view is switched between various characters. Now for some who aren’t avid readers, this may seem like a foreign concept to a degree. There are numerous contemporary stories that use limited view, but they only ever focus on the protagonist. However, there are indeed still others where it utilizes specific viewpoints of different characters to show different aspects of the story (Game of Thrones is one example).
Why this particular subject, though? In my opinion, it is perhaps the one that poses the most risk to poor writing, as characters are often the driving force of a story. As such, messing up how these viewpoint switches occur can quickly turn readers off. There are ways to prevent this though, which is my goal for today: tips on how you can make sure you’re able to switch characters successfully. Please keep in mind there are numerous things to watch out for, but these are the areas I believe one should be most concerned with.
Anyone who takes writing seriously knows that there are certain conventions that should be followed. From simple things like “they’re” vs. “there” vs. “their” to bigger things like handling protagonist character development, there are numerous mistakes that are talked about frequently. However, there are still even more mistakes that do not get talked about often, if only because they used to be infrequent. Yes, I did say used to be.
Due to my myriad of project types, I end up reading a lot in one day and get exposed to a lot of mistakes I’m surprised people even make. That being said, there are a few in particular that not only grind my gears, but also are a concerning trend in certain areas of the internet. As such, I would like to take a moment to address these unspoken mistakes. You too may have seen these and felt the irritation I do.
Keep in mind these mistakes are pretty variable and don’t particularly have a consistent theme like previous articles; nevertheless, they are worth discussing.
While I’m not a huge mainstream comic fan, I’m averagely familiar with Marvel’s and DC’s franchises. Really, living in America, it’s hard not to be at least somewhat familiar with them. They are fairly pervasive in the culture, and with the recent string of superhero movies, they are pretty well-known characters. That being said, those familiar with the current state of movies know one thing: Marvel is doing better. Not to say, of course, that Marvel always has masterpiece movies, but Marvel has had more successes in the past few years than DC. In fact, outside of a few Batman movies, such as The Dark Knight, most DC flicks are forgettable or laugh worthy.
Magic is a tricky subject when it comes to any story. Whether you’re writing an epic, medieval fantasy or a space opera, you have a high chance of creating characters who are capable of feats beyond our normal, mortal means. Unfortunately for beginners, magic has a high risk of becoming too over-powered, too confusing, or too plot deviced. There are a plethora of ways magic can go wrong, whether you’re writing it for a novel, game, or anything else. It is not a topic for the faint of heart, as the saying goes.
That being said, however, there are certain mindsets that can help you create better magic systems for your stories. In this article, I’ve chosen three tips that, at least for beginners, should be kept in mind while developing your world. Before we begin, I will note that like most “rules” in writing, they can be broken. These tips are not set in stone; rather, they should be used as guidelines to help you along the process. With that out of the way now, let’s begin.
While e-mailing your friends is easy enough, it’s often a whole other ballpark to e-mail a business or similar professional entity. Is this too formal? Will they care I didn’t capitalize this word? What else should I do? These are just some of the questions that may pop into your head as you try to conquer your nervousness. As someone who deals with a lot of professional e-mails in an indie setting, though, there are a lot of common mistakes that get made that I feel the average person doesn’t quite consider. That being the case, I wanted to impart my wisdom in these four quick tips that will help you compose a better e-mail.
Warning: Spoilers ahead for Coraline.
Recently, I decided to watch Coraline for the first time. Considering I’m some eight years late, you may be able to guess that I am not particularly the type of person who watches movies often. This is due to the fact that I am pretty picky with movies. I’m in no way an expert on them, of course, and I’ve liked plenty of “bad” movies. However, 90% of movies I watch don’t really do anything for me. Sadly, this movie was no exception. That being said, I know this is a pretty beloved movie, so please understand what I’m about to say is just my opinion. If you love the movie, that’s fantastic, and I hope you’ll continue to support it. For me, however, the movie had many flaws, the primary flaw being the protagonist herself. So, without further ado, let’s jump into my analysis of why Coraline is a terribly written protagonist.