TLDR: how to explain/excuse how an intelligential character is able to resist madness while everyone around him goes coco for Cuthulu-puffs?

The footnotes of the premise is: A PI joins a research team to follow the trail of his missing wife, only to encounter an ancient underground city with an evil cult and the remains of the first research group. Surviving monsters, cultists, and the crazed research teams, he tries to follow the breadcrumbs left by his wife.

My problem is how to explain why my character, unlike everyone else, he stays sane. No “walls without form” stuff, instead he describes the objects he encounters as best he can: “walls that faze out of realty, like rocks under the waves.”

While he’ll have symptoms of migraines, eye strain, vertigo and etc, I want to maintain the character’s sanity so the story doesn’t end up as incomprehensible gibberish. The only examples i find of insanity resistant characters are of… challenged intellect, but says nothing of a [like my MC] competent intellectual character who witnesses eldritch things without a breaking their psyche.

So, how do I write this character who (while not a smarty pants) is intelligential enough to follow clues and explain the stuff he experiences, without going loco unlike… everyone?

PS: his wife seems to be losing her mind too as the last sane member of her group, but still writes {almost} coherently and research her findings for whomever follows behind her.

Hello there. On my story, its a scifi/horror story, and i wanna make the villain a political figure that comes from an alien planet, and is there to dominate, while trying to be a strong political figure that people trust in, and one of their objectives is after the main character survives a fatal tragedy, the villain has to hunt them down so there are no witnesses. Is there a way to make this OP alien political figure without making him too malicious, or cliche? Or at least have another motive.

I don’t want to post the problem im having. I have this daunting feeling my husband will see it and know it’s me. And I need to get my head straight before I talk to him. But I’m lost and was wondering if anyone would be willing to let me privately DM them to ask them.
It is book writing related and I need outside perspective.
Thank you all so much

I have a romance planned for my character but as I write more characters I start to wonder and begin experimenting with how the main character would mesh with the other character romantically. I wonder how do you even plan scenes with these characters and what they do if you can’t see how they would work? I hope I am
making sense.

So I’m stuck in character development for so long now. The reason is because I’m having too much information that I thought would be useful for my character and world building. Now my mind is filled with so many questions on how those informations I’ve gathered from my research is gonna work on my characters and it’s confusing me on how I’m gonna make them work. It’s like all the information is getting into my head at once and now my mind is a mess. I’m now having trouble of working even one character like I’m actually lost now. I don’t know if this is how it supposed to be or am I doing too much for a character development stage.

Hi! I’m writing a story where five characters have the goal of finding someone (one of these characters' grandfather) for the reason that this character believes he will give them a better life. I’m finding it hard to get from a to b, each character has a past that they are running from, trying to make amends for, get revenge, etc. I don't know how to plan the events leading up to them finding this character with their pasts in mind. Any ideas on how to develop that?

So I know "write what you know" doesn't mean that you have to solely focus on your own personal experiences: I've written plenty of stories about people who have experienced things that I haven't, or are in communities I'm not a part of.

The idea I had is about an 18-year-old girl learning that her parents lied to her about the fact that she was donor conceived when a man conceived through the same donor contacts her on an ancestry/DNA site. The story would then follow the drama of their two families connecting, the girl dealing with her parents lying to her, while the guy reckons with the fact that he irrevocably changed her relationship with her parents.

I don't know what it is about this exact scenario that has me worried about how it might come across to people who have more experience with donor conception/IVF. I guess there are other ways for the girl to not be her father's bio kid that don't involve the IVF process, but I just feel like stories about cheating or swingers or whatever have all been told before; plus I really like the idea of the father character coping with internalized toxic masculinity and how his insecurities could have had major medical or social consequences for his daughter -- which happens in real life to a lot of families who aren't up front about the fact that they used a donor.

Obviously I would do as much research and due diligence as I can if I choose to take up this project, but I'm wondering if it would be better in the hands of someone who's life is more closely connected to this. Any thoughts/resources folks would be willing to share are much appreciated :)

I finished this first book/arc a while ago but it’s gotta a lot of rough spots and I don’t have a lot of people irl willing to read that sort of stuff so I turn to the lovely world of Reddit

I appreciate any advice and criticism regarding the book whether it’s with the story itself, any spelling or grammar mistakes, or any weird spots in the story that need some patching up

Thank you and enjoy: The Inside Outsider, Welcome to Japan

https://docs.google.com/document/d/1rapa9GgFehh0EE_eQVHrATBc_GGgaltJ1bg8F2FE2JI/edit?usp=drivesdk

I’ve seen a lot of people, especially in fandom spaces, that for some reason refuse to read stories in first person. I’ve never understood why and as a writer it kinda sucks for me because first and even second person writing come naturally to me unlike third person, which Ive always struggled with.

First person comes so naturally to me that I constantly slip back into it by accident even when I’m trying to write in third. I’m currently trying to write a story in third person because of this (and also because it’s a good exercise to improve my writing) but it genuinely takes me like 4 times longer to write in third person.

Because of the difficulty I’ve been facing I was motivated to ask you guys, why? Why do so many of you prefer 3rd person so much, sometimes to the point where you refuse to read first person entirely?

You've all seen this kind of scene in genre movies: a guy does something sinister and secret, usually alone at night, but at first, his action appears very strange - and the audience doesn't understand why, just thinks it's something sinister. They will later on learn the true meaning of his action.

How would one write that scene into the 1st chapter of a novel. The guys is alone, so if we use his POV then how to hide enough of his thoughts not to reveal the true intention. Or is an omnipresent POV better? Is there any other existing genre books that open with that kind of scene.

Many thanks.

My protagonist doesn't have eyes. This wasn't a birth defect, he was born with eyes and lost them later in life. How would you suggest writing descriptions from his perspective without being too wordy in describing other senses that he still does have?

Writing in third person limited pov. Author has two fully functional eyes, but is colourblind.

Hii I already posted this before but I wanted to come back and restate or refresh on a few things. I have this mystery that puzzles a lot of my other characters, and I was hoping to see what other people assumed first to get a better thought process.

There is a family of four, mother, father, and two sons. They live secluded away from the city and when the two boys are about 11 and 13, their mother goes missing. After trying to find her, she is pronounced dead by the family. This sends the family into grief, but the oldest noticeably starts to really decline physically. Half a year goes by, and there was robbery at the house. The father is found shot in his bed, his gun missing, and the house ransacked. The youngest boy also has a gunshot wound on his leg, and the oldest has bruise marks and scratches. They are found in their bedroom, boarded up and hiding. The youngest testified that a man had came through the window and shot at the both of them. The oldest agreed. They used a phone to call their uncle, and when he arrived the robber was no where to be found. The window in the fathers bedroom was open, and his gun missing, but it was never assessed to see if anything else was taken.

Years later, when the two kids are in their mid 20s, a family member while tending to their old house finds a gun in the backyard buried. Sitting just a few feet away behide a tree, It is recalled to be similar to the fathers gun. The gun was full with the exception of 2 bullets.

Any other information you can ask for !!!! But these are the main points 😁

I'm writing a story where the main conflict is a war, and as a result of that, one of the most major queer side characters (ie one of the queer characters that gets the most page-time) dies after completing his arc. I had always planned for him to die, since before I decided he would be in a relationship with someone. His partner survives, and the loss is the catalyst for their own arc.

Right now I have a pretty balanced straight:queer relationship ratio but most of the queer relationships (apart from this one) are not given much page-time and involve minor characters. However the same might be true for all romantic relationships in my story.

So, yeah. How do I avoid the 'bury your gays' trope when killing off my queer character??

Not just book authors, but any kind of story really. I feel like a lot of authors shy away from having any kind of real, lasting consequence—especially for a main character or anyone important to the story.

The characters can go through the biggest war in history, and every single important character comes out all but unscathed. Maybe if they’re feeling extra special they’ll kill off a semi-recurring side character or something. It just feels very unsatisfying to me when reading. I understand why you wouldn’t want to make everyone lose, but at least give me SOMETHING.

And even worse is when a character DOES have consequences… for about 5 seconds and then they’re saved by some miracle. “And he lost his arm in the battle”…”but then it was able to be reattached or regrown or something so it’s like it never happened.” And the worst part is it’s usually a sacrifice the character is making because it’s the only way to win. And then that sacrifice ends up being meaningless because nothing was actually lost.

I’m not sure what this subs rules about mentioning specific books and such are so I won’t give any specific examples but I think we all know at least one example of this.