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How much does it matter that they are a goth? I am not going to say that you shouldn't write characters with traits that don't affect the story. Indeed that's a big part of making characters feel whole. However. If your story involves a character that is a goth, then you want them to act like a goth would in that situation, not show off that they are a goth. ...


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The best way to tell a story if you have a unique setting is to tell a story that can only really be told in that setting, and plays to that setting's strengths. Because the setting cannot be disentangled from the story, it forces the reader to pay attention to the setting as part of the narrative. A good example of this is Jurassic Park. Because it's ...


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I think that there is a misconception in the question that boils down to what you consider tension in a novel. While there are some exceptions out there in the end the main character is going to succeed in their goal and it will be a matter how they get there. In some cases the journey will be easy and others it will be harder but they typically will ...


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The way I see it, you'd have to structure this rather rigorously. Perhaps organize their conversation into chunks, maybe even separate chapters? For example, focus on the interactions between 3 of the characters first. Occasionally 2 other characters chip in but only for a few lines, just to remind the readers that other characters are, indeed, present. And ...


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You characterize the ecosystems just like you would with any character, with exception that this character doesn't speak. "Show don't tell" is key here. Show animals living in this environment, and show in what ways the environment is dangerous to them. Characterize cliffs, beaches, organizations, and show the threats that these face. That way, ...


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Being Overpowered Is Just Another Character Trait Simply because their problems don't stem from being unable to overpower someone doesn't mean they stop encountering problems, only that their problems aren't the same as people for whom the ability to overpower their opposition is a limiting factor. Without knowing specifics, the stories you are reading may ...


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It is similar to how some people enjoy playing games on the easiest mode possible and even if they are fully capable of playing the game on the hardest settings they have no interest in doing so. Some people do not read stories looking for conflict, tension, or any deep plot. To quote G'Kar from Babylon 5: "By G'Quan, I can't recall the last time I was ...


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Typically these superheroes fight their inner demons. Struggles of loyalty, character, loneliness. Depression. Perhaps also a deteriorating relation to the world they are supposed to help. Assume that a super-man has helped the government in good faith only to discover it was corrupt all the time and he was helping essentially the wrong side. Imagine they ...


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The "Meritocratic" Power Fantasy These kind of stories are most popular in Korea, Japan and especially China where they play into the extremely competitive "meritocratic" education system where being successful through virtue, hard work, etc. makes the protagonist deserving of even more success. It is quite close to the American Dream in ...


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The Christopher Reeves Superman was, perhaps, the most powerful presentation of a super being in cinematic history. He effortlessly lifts a tectonic plate, for instance and brushes off nuclear weapons like so many water balloons. He has, in addition to his regularly recognized powers, the ability to turn invisible, to use high-level telekinesis, and to ...


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Whilst it lies on a spectrum, I would say that there are two main types of story with an "overpowered" character, those in which their power solves the storys main problems and those in which it does not. In a story where a characters power does not solve their issues it is arguable if they even qualify as overpowered. In One Punch Man, there is no ...


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Check out the superhero franchise One Punch Man, so named because the main character could defeat all his opponents in one punch. He is clearly overpowered. But many people still found the series interesting, with the consensus on Rotten Tomatoes given as "With its state-of-the-art animation, unorthodox hero, and gut-bustlingly funny jabs at the shounen ...


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There are many different ways in which an overpowered main character can be interesting. Just of the top of my head: He could struggle with his powers, not knowing how to use them, which purposes to use them for, face ethical dilemmas and questions of "I could, but should I?". His powers could be a burden as much as a gift, especially if he cannot ...


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There is one recurring theme of the "overpowered main character" (OMC) I've noticed. The OMC tends to be so foreign or alien to the people or world around them, that they don't understand how to apply their power to get the outcomes they desire. So the story ends up focusing less on "will OMC be strong enough to make this happen?" and ...


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Here are a couple of examples of possible problems a strong or magical person might face: There is a question: https://scifi.stackexchange.com/questions/131328/has-a-klingon-ever-been-head-butted-to-any-effect-by-a-non-klingon[1] One answer mentions a scene where a Klingon head butts Data and hurts his head on Data's super strong head. And my answer mentions ...


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You may want to ask, why it is so popular especially among teens? Without going into details of how human psychology matures, teenage period is when there is a widest gap between physical and cognitive maturation, which can explain the interest. An overpowered character may be interesting in its' evolution, specifically, turning from evil to good-doer, back ...


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Different people get different things from a story If you think of the audience (or potential audience) for a story like a crowd of people sitting and watching as a tv show is being filmed, not every person in that audience is there for the same reason. Some people are a fan of the star actor, some people are there because their kid is into this sort of ...


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As a huge Superman fanboy, I hear this alot, especially with Batman fans, but I always have my counter ready. In all stories (canon or else-world) the villains will always use Superman's greatest weakness against him. Few villains rarely go for this weakness intentionally, and even fewer are aware of it, but it's been part of Superman lore from the very ...


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God Syndrome: What does Superman from the 1950's look like today? No hero or villain can stop him. He's invincible. So what do you do if you're a bad guy, and have to deal with that? What happens when lily-white conservative Ultra-gal, who's 200 years old and doesn't look a day over 20, starts beating up ethnic minorities and the LGBTQ+ community for their '...


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The comics have covered this a number of times over the past eighty years. The "simple" solution is to make the overpowered condition the protagonist's main problem. Superman can't have a girlfriend/wife (no matter how lonely he is, as the last living member of his people), because physical intimacy between a Kryptonian (with Superman's powers) ...


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Colonialism isn't a moral issue (on the scale of a nation) Historically, colonialism has never ended because of moral reasons. It was always a power struggle : The colony becoming strong enough to claim its independence. The colonizers becoming unable to control their colony (too weak, too strong opponents, etc) The most powerful faction within the ...


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An important concept to consider is the idea of plot promises (see for example this video by Brandon Sanderson if you're not familiar with the idea). By introducing an unexplained event, you're implicitly promising that it will be explained by the end of the story. If it isn't, your readers may be unsatisfied.


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The site ArtBreeder it's just what you need. It basically lets you create all kinds of imagery by AI. One of the options is for portraits. You can take some of the million random portraits included or upload your own pics to mix them and generate new ones combining their facial traits. You can also configure what each -parent- pic contributes to the -...


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Don't fight the allusions to colonialism, lean into them. 100% morally flawless protagonists are just as boring as 100% morally despicable antagonists. Acknowledge that not everything in the "good guy" empire is all fine and dandy. When you feel that what they are doing is similar to colonialism, do your research on why colonialism is generally ...


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No, but there's a fine line Look, it's your story. If you think that the story needs to be told, tell it. Just know that, there's a fine line. Your characters are allowed to be horrible people with horrible views (such as racism), but you aren't. When you're writing a story to get a political point across, you've crossed the line. Also, please don't write ...


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If you have to ask whether you're promoting Colonialism with your writing, you already know the answer; of course you're promoting Colonialism. Don't write the story. The only thing you can do now is give up all ambitions to be a writer and never put pen to paper again. Although, I fear the problem here is deeper than that. You appear to be guilty not ...


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The closest thing I can come up with is an unfree, AI-generated face library. Seeing that this is a paid service, I doubt that there is some free service for this purpose, that does it better.


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Short answer, is you don't include everyone's dialogue. While it's tempting to have every character have their moment of pride where they get to talk, it's far more common that they react instead. One of them gasps, another places her hand on her heart. Another faints, one of drops their mouth... The Malazan Book of the Fallen might be something to read to ...


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Controversy and Emotion: There are lots of publications about industrialization and colonialism, and it's a really complex topic. If you want your writing to have a plausible feel, not just a pat anticolonial one, you have to embrace the complexity of the situation. I read a controversial but well written article suggesting colonialism was a net benefit for ...


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The reader doesn't know what the character's personality is like until the character does, says, feels, or thinks something. After the character does, says, feels, or thinks enough things, the reader may have a fairly complete idea of their character. But neighter the writer nor the reader will have a totally complete knowledge of the personality of the ...


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So given your response in the comments, this actually comes off quite easier than most times people ask this question. You are confusing nationality with ethnicity which is not the same thing. Your character may be a citizen of Japan. They may even be the child of immigrants to Japan and themselves gave your character a Japanese sounding name... if the ...


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Characters may change in some situations As already said, it depends a lot on the situation and what you want to go through. But a very important thing to be aware of is: the character is two people, the person he appears to be, and the person he really is. This applies to everyone. It is in moments like this, in moments of pressure, that the characters show ...


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Suffering is Drama (and transformation): Unfortunately, I think this might fall into the "Asking what to write" category of questions. Answering "what should I do?" isn't something we can say. So I'll try to address this in a general way, keeping away from specifics. If you are asking more generally about how humans behave in high-stress ...


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The reason film scripts are very upfront about it is because the final product, the film, is not: Though explicit in writing, the film doesn't need to be upfront about it, as everyone can see that they are of Asian descent, for example. Scripts are also only used as a sort of guiding stone for the director, editor, cinematographer, actors, casting director, ...


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Connection is important Your notion that the two stories don't connect is problematic. I think some kind of connection is important. The two stories need to have enough connections that they can authoritatively answer the question; why are we seeing both stories, and why are they in the same book and not in a book each? It doesn't have to be more than a ...


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Personally, I believe that it would seem kind of weird in the same story, and if they do not overlap/are completely separate, I would not recommend writing about them in the same book, but here are some options you can do if you want to include them both. Write them as two separate stories and note that they take place in the same world (mention characters ...


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It is possible, but be careful Basically, "Can you tell a story without a protagonist" is not the same thing as "Should you write a story without a protagonist" Meaning: Is it possible to have a story without a protagonist? Absolutely. It's done all the time, just do some quick googles to find examples of this. Normally, it's a smaller ...


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A matter of Definitions: You get into a murky realm when you start saying "protagonist" and counter that to "villain." I read a book series called The Messiah Stone, in which the protagonist is completely amoral, and it's fun watching them chase after the artifact in the book with amoral dedication. It's got great action, problems to ...


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The protagonist is the entity that the story happens to and then later the entity that takes control of the story (for good or evil). They may be a more or less good guy or a rat bastard. But they are the focus of the story. I used the word entity because it is possible that the protagonist is not human. It could be a spaceship, an AI, an intelligent slime ...


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Your character sounds a little like Randall Flagg from The Stand: Flagg makes Las Vegas his headquarters, and a plague is present. From the information given, I would imagine you have read the Stand. Now, that doesn't make it cliché, as one can still only claim a similarity between the two characters (not a cliché). However, seeing how people are still ...


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Cheat: If you want to deeply engage a reader with a character, it can be done even in a short story. But to do so, you may need to take some short cuts. Stereotypes, clichés and tropes: Rely on the expectations of your reader to fill in the parts of a character you can't/don't want to take the time to fill in. These things are much maligned, but keep ...


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The trick I use, is have a duality to every action of the character (I write short stories). Every single thing they do should 1), push the story forward, and 2), give information about the character, or the setting. Here is something I would write when writing novel perhaps: Paul parked the car, opened the door and stepped out. He closed the door behind ...


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