Ways We Show Love Writing Prompts

20 Ways to Show Anger in Your Writing

Here’s a list of 20 signs of anger that writers can use to show, rather than tell, a character’s emotions through physical, verbal, and internal reactions:

1. Facial Expressions

Clenched jaw or grinding teeth

Narrowed or glaring eyes

Lips pressed into a thin line or curled into a sneer

2. Body Language

Fists clenched tightly at their sides

Tense shoulders that rise or square up

Puffing out the chest or stepping closer to confront

3. Speech Patterns

Voice lowered to a dangerous, icy tone

Shouting or raising their voice suddenly

Speaking in short, clipped sentences

4. Breathing Changes

Heavy, rapid breathing (nostrils flaring)

Sharp inhales and audible exhales

Holding their breath as if trying to stay in control

5. Sudden Physical Movements

Slamming fists onto tables or walls

Pacing back and forth restlessly

Pointing a finger or jabbing the air during speech

6. Uncontrolled Gestures

Shoving objects off a desk or knocking over a glass

Finger tapping or knuckle cracking

Wrapping arms tightly around themselves

7. Temperature and Flushes

Red face, neck, or ears

Visible veins on the neck or forehead

Breaking into a sweat despite the situation

8. Eye Movements

Eyes darting or rolling sharply

Avoiding direct eye contact out of fury

Staring someone down with unblinking intensity

9. Words and Tone

Cursing, insults, or verbal jabs

Sarcasm sharpened to hurt others

Accusations thrown in frustration

10. Breaking Personal Space

Leaning in closer, looming over someone

Pointed steps toward another person to intimidate

Physically turning away to dismiss or avoid conflict

11. Physical Reactions

Throwing objects or breaking things in rage

Punching walls, doors, or inanimate objects

Shaking hands or trembling with pent-up anger

12. Posture Shifts

Back stiffening and chin lifting defiantly

Shoulders jerking or twitching

Rigid stance as though ready for confrontation

13. Inner Thoughts (for internal POV)

“I could feel the blood boiling in my veins.”

“The room seemed to close in on me.”

“My pulse thundered in my ears.”

14. Displacement of Anger

Kicking objects on the ground (chairs, trash bins)

Storming off abruptly or slamming doors

Snapping at someone unrelated to the cause of anger

15. Temperature Descriptions (metaphors/sensations)

Heat rushing to their face or spreading through their chest

A cold sensation washing over them, signaling restrained anger

Feeling fire “lick” at their insides or their temper “ignite”

16. Instinctive Responses

A growl or grunt escaping their lips

Baring their teeth as if instinctively defensive

Ripping or tearing something in their grip

17. Silence as a Weapon

Pausing dramatically before responding

Refusing to speak or meet someone’s eyes

The ominous quiet just before they explode

18. Physical Sensations

Muscles twitching or vibrating under the skin

Heart pounding visibly at their throat or chest

A bitter taste in their mouth or nausea from anger

19. Reactive Behaviors

Interrupting others to correct or attack

Dismissing concerns with a quick wave of the hand

Throwing out ultimatums like “Don’t push me!”

20. Lingering Aftermath

Hands trembling after the initial outburst

A headache, buzzing ears, or lingering tension

Regret or shame slowly replacing the heat of the anger

These signs can be layered together to create realistic and powerful depictions of anger, whether it’s smoldering beneath the surface or erupting violently.

on that path carved from grief

Sometimes Kaoru feels that he cannot remember his own mother's voice. But wasn't that weird? He knew his mother the longest out of everyone. Why can't he remember? Why? Why? Why? Why?

Word Count: 1666

Characters: Hakaze Kaoru & Hakaze Kaoru's Mother (Mentions of Kaoru's father and older siblings)

Tags: Grief/Mourning, Hurt/Comfort, Character Study, Minor Character Death, Alternate Universe - Canon Divergence, Canon Compliant, Pre-Canon, No Dialogue, Angst

※ i've decided to publicly posted this on ao3! the one i posted on ao3 is similar to this post, but i just edited some stuff and properly proofread it (because i originally wrote this while i was for real wallowing in my grief. shoutout to hakaze kaoru for being the character i always use to project my grief)

vent writing where i project my own experiences with grief to hakaze kaoru not because i am a kinnie because it's 3am and my anxiety started acting up. most of these experiences about kaoru and his mom were made up pls don't treat as canon hdjfkdhf they only canon kaoru thing here is he's good with housework and cooking!!!!!! vent post under the cut

WORD COUNT: 1660

Sometimes Kaoru feels that he cannot remember his own mother's voice.

He worries about forgetting the smile she used to have on her face when he would tell her about the shells he found on the beach.

He worries that his mother's melodious laugh after his brother makes a joke would escape his mind at any moment.

He worries he would fail to remember combing her soft, silky blonde locks with his hands as he and his sister carelessly style their mother's hair into braids.

He worries when the feeling of having a mother to defend his actions while his father scolds him for acting too lax and foolish is starting to fade away.

Kaoru worries that, one day, he suddenly forgets.

He knows, however, there were moments after her passing that he will never forget:

Was it weird that he did not shed a tear the moment he knew his mother passed away?

Perhaps it was because, hours prior he found out about his mother's passing, he finally had the courage to engage in a conversation with his classmates. Perhaps the brief feeling of happiness that bursted within him throughout the school hours was too overwhelming that he couldn't bring himself to feel sad.

But wasn't that weird? He knew his mother longer than his classmates. Why didn't he cry? Why? Why? Why? Why?

Was it wrong that he didn't understand what “being dead” means?

He was a middle school student when his mother passed — not a kid anymore. Shouldn't he have understood what death means? Couldn't he see his mother's lifeless body kept inside the open casket during her wake? Didn't he realize the hushed murmurs from the guests, ranging from: “poor kids, their mother left them too soon,” to “what will happen to their family now?” while his sister sobs through the microphone, in a poor attempt to talk about their mother? Didn't he? Didn't he? Didn't he? Didn't he?

Kaoru worries that, one day, these too are something he suddenly forgets.

Loud wailing and sobbing echoed around the graveyard as his mother’s casket was being lowered down. Kaoru, however, has barely shed a tear.

But isn't that weird? There was no doubt that he was his mother's favorite. So why hasn't he cried since her death up until her burial?

As soil covered up his mother's casket, it was only then when Kaoru had felt something — yet that unfamiliar feeling, he knew, was not pain.

Kaoru knew that pain was supposed to make you wake up in the middle of the night to cry, it was supposed to make your heart tighten while you see something that reminds you of your late loved one, it was supposed to make you scream and destroy objects knowing that you can't do anything about what had happened in the past that made you feel so much in pain.

In that moment, however, Kaoru merely felt nothing. It was as if an empty void was suddenly attached within him. Memories of his mother didn't leave immediately, they were still a part of him even as her casket was completely covered in soil. But the moment his father uttered the words: “goodbye,” it was then when he understood what death truly meant. The emptiness within him started to feel heavy as he stared at the soil where his mother is kept underneath. He suddenly became aware of the loud cries from his brother as he clutched his chest, yelling for their mother in the empty sky, and his sister's uncontrollable sobbing as she softly called for their mother. Kaoru should have understood this earlier. He should have. He should have. He should have. He should have.

The Hakaze house is silent when they return. His sister hurries to the kitchen, still in tears, to cook food for dinner because who will make pancakes now that mother is gone? His brother pats his head, tells him to not worry about the household chores and focus on his school work first because who will clean his room now that mother is gone? His father heads to store mother’s collection of seashells and marine life books in a spare room because who will use them now that mother is gone?

His family are on the first step of moving on from their mother's death, but how can Kaoru move on along with them when it was only at this moment that everything started to sink in. “Goodbye,” continues to loop inside of his head like a broken music player as he stands still in the middle of their house. Goodbye, mother. Goodbye. Goodbye. Goodbye.

A year after his mother's death, Kaoru cries — sobs alone in his room. Tears flow out from his eyes as he sobs in his pillow, what a shame, he had just changed the pillow cover the other night because of the same reason. Kaoru sobs alone in the house; his father is still out working, his brother has moved out from their house and lives somewhere in the city, and his sister is busy with her last week at university.

An hour later, Kaoru leaves his room to make pancakes because he noticed he hasn't had his first meal for the day, but the pancakes he made don't taste the same like how his mother used to make them.

Two hours later, Kaoru starts washing the leftover dishes from last night, then sweeps the floor of the common area because dust started accumulating on the floor again.

Five hours later, Kaoru spends the entire evening rereading the collection of his mother's old marine life books. He spends the next hour reciting to himself about the specific type of each seashell from his mother's dusty seashell collection because his mother wasn't by his side anymore to tell him about the lives of the seashells.

Kaoru worries that these, too, are something he suddenly forgets.

The first year he enters Yumenosaki Academy, he refuses to form any sort of close relationship between his classmates or any student in general. He thinks, perhaps, that it is for the best; he doesn't want the empty void within him to grow even bigger because of a sudden mishap with his hypothetical relationships.

The second year he studies in Yumenosaki Academy, he starts to question himself why he decided to even enroll in this school. He dislikes forming close relationships yet he placed himself in a situation wherein relationships are important for survival. Well, it wasn't like he was serious about becoming an idol, anyway. But, at least for this year, he talked to different kinds of people—though he could barely even call them acquaintances.

The third and last year he studies in Yumenosaki Academy, it becomes the first time he has allowed people to enter his life since his mother's death. It was the first time he cried in front of someone other than his sister — even multiple times. It was the first time he formed a bond that he is confident enough to call friendship. Kaoru still struggles with accepting people in his deeper side of life, yet the empty void within him still stays the same. However, a newer and warmer feeling starts growing inside of him.

The first year in Ensemble Square, Kaoru realizes he is starting to forget what kind of smile her mother always had on her face.

He realizes he is starting to forget in what situations his mother would laugh at.

He realizes he is starting to forget whether his mother preferred her hair in three-strand braids or French braids.

He realizes he is starting to forget what kind of stuff he used to do for his mother to wholeheartedly defend him against his father.

Kaoru comforts himself in the fact that, despite his memory slowly fading away, he will never forget the experience and memories he has with his mother.

He remembers him and his mother stepping barefoot on sand at the beach for the first time. He remembers when his mother first taught him how to ride a wave. He remembers the warm feeling in his chest knowing that his mother is home, ready to serve pancakes to him the moment he returns. He remembers the shame he felt when he realizes that his mother cleaned his messy room while he went out to play with his brother at the playground. He remembers listening to his mother talk about seashells and sharks in between coughs while lying down the hospital bed. He remembers staring at her cold, lifeless body inside the casket, seconds before they finally closed it.

Kaoru remembers it all.

And it's the little things like these constantly remind him that, although the empty void within him might never disappear, his mother took part in building the warmth inside of him. And that warmth will continue to exist within him through his memories of him and his mother.

His mother exists in the necklace she gave to him when he first entered school. She exists in the cold, sea breeze that brushes against his cheeks when he visits the seashore at night. She exists in his first solo song that he wrote with her in mind. She exists in the stories he tells about her to his friends, his juniors, and his fans. She exists in his father, his brother, his sisters — and within himself.

Sometimes Kaoru worries that he might forget everything one day.

But worrying about forgetting in itself is already a reminder that it would be difficult to forget something of such importance.

And even if he does end up forgetting, Kaoru is certain that nothing will replace the feelings, emotions, and memories that he experienced throughout the entire years of remembering his mother.

Oftentimes, Kaoru now relaxes knowing that he was able to experience a life with his mother and also become a part of his mother's life. And his mother will still continue to exist through his own memories.

Designing the calling card

guhhh these two

there's an interesting historical reference to a poem (that is somewhat similar to the original sleeping beauty fairy tales) in diasomnia chapter 4 main story that i wanted to yap about

spoilers under the cut

I translated the Main Story Book 7 Chapter 4 Ep 63 (which is posted on my tl account over here) when it was first released, and looking back on it now, i realized that there's this part that hasn't been talked about(?) (or maybe i'm just out of the loop now LOL).

But basically there's this part where baul and lilia explains that they were going to 野ばら城 (which i translated as Wild Rose Castle) to deliver a message to Queen Maleanor, Malleus' mother.

If we break down the meaning of each character:

• "野" ("の/no") means "wild,"

• ばら ("bara") means "rose,"

• while "城" ("shiro") is just the word for "castle";

Thus, I translated 野ばら城 to 'Wild Rose Castle.'

HOWEVER. 野ばら on its own is also the Japanese translation of Goethe's poem, "Heidenröslein," which is a story about a young man who decides to pluck a small rose on the heath despite the rose's warning that she will stick him with her thorn. Here is a screenshot of a summary of the poem's text from its wiki page.

I think it's an extremely interesting choice on the Twst writers' end to choose this specific word as the name for Maleanor's castle since if you just wanted to search up an actual wild rose, you would have to type 野バラ instead (using the katakana バラ as it's the more common way to type the word 'rose' in Japanese).

Plus, taking into account the message behind Heidenröslein, I can't help but recall the actual Sleeping Beauty fairy tale AND the Maleficent (2014) movie. (Angelina Jolie herself said that Henry betraying Maleficent's trust and love just to take away her wings is like an allegory to rape).

What does it mean for Twst lore?

Well, nothing much, really. Since they never touched on this topic again after Silver and the guys left Lilia's dream 😔. We'll have to wait until Heartslabyul dreams are over until we get new lore drops related to Diasomnia, but I just found this as an interesting etymology that I wanted to share! It also just shows the detail that the writers put into writing the main story as they reference content somewhat related to the stories where the characters are twisted from.

(I like to yap about twst lore so follow me if you want to see more of that + i'm in dire need of friends </3)

Other Words for "Look" + With meanings | List for writers

Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.

Gaze - To look steadily and intently, especially in admiration or thought.

Glance - A brief or hurried look.

Peek - A quick and typically secretive look.

Peer - To look with difficulty or concentration.

Scan - To look over quickly but thoroughly.

Observe - To watch carefully and attentively.

Inspect - To look at closely in order to assess condition or quality.

Stare - To look fixedly or vacantly at someone or something.

Glimpse - To see or perceive briefly or partially.

Eye - To look or stare at intently.

Peruse - To read or examine something with great care.

Scrutinize - To examine or inspect closely and thoroughly.

Behold - To see or observe a thing or person, especially a remarkable one.

Witness - To see something happen, typically a significant event.

Spot - To see, notice, or recognize someone or something.

Contemplate - To look thoughtfully for a long time at.

Sight - To suddenly or unexpectedly see something or someone.

Ogle - To stare at in a lecherous manner.

Leer - To look or gaze in an unpleasant, malicious way.

Gawk - To stare openly and stupidly.

Gape - To stare with one's mouth open wide, in amazement.

Squint - To look with eyes partially closed.

Regard - To consider or think of in a specified way.

Admire - To regard with pleasure, wonder, and approval.

Skim - To look through quickly to gain superficial knowledge.

Reconnoiter - To make a military observation of a region.

Flick - To look or move the eyes quickly.

Rake - To look through something rapidly and unsystematically.

Glare - To look angrily or fiercely.

Peep - To look quickly and secretly through an opening.

Focus - To concentrate one's visual effort on.

Discover - To find or realize something not clear before.

Spot-check - To examine something briefly or at random.

Devour - To look over with eager enthusiasm.

Examine - To inspect in detail to determine condition.

Feast one's eyes - To look at something with great enjoyment.

Catch sight of - To suddenly or unexpectedly see.

Clap eyes on - To suddenly see someone or something.

Set eyes on - To look at, especially for the first time.

Take a dekko - Colloquial for taking a look.

Leer at - To look or gaze in a suggestive manner.

Rubberneck - To stare at something in a foolish way.

Make out - To manage to see or read with difficulty.

Lay eyes on - To see or look at.

Pore over - To look at or read something intently.

Ogle at - To look at in a lecherous or predatory way.

Pry - To look or inquire into something in a determined manner.

Dart - To look quickly or furtively.

Drink in - To look at with great enjoyment or fascination.

Bask in - To look at or enjoy something for a period of time.

Gumroad

The Writer's Scene Workbook

Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo

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MHYK MS2 SPOILERS BELOW

I finished ms2 like. weeks ago. but holy shit it's still haunting me i have so many thoughts about it like:

IT ENDS LIKE THAT???? CLIFFHANGER AHH💀💀

owen constantly provoking cain to "leave his knight-like/knighthood" and cain going "aight bet" then owen legitimately crashing out when he saw cain doing Whatever at the western country???? Chat this is actual peak.

also owen holds So Much Affection for cain. not speaking as a caiowe shipper right now but i'm speaking like in an analysis way. he refuses to admit it out loud but he constantly, without fail, puts his trust on cain's attitude and character. (See: the lennox vs cain discussion wherein owen was literally the only one who said cain would win over lennox LMFAO) (Speaking as a caiowe shipper: HO THIS GAY AHHHH)

i seriously love the oz and arthur discussion at the later chapters🥲 arthur Really, REALLY needed to hear those words come out from oz himself, and oz really needed to tell his feelings to arthur. they're so father and son🥹 (See: Screenshot below ↓)

also arthur and owen interactions were so cute

FUCKKKK MY EASTIES😭😭😭😭💔💔💔💔 I NEARLY SHAT MY PANTS WHEN NERO WAS ON THE BRINK OF DEATH AND BRAD FOUND HIM (brad going "now tell me who did this to you" LIKE? this wizard yaoi shit serious, i'm out!)

oughhh but easties in general,,,,, i love their dynamic so so much they're my favorite country🥹🥹 faust cares so much for his students and vice versa!!!! aghhh this entire convo of faust and shino just made me genuinely so emotional. THEY'VE TRULY COME SO FAR. AHHHH

Figaro will die soon

i did not expect mitile to actually eat the stone but wow!!!!!! i mean it's expected but i was still surprised :O

rustica bride reveal... Ho that lore drop crazy

lenofigafau......... Guys... GUYSSSSSSS i have so much to say about them but i feel i need to write that in an actual Document instead of a tumblr post like it's that serious

Can i come out as a figaoz supporter

the current progression of main sto is so interesting!!! super curious to see how everything else will play out (Example: Nova, Easties finding out about Nero's past, the prophecies about Arthur and Mitile, etc.)

speaking of prophecies. MANNNN oz really loves arthur so much he tried to change fate so he dies instead of him but it still didn't work out dufkehfidhj

Also! i did NOT expect arthur to actually make a promise like holy shit. that was peak. and for chloe too weurygsgshg i know chloe wouldn't pull any bad shit but wow!!!! just thinking about the Gravity of the situation is so surprising

i need more shymurr lore....... + the fact that ms2 is mainly set in the west is vv interesting i want to know more about the world building especially in thr west

rutile🥹🥹 ashekdjd i long for angst i wonder how he'll react once he figures out mitile's prophecy.... i also want to see more of him in Action. like can he please punch mithra.

the twins are always so ominous lol i wonder if their prophecies now (the ones about arthur and mitile) would actually come true or not🤔 well everyone did kept on saying that their prophecies are always right but seeing how oz is trying to play with arthur's fate while mithra is unknowingly messing with? or confusing? mitle's fate, maybe something could not go in the way they expected? IDK

i absolutely love how riquet is always direct. he talked some sense into oz like yeah kid tell that 2000 year old man about how he should talk to his 17 year old son!!!!

Ok i think that's all for now. i'll add more when i'm not in a rush LOL

That nonsexual intimacy of just being in each other's spaces, of gravitating towards each other, always subconsciously reaching out to each other. Finding comfort and satisfaction in being close to each other, breathing each other in, existing together.

wei wuxian vs. pragmatism: what MDZS intends to say about righteousness

copy/pasting most of my rather bitchy reply into its own individual post because i think it deserves to stand on its own.

so i think we can all agree that MXTX intends for us to read MDZS and conclude that wei wuxian is ultimately a deeply heroic and righteous person. whether you as the reader agree with this assessment of wei wuxian's moral character is another question entirely, but at the very least it is fairly obvious to all of us that MXTX intends for us to read him as a good person.

so why does MXTX call wei wuxian a good person? what aspects of his character and which of his choices make him a good person? what moral framework and what definition of morality does MXTX employ in order to call wei wuxian a good person?

i posit that MXTX argues that wei wuxian is heroic precisely because he is not pragmatic - because he adheres to his moral ideals despite the consequences, and because he did not make moral sacrifices at critical junctures of his life. the first half of this post will argue that wei wuxian is not pragmatic. the second half of this post will argue that this is exactly why wei wuxian is heroic, and that the moral framework employed by MXTX is deeply idealistic instead.

so let's begin.

let's start by establishing two things.

first: what MXTX argues about morality through the narrative of MDZS and the reader's own beliefs about morality are two different things. me saying "MDZS argues that xyz is righteousness" and me saying "i think xyz is righteousness" are two different statements. the following analysis is concerned not with what i myself consider to be righteous, but rather what MXTX argues through MDZS is righteous.

second: wei wuxian is not pragmatic.

what does it mean to be pragmatic? unless we are speaking about the school of philosophy specifically (which i am not here), being pragmatic means being grounded in reality and focused on practical outcomes. it means being result-oriented and considering the consequences of your actions before you act; it means acting only after you have considered the potential consequences of all possible courses of action and have then decided which outcomes are acceptable. being pragmatic also means recognizing when achieving everything you want is impossible. and, in such situations, being pragmatic thus entails compromising to achieve a desired outcome, even if that means you don’t get everything they want. to put it in edgier terms, being pragmatic means being able to make moral sacrifices.

an idealistic person attempts the impossible. a pragmatic person recognizes when something truly is impossible.

wei wuxian is not pragmatic.

first, wei wuxian is not someone who carefully considers the consequences of his actions before he acts. in fact, he displays a startling lack of consideration for consequences. it repeatedly falls upon other characters to either try (and fail) to hold him back.

when wei wuxian punched jin zixuan for insulting first jiang yanli and then jiang cheng, did he consider that jiang fengmian and jin guangshan might then dissolve the betrothal, and that jiang yanli might have wanted to make a decision regarding that on her own? no. he just punched jin zixuan because he was mad that jin zixuan had insulted two people he loved.

when wen chao threatened mianmian, and lan wangji and jin zixuan stood up for mianmian, and then wei wuxian stood up for them by holding wen chao hostage in turn - did he consider that there might be consequences for humiliating and threatening the life of the son of a warmongering great sect leader who has already proven capable of attacking other sects? no. did he stop and think "alright, wen ruohan has already attacked the cloud recesses, which proves that he's willing to wage war against the other sects. threatening the son of a sect leader is an easy way to earn any sect leader's ire, and since i'm the first disciple of the jiang sect, this puts not just me but the entire jiang sect on wen ruohan's shitlist"? no. it would be one thing if wei wuxian weighed this possibility and then decided that rescuing an innocent girl and the people who defended her was more important was worth the risk - that would show that he considered the consequences and then made his choice. but the thought simply never entered his mind. he acted simply because he wanted to save mianmian, jin zixuan, and lan wangji from the wens; he did not think beyond that.

when wei wuxian busted the wen remnants out of the qiongqi pass labor camp, did he have a clear plan as to how he was going to weather the political fallout? did he have a plan more detailed than "live quietly in the burial mounds until everyone forgets about us"? no. when jiang cheng challenged him as to how he was going to survive the situation, he did not in fact offer anything more concrete than "we'll just wait for everyone else to forget about us." he blustered about being a once-in-a-generation genius who could accomplish the impossible, but he provided no actual plan as to how he was going to do it. this leads me to conclude that wei wuxian did not in fact have a long-term plan for handling the consequences when he went ham at the qiongqi pass camp - that, instead of weighing the consequences and then making his decision, he instead decided immediately that this was something he had to do, consequences be damned.

and then - on top of this - all of his following actions then point in the exact opposite direction of his stated plan of waiting for everyone to forget about them. because instead of doing anything to fade into the background, everything wei wuxian did instead just convinced the jianghu he was an intolerable threat.

and this was not a sustainable strategy.

one thing i really appreciate about MXTX is that she does not make the rest of the jianghu into one-dimensional villainous morons. it's quite easy for lazy writers who want a persecution plotline to have the rest of the story's society magically start hating on the protagonist for no good reason, to make every background character in the story's world a three-braincell moron. but MXTX is not that author. it speaks to MXTX's skill as an author that, from the perspective of the rest of the jianghu, fearing wei wuxian as a mortal threat was an entirely reasonable conclusion for them to come to.

first, the gentry's most recent direct interaction with wei wuxian during this time period is him threatening to kill all of them. when jin zixun doesn't give him the information he wants, wei wuxian straight up says: "if i want to kill everyone here, who can stop me? who dares stop me?" this is a threat! and - surprise - threatening to kill people naturally makes people think that you want to kill them! 

next, wei wuxian refined wen ning's dead body into the first sentient fierce corpse in history, and also the strongest fierce corpse in living memory - and then took wen ning with him on night-hunts. that's where the reputation of "the yiling patriarch and his ghost general" comes from. this very naturally made the rest of society fear him even more, because now the guy who has just recently threatened to kill you has demonstrated even more of the power to easily do so! the unparalleled power to do so, which no one else possesses and it would be very hard for anyone else to counter! add in the fact that wei wuxian's activities were also attracting prospective disciples - people gathering outside the burial mounds because they wanted to learn demonic cultivation - and naturally the public is even more frightened, because now it looks like the guy who threatened to kill all of you is also gathering the political force to do so!

the public is incorrect about wei wuxian's intentions, of course. but what does wei wuxian do to correct these misconceptions? to rehabilitate his public image, because now his public image has the life of not just himself but also all the wen remnants under his protection riding on it? to prove to the public that he isn't an active threat to their lives - that he does not seek to murder them all in their beds - that it is safe for them to allow him to live, and that they can in fact survive if they don't kill him?

nothing.

it would be one thing if the story mentioned how wei wuxian tried to correct the malicious rumors about himself and failed. but that is not what happened. what happened is that wei wuxian sat on his corpse mountain and let everyone else say what they wanted to say. and when he left his corpse mountain, it was to bring his one-of-a-kind unparalleled sentient fierce corpse with him on night-hunts, which of course just fanned the flames of the rumors instead. he doesn't even tell the prospective pupils camped on his front door to fuck off - he just sneaks in through the back door.

this is not pragmatic behavior. though you can argue that wei wuxian's strategy here was to become so powerful and so scary that no one would dare try to fight him, anyone with a brain can tell you that this is not a sustainable solution in the long-term. first, if you want to use threats to keep someone from attacking you, you also need to promise stability - you need to give people the reassurance that if they don't start shit with you, then you'll leave them alone too. if you drive the "threat" factor too high, as wei wuxian did, you instead end up convincing people that if they do nothing you'll kill them anyways - that they have no choice but to kill you if they want to survive.

second, if you want to use threats to keep someone from attacking you, you also need to prepare for the inevitability that, if someone does end up getting hurt, everyone will blame you first and no one will want to hear your side of the story. after all, if someone gets hurt, then the first suspect everyone looks towards will be the guy who's been consistently saying "i'm strong enough to hurt you! i'm strong enough to hurt you! don't start shit with me because i'm strong enough to end you!" for the past few months. this is basic common sense. and yes, the society of MDZS is unfair - wei wuxian deserved a proper trial and investigation after the death of jin zixuan. but the fact that society is unfair is something a pragmatic person would have recognized and planned for.

wei wuxian did not recognize and plan for this reality. even after he accidentally kills jin zixuan, wei wuxian still insists that if only the jianghu investigates jin zixun's hundred holes curse, they'll see that wei wuxian didn't cast the hundred holes curse, they'll see that there was more scheming going on, etc etc. wen qing has to directly spell out for him that, at this point, society no longer cares about the truth of the matter. it seems that wei wuxian was actually oddly idealistic about the true nature of his society all the way until the very end.

all of this leads me to conclude that, when wei wuxian busted the wen remnants out of the qiongqi pass labor camp, he did so without considering the consequences of his actions. he assumed that he could improvise and weasel his way out of this situation, as he's always done in the past with his typical genius - only this time, he was wrong.

wei wuxian acts without considering the consequences of his actions. he does not make a decision only after carefully deliberating over all of the potential outcomes - not at all. instead, he acts in the moment - not out of any rational consideration of potential outcomes, but rather because it is simply something he must do. this by definition makes him a deeply unpragmatic person.

to put it into more familiar terms, for wei wuxian, the righteousness of an action comes not from its consequences, but are rather inherent to the action itself. even if he were doomed to fail, he could not give up on the wen remnants.

second, at critical junctures, wei wuxian is unable to make moral sacrifices. to be pragmatic is to know when you have to sacrifice: to know when, in order to achieve the most inalienable of your goals, you have to give up on some of your other goals. this is something wei wuxian is consistently unable to do.

of course, when it comes to his own wellbeing, wei wuxian is all too willing to sacrifice. he'll carve out any number of his internal organs to save those he loves. but this honestly speaks less to wei wuxian's moral framework and more to his lack of self-worth from a troubled upbringing.

because, when it comes to any moral cause, wei wuxian is entirely unable to sacrifice anything, even if being unable to sacrifice entails more negative consequences. wei wuxian could not sacrifice mianmian, jin zixuan, and lan wangji to wen chao and his goons, so he took action and took wen chao hostage himself. to sit back and do nothing as wen chao threatened the lives of those three was simply unthinkable for him - even if it meant taking a course of action that put yunmeng jiang in danger.

wei wuxian's relationship with jiang cheng deteriorated because jiang cheng did not know about the golden core transfer: because jiang cheng did not know that wei wuxian could no longer cultivate, from jiang cheng's point of view, it looked like wei wuxian was just refusing to help out and fulfill his promises for kicks. wei wuxian could have made things a lot easier for himself and also any wen remnants he chose to rescue had he simply told jiang cheng the truth - but he knew that finding out the truth of the golden core transfer would make jiang cheng miserable, and [jiang cheng's happiness] was not something he was willing to sacrifice.

wei wuxian's single most prominent moral decision is his refusal to allow the wen remnants to be sacrificed. anyone with a shred of political sense had to know that rescuing the wen remnants and then protecting them would be near impossible - that it entails making an enemy of the jin, and due to the jins' power, the entire jianghu. wei wuxian himself knew this; he is no moron. wei wuxian also had no long-term plan, no allies, and significantly less power than the rest of the world believed. yet, despite this all, he acted anyways, because he could not let the wen remnants be sacrificed.

the wen remnants wei wuxian rescued from the qiongqi pass labor camp included both regular civilians and cultivators. perhaps wei wuxian could have negotiated a proper release for the non-cultivating civilians, such as granny wen and a-yuan, had he chosen to give up on the cultivators. but - the question of whether this would have worked or not aside - this was not a sacrifice wei wuxian would be willing to make.

nor could wei wuxian sacrifice the safety of yunmeng jiang. i am firmly of the belief that, had yunmeng jiang formally stood by wei wuxian's side after wei wuxian attacked the jin-run labor camp, lanling jin would have eventually declared war on yunmeng jiang, and yunmeng jiang's would inevitably be destroyed. both wei wuxian and jiang cheng understood this as well - which is why wei wuxian told jiang cheng to let him go.

(you can argue - successfully - that wei wuxian did in fact sacrifice [his obligations to yunmeng jiang and his promise to jiang cheng] by leaving yunmeng jiang to protect the wen remnants. this is true. but i think that - from wei wuxian's point of view - this was not much of a sacrifice, because due to wei wuxian lacking a golden core, he already viewed himself as mostly useless to yunmeng jiang. so him leaving - in his view - is not really that much of a loss for yunmeng jiang.)

wei wuxian promised wen qing that he would return wen ning's consciousness to his corpse. when wei wuxian made this promise, he had no idea if he could actually pull it off or not. but then he did - and, in the process, created the most dangerous weapon the jianghu had seen in living memory. wen ning specifically, or moreso wei wuxian's inability to control him, leads to so much of wei wuxian's eventual downfall: wei wuxian loses control of wen ning and accidentally kills jin zixuan; when wen ning goes to turn himself in at jinlintai, he ends up going berserk again and killing another 10-20 jin and lan cultivators, which leads to the nightless city pledge conference. frankly, wei wuxian could have avoided a lot of trouble - or at the very least, a lot of the public's fear - had he not raised wen ning from the dead. it's not like he'd be completely defenseless without wen ning, either. but wei wuxian promised wen qing he would resurrect wen ning - and he could not sacrifice his promise to wen qing because of what wen qing had already done for him.

a pragmatic person is able to make sacrifices, including moral ones. at the very least, a pragmatic person recognizes when sacrifice is inevitable, when all paths lead to something being lost. a pragmatic person, put in the trolley problem, would recognize that there were only two options and that both options involve sacrifice: either he must kill one person, or he must allow five people to die. there is no path forwards in which all six people live.

wei wuxian is unable to make moral sacrifices. he clings on to all of these moral causes, all of these promises and obligations, and it is precisely because he attempts to hold onto all of them that he ends up losing everything. to reuse the previous example, wei wuxian in the trolley problem tried to save all six people because he could not accept any of the sacrifices made inevitable by the trolley problem.

to put this all together - wei wuxian is not a pragmatic person. he makes decisions with his gut, not his head - he does not consider the consequences of his actions before he acts. nor is wei wuxian able to make sacrifices - even necessary ones in order to avoid greater tragedies.

but. none of this means that wei wuxian is not a deeply heroic person. rather, to do what you believe to be righteous and attempt to live up to your ideals despite the consequences is exactly what MXTX lauds as moral. and to be unable to make a moral sacrifice when everyone else in your society easily does so is in fact deeply heroic.

it is precisely because wei wuxian is not pragmatic that MXTX declares him a hero.

some people, including myself, favor a moral framework that centers pragmatism and reason as virtues. to us, the ideal moral character is someone who makes decisions based on reason and not emotion, who considers the potential consequences of every course of action before making a decision, and who then, based on these inferred future consequences, uses reason to deduce which of all of the possible outcomes is the most preferable.

but this does not in fact describe wei wuxian, nor is this how wei wuxian views ethics. and to be honest, i don't think this is how MXTX views ethics either.

in all three of her stories, MXTX repeatedly comes down harder on the characters who make pragmatic decisions, the characters who are willing to sacrifice. in fact, killing sunshot soldiers while acting as wen ruohan's spy, and then killing nie mingjue's men in order to ensure a chance at killing wen ruohan and saving nie mingjue, was the pragmatic thing for meng yao to do, because that was the least bloody path forwards towards a sunshot victory over qishan wen. in fact, cutting ties with wei wuxian after he attacked the jin-run qiongqi pass labor camp was the pragmatic thing for jiang cheng to do, because it was the only path forward that did not put yunmeng jiang, his first and foremost responsibility, in the line of fire. and yet (though the situation is less clear with jin guangyao), MDZS as a narrative criticizes both jin guangyao and jiang cheng for these decisions - because, to MDZS, righteousness does not lie in pragmatism.

(this is a statement i personally disagree with. but we are here to discuss what MDZS wants to say about pragmatism and righteousness, not what i want to say about pragmatism and righteousness.)

by contrast, the one single act for which deeply controversial jiang cheng is ultimately lauded for in the narrative is also his single least pragmatic, most emotional act. the one single act of jiang cheng's that MDZS does not criticize is when, after the fall of lotus pier, jiang cheng ran out from his hiding spot to distract the wen soldiers from seeing wei wuxian. from a filial, duty-based point of view, this was a deeply stupid and unpragmatic course of action: jiang cheng's first and foremost duty, as the sole surviving jiang and new sect leader jiang, was to survive, rebuild his sect, and avenge his parents. from a consequentialist point of view, this impulsive choice is also what led to the domino-fall of tragedy that followed, since jiang cheng then got captured and had his golden core melted, which then led to everything else. yet this stupid, unpragmatic, and impulsive decision is ultimately the one act MDZS considers to be jiang cheng's single most heroic.

the key as to what MDZS considers to be heroic, what it considers to be righteous, lies in the jiang family motto: 明知不可而为之, attempt the impossible. this line, taken from the analects of confucius, can be considered to be a deeply deontological ideal. i find this twitter thread (warning to my followers: does kind of dunk on JC) to be rather helpful in elucidating this line's meaning. 

to attempt the impossible, to try what shouldn't be tried. "ask yourself not whether you can do it, but whether you should...consider not the result but rather the journey - have a clear conscience regardless of outcome." in other words, what matters is less whether you succeeded or failed, or what sort of outcome your actions brought about - what matters is that you tried. what matters is that, in the face of overwhelming odds, you tried to do what you think is right. and even if you end up failing - even if everyone you sought to protect ended up dying - the fact that you tried still has moral weight.

this is why it was righteous of wei wuxian to save the wen remnants - even though the ultimate consequences of that decision were overall negative, even though everyone wei wuxian tried to protect died. in fact, if wei wuxian had died immediately - if he had been shot down by jin archers at the qiongqi pass labor camp the moment he came within their range - if he had died before any wen in the labor camp realized someone wanted to save him - he would still be a righteous person. because, for MDZS, what makes an action righteous is not its consequences. for MDZS, what makes a person righteous is not what impact their actions have on the world, but rather that they have the sort of moral character that leads them to never give up on their ideals.

wei wuxian does not consider the consequences of his actions before he acts. or, should i say - wei wuxian makes decisions despite their consequences, because despite the consequences there are simply some moral causes he simply cannot give up on. wei wuxian did not save the wen remnants because it was pragmatic to do so. it was in fact deeply unpragmatic to do so. no - wei wuxian saved the wen remnants without a concrete long-term plan, without having thought through anything beforehand, with the knowledge of how weak he was in reality - because he could not give up on the wen remnants, consequences be damned.

to have some moral causes you simply cannot give up on, no matter the consequences - to MXTX, is deeply heroic. in this sense, MXTX's moral philosophy is not pragmatic at all, because to be pragmatic is to be concerned with practical consequences. instead, both wei wuxian and MXTX herself are deeply idealistic, because what matters to them are ideals and principles that extend beyond consequence.

as the linked twitter thread notes, this is why MXTX waits until the very end of the book to reveal that wen yuan, now lan sizhui, lived. this is why wangxian only meet mianmian and her family at the end of the book. this is why all of the cumulative positive impacts of wei wuxian's resurrection -  jin ling forgiving wei wuxian, jin guangyao, and wen ning, for one - are kept to the end of the story: because MDZS needs to move away from the consequentialist argument. MDZS needs to establish that wei wuxian's righteousness is separate from the impact of his actions: that wei wuxian isn't righteous merely because his actions had a positive impact for which others can thank him, but rather because the actions he undertook were inherently righteous on their own. that even if none of these positive impacts existed - if wen yuan had also died, if mianmian hadn't made it - then wei wuxian's choices would still be moral.

this is also why MDZS ultimately comes down harder on characters like jiang cheng and jin guangyao, even though a more results-oriented moral framework would instead laud such characters. both jiang cheng and jin guangyao are deeply pragmatic characters: they put concrete results before abstract moral ideals, and they're willing to compromise on their ideals in order to achieve better results. i am a JC stan and a jiggy apologist because of these exact traits. but MDZS is a narrative that criticizes such pragmatism and instead holds up wei wuxian's idealism as a moral ideal - so, in order to advance its themes, the MDZS narrative ends up criticizing both jiang cheng and jin guangyao.

ultimately, this idealism - this criticism of pragmatism - lies at the heart of MDZS's themes. wei wuxian's righteousness is directly connected to the fact that he is not pragmatic. the fact that wei wuxian makes moral decisions despite the consequences, and that he is unable to sacrifice any moral cause - is all part of what makes him at once deeply unpragmatic and deeply heroic.

---

you see, the funny thing here is that i personally disagree with this theme. as i've said before, i'm a utilitarian. to me, the morality of an action does in fact arise from its consequences; to me, someone who compromises on their ideals to achieve better results is preferable to someone who adheres to all of their ideals and then loses everything. the character i consider to have had the greatest positive impact on this story's world is jin guangyao. the character i consider to have most dutifully fulfilled his obligations is jiang cheng.

therefore, i disagree with basically everything i wrote up there about "trying": i think that if you try to do the right thing, fail epically, and in the process of your failure get a bunch of other people killed as well, the fact that you failed this badly does in fact matter quite a bit. the bulk of my more haterish posts are born from this fundamental disagreement with what MDZS posits is righteousness.

however. as a reader i must recognize that [what i consider to be moral] and [what the author of this story considers to be moral] are two different things. my own moral philosophy may be heavily results-oriented, but MXTX's is much less so. therefore, regardless of what i think of wei wuxian, i conclude that MXTX ultimately intends for us to read wei wuxian as a heroic figure for the exact reasons i gave above - and that fact must then inform every analysis of MDZS i write.

Editing Your Novel Part 2: The Plot Pass

Okay, it's finally time to edit. You've got all your materials sorted, it's time to dive right in. You want to start with the big edits first, aka the plot pass.

Now listen. You're going to want to linger and fix those little bits of grammar or dialogue, and I know it's so hard not to, but letting yourself get off-track might mean wasting hours on a scene you realize later you have to delete. Fix a few spelling errors, leave a note, and stay plot-focused.

Making Sense (Of the Plot)

In the plot pass, you're asking yourself some basic questions:

Do events follow a clear order? - When you're getting everything down on the page for the first time, scenes might get jumbled up or events might not have clear causes. Maybe you have a car crashing into the cafe pages before, but in a writing haze, you wrote your main characters having a casual conversation moments later. If the bad guy beats your heroes to treasure, is it clear how they got there? (Not everyone can be Yzma.)

Do circumstances feel contrived? If there are any problems that can be solved by your characters sitting down and talking to each other, it may be better to lean into their motivation for not speaking to each other, rather than coming up with bad romcom scenarios. If the plot can be resolved by the mcguffin the grandma had the whole time, it might be better to make finding that mcguffin part of the plot instead.

It doesn't have to be perfect, and you don't have to reinvent the wheel. If someone gets bitten by a werewolf, it's perfectly fine to have them turn into one at the worst possible moment. When it comes to contrived, you're looking for problems that seem easy to solve and look for more interesting ways to complicate them.

Are your character motivations consistent to the characters throughout the story? - They can change throughout the story, but character motivations do need to be linked to the actions they take. An out-of-nowhere betrayal is way more satisfying if you lay the groundwork for it ahead of time.

Take a moment to list out the motivations of the characters in a scene you're not quite sure of can help you figure how to fix it. Having an outline helps with this a lot!

Are you following an "if... then" format? - My brain doesn't work like this when I'm writing, because as a writer you know how A got to Z, and it seems (in your head) obvious how it happened. This is where my scene card outline come in handy, because I can look at my overview of what should happen and why, and then compare it to what actually happens in the scene. I've discovered so many threads I forgot to connect that way, like why a character had a certain device (I forgot to have him pick it up two scenes earlier), or adding a few simmering dialogue bits that make the big fight pay off much better.

Can you fix the "Because the Plot Demands It" scenes? - Look, sometimes your character needs to be in that haunted house to see that damn ghost, but your character isn't the type to set foot in such a place. It's really easy, especially in the first draft, to contrive a way in there (she took a wrong turn on her way to grandma's!), but retooling these scenes to connect them to the characters motivations and needs is the way to go. The main character doesn't want to go into that obviously cursed place, but her best friend hasn't shown up for school in three days and now she's crying for help from the second floor window. Your character's strong desire to be there for her friend is a much better way to get her into that house.

This is not always easy - it took me six fricken drafts to realize a critical part of a character's motivation was because his father blamed him for his mother's death - but it is going to be worth putting in the work to hammer down.

Do you have a solid timeline? - This might not seem as important, but it's super easy to accidentally fit two weeks worth of activities in three days. Make sure you have that on reference, even if you don't mention it in the book. Also make sure to gauge your distances if your characters are on a trip, because if you do accidentally say it takes two hours to drive from Seattle to Spokane instead of five, someone will dive down your throat for it. Not me. Just someone.

Okay, maybe me. Slow down, you maniacs.

Next post we'll dive into the structure pass. See you then!