God This

Writing Morally Gray Characters

Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?

Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.

Deceiving Appearances

As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.

By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.

Morally Gray vs. Villains

Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.

I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.

Recognition

Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.

Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.

Remorse

They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.

The point here is, she won't regret until she has already caused the wreckage.

Redemption

Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.

For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.

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my 10 holy grail pieces of writing advice for beginners

from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)

show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."

no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.

if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.

never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.

every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.

every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.

arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)

epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.

your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.

plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.

happy writing :)

Vocabulary • Word List

Hand-to-Hand Combat

❈

⟼ assault

⟼ attack

⟼ backfist

⟼ batter

⟼ bash

⟼ beat

⟼ bite

⟼ box

⟼ break

⟼ bruise

⟼ charge

⟼ choke

⟼ clobber

⟼ clock

⟼ clout

⟼ crush

⟼ dodge

⟼ ear clap

⟼ elbow strike

⟼ eye strike

⟼ flick

⟼ grapple

⟼ hook

⟼ impact

⟼ injure

⟼ jab

⟼ jump

⟼ kick

⟼ knock

⟼ leap

⟼ lunge

⟼ maul

⟼ mug

⟼ overhand

⟼ pinch

⟼ pound

⟼ pummel

⟼ punch

⟼ push

⟼ scratch

⟼ shove

⟼ slam

⟼ slap

⟼ slug

⟼ smack

⟼ smash

⟼ spar

⟼ strike

⟼ stun

⟼ sucker punch

⟼ swat

⟼ swing

⟼ trap

⟼ trounce

⟼ uppercut

⟼ wallop

⟼ whack

⟼ whale

⟼ whop

⟼ wrestle

Can you do something for me, please?

I want you to reblog this if you believe that two people can be very close and physically affectionate with one another, but still have a completely nonsexual, non-romantic relationship. 

Even if the two people in question are capable of being sexually or romantically attracted to one another. 

Because the friendship I share with someone I consider family in a way that transcends blood has been typecast as a romantic relationship ENTIRELY too many times, and I’m beginning to get sick of it. 

autochthonous (adjective)

I get my media recommendations the old fashioned way: by watching someone I follow on here go on an unhinged reblog spree of media related content until I eventually decide to go "alright, what's all this then"

THE ERA OF VANISHING HAS BEGUN

They are not arresting people. They are vanishing them.

Rumeysa Ozturk wasn’t read her rights. She wasn’t told why she was being detained. She was walking to break her fast in Somerville, Massachusetts when masked men in an unmarked SUV pulled up, took her phone, slapped on handcuffs, and dragged her into a vehicle like she was some kind of national security threat.

She’s a doctoral student. A Fulbright scholar. A trauma researcher. But in Donald Trump’s America, she fit the profile: Muslim, foreign-born, sympathetic to Palestinians.

Now she’s locked in a for-profit detention center in Louisiana, hundreds of miles from her lawyer, after a federal judge specifically said she wasn’t to be moved.

They moved her anyway. Because rules no longer apply to those with badges — real or fake.

A MOVEMENT BUILT ON CHAINS AND COWARDS

Alireza Doroudi is gone too.

He’s a doctoral student at the University of Alabama, born in Iran, studying mechanical engineering. No criminal record. No warning. Just scooped off the grid.

ICE refuses to say where he’s being held. No public charge has been announced. His only crime appears to be existing in the wrong body, from the wrong country, in the wrong era.

Mahmoud Khalil was next — a Columbia student, arrested for leading pro-Palestinian protests. Trump labeled him a “radical foreign Hamas sympathizer” on Truth Social. Days later, he was gone.

Jeanette Vizguerra was taken from her Target shift in Colorado, chained at the waist.

Alfredo “Lelo” Juarez, a farmworker organizer, was dragged from his car at dawn in Washington. His window was smashed by federal agents. His voice silenced.

These aren’t isolated incidents. These are deliberate acts of political intimidation.

They are testing the system — testing us — to see how many people they can disappear before we stop calling it democracy.

WHEN ICE IS A BADGE — AND A COSTUME

While the real ICE disappears scholars, organizers, and mothers, the fakes are circling like vultures.

In South Carolina, Sean-Michael Johnson posed as an ICE officer. He pulled over a van of Latino men, screamed slurs, jiggled their keys, and knocked a phone out of someone’s hand. “You’re going back to Mexico!” he shouted. He wasn’t an agent — but he played one with conviction.

In North Carolina, Carl Thomas Bennett used a fake badge to sexually assault a woman at a motel. He told her if she didn’t comply, he’d have her deported. He held up a counterfeit ID and pretended to be the state.

And in Philadelphia, a Temple University student in an “ICE” shirt tried to storm a dorm building with two accomplices. They were dressed for the part, intoxicated by the illusion of authority, emboldened by the climate.

This is what happens when the state makes cruelty a brand. When a badge becomes a fetish object. When the line between enforcement and cosplay disappears altogether.

THE WHOLE SYSTEM IS THE CRIME

Let’s stop pretending this is a coincidence.

This is a unified strategy. The Trump administration is using ICE like a personal strike force — targeting international students, protest leaders, organizers, and mothers with surgical precision.

They invoke secret designations. They bypass due process. They manufacture pretexts out of thin air and rely on the fog of bureaucracy to hide the blood on the floor.

The point isn’t law enforcement. The point is deterrence. Spectacle. Control.

This is what political cleansing looks like when it’s dressed up in the language of national security.

They’re showing the world that resistance has a cost — and the cost is your freedom, your voice, your visibility, your future.

SILENCE IS CONSENT. AND WE ARE LOUD.

There is no middle ground here. No fence to sit on. No neutral position when people are being kidnapped in the name of the state.

ICE doesn’t need your applause. It needs your silence. Every time a student vanishes and the media shrugs, every time a woman is cuffed and the public looks away, the machine gets stronger.

They are daring us to ignore it. They are counting on our numbness. They are betting that we’ll keep scrolling.

We cannot let them win.

This is not border policy. This is not visa enforcement. This is not safety.This is authoritarianism with a PowerPoint presentation.This is fascism disguised as formality.

This is the state stripping people from the land and pretending it’s order.

Let the record show:

They took people.

And we did not look away.

We saw it.

We named it.

We raised hell.

And we did not stop.

(I didn’t write this. Credit goes to Fear and Loathing: Closer to the Edge)

how do i make my writing more ‘mature’? i always feel like no matter how sophisticated i write and no matter every which way i change it up it always has a sense of being childish or juvenile.

Making Writing Sound More Mature

1 - Better Plot and Story Structure - One of the telltale signs of juvenile writing is a story that meanders, has no obvious plot or structure, has no conflict or has a protagonist with no goal. So, make sure you have a well fleshed out plot, with a conflict, protagonist goal, and which hits the beats specific to your story's genre.

2 - Three-Dimensional Characters - If you're writing plot-driven fiction, make sure your main characters have a fleshed out personality, stakes, motivation, goal, and compelling relationships with other characters. If you're writing fully or partially character-driven fiction, do all of the above, but also make sure your main characters have a relevant internal conflict and a thoughtful character arc.

3 - Well-Developed Setting and World - One common hallmark of juvenile writing is a lack of "sense of place" and under-developed world building. So, make sure you put a lot of thought into where your story takes place... not just the immediate setting of each scene, but the overall world of the story, or at least the parts of it that are relevant.

4 - Incorporate Literary Devices - Juvenile writing tends to be lacking in the use of metaphor, simile, symbolism, irony, themes, and motifs. So, make sure to include those, but also take the time to make them relevant to your story.

5 - Include a Broad Range of Vocabulary - One common element of juvenile writing is a reliance on limited, simple vocabulary. Don't be afraid to use a thesaurus to find more interesting word choices--just be absolutely certain to crosscheck your choices with a dictionary to make sure they are the right choice. Online thesauruses in particular are bad about offering up bad suggestions. Also, make sure to learn and use special vocabulary that is relevant to your story, genre, or setting. For example, if your character is a retired police detective trying to solve a murder on his stalled cruise to Alaska, you need to make sure you know the proper investigative terminology, because he will definitely use it. And, by that same token, you'd want to make sure you know cruise ship lingo as well. And, part of this, too, is getting better at description and the inclusion of emotional and sensory detail.

6 - Use Varied Sentence Structure - This is a big one... juvenile writing tends to use repetitive sentence structure, such as simple sentences (she stood up, she went to the window, she waved at the man), lack of subordinate clauses (Tad Smith, who was a seasoned and retired investigator, had looked forward to this cruise his whole life...), repetitive starts (every sentence begins with a pronoun, for example), uniform length (all short sentences, for example.) So, make sure your sentences are varied. If you read them out loud, you don't want it to sound rhythmic, but more like a complex melody.

7 - Show, Don't Tell... Most of the Time - Telling definitely has its place, but most of the time you want to show rather than tell, meaning that instead of stating things simply and directly (the sun was shining) you want to paint a clear but indirect image (dappled sunlight shone through the trees.)

8 - Avoid Cliche Phrases - Human language is littered with everyday phrases like "to each their own" or "better late than never." Generally-speaking, you want to avoid these phrases in your story, especially in exposition. If you include them anywhere, they're best spoken as dialogue by a character who it makes sense would say something like that. Likewise, be careful of cliche genre or character-type phrases. For example, villains who say things like "we're not so different, you and I..." or "I finally have you right where I want you!" These overused phrases tend to make stories sound juvenile and unpolished.

9 - Avoid Cliche Tropes - Another type of cliche to avoid if you want more mature-sounding writing is cliches of various tropes. Tropes on their own are a good thing, but when tropes are used the same way over and over again in a genre or type of story, they become predictable. For example, the super gorgeous protagonist who everyone is in love with, but they view themselves as plain and not special. Or the broken/hopeless/addict mentor character. It's not that you can't use any cliche tropes at all, just make sure your story isn't riddled with them, and do what you can to put your own spin on the ones you do use.

10 - Read, Read, Read - And I can't stress this enough... the absolute best way to improve your writing style and take your writing from juvenile to polished is to make sure you're reading a lot of fiction, in a lot of genres, by a lot of authors. Audio books, short stories, and poetry count, too. The more you read, the more you begin to: understand plot and story structure, recognize well-developed characters, easily envision complex settings and worlds, learn vocabulary and literary devices, become attuned to varied sentence structure, and learn to recognize cliche phrases and tropes.

Happy writing!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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