How to write a vulnerable moment without it seeming cliche or mushy?How to deal with cliche dialogue?Explain character dynamics without giving away too much backstory?How do you write a story about a team?How should I move the story forward with the support cast while hiding a plot twist regarding the MC from the reader?How can you write when you're upset?Dystopia that isn't clicheHow do I make my character be a part of something without it seeming forced?How to write characters who hate when you don't understand it?Is a nuclear apocalypse cliche?How would we write a misogynistic character without offending people?

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How to write a vulnerable moment without it seeming cliche or mushy?


How to deal with cliche dialogue?Explain character dynamics without giving away too much backstory?How do you write a story about a team?How should I move the story forward with the support cast while hiding a plot twist regarding the MC from the reader?How can you write when you're upset?Dystopia that isn't clicheHow do I make my character be a part of something without it seeming forced?How to write characters who hate when you don't understand it?Is a nuclear apocalypse cliche?How would we write a misogynistic character without offending people?













5















So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.



Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.



My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?










share|improve this question




























    5















    So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.



    Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.



    My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?










    share|improve this question


























      5












      5








      5


      1






      So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.



      Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.



      My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?










      share|improve this question
















      So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.



      Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.



      My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?







      creative-writing characters emotions relationships






      share|improve this question















      share|improve this question













      share|improve this question




      share|improve this question








      edited 5 hours ago









      Cyn

      23k150108




      23k150108










      asked 8 hours ago









      Kale SladeKale Slade

      1,342633




      1,342633




















          3 Answers
          3






          active

          oldest

          votes


















          4














          There is a trick for this in The Emotional Craft of Fiction.



          It's called 'me centered narration.'



          Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.




          He came into my room and I quickly wiped my eyes, before he could see my tears.
          I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.



          "What's wrong" he asked gently.



          "Nothing." I busied myself about the room, not looking at him, afraid
          that doing so would lead me to another melt down. Where had that come
          from? I wasn't a frail little girl who needed saving. I'd saved myself
          long ago--knew plenty well how to stay ahead of trouble.



          ...etc...



          "All right," he said at last, "I'm glad you're okay."



          He made to leave, and I said, "No, wait."




          Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.






          share|improve this answer


















          • 1





            +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

            – wetcircuit
            7 hours ago






          • 1





            Works in third person too.

            – Galastel
            7 hours ago


















          1














          Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:




          Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.



          Lexi jumped, wiping her eyes. "Get out. Get out of here!"



          "You're crying. What happened?"



          Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."



          "No, something." Marcie took a slow step toward her.



          Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"



          Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."



          Lexi's expression changed, from anger to ... is it sorrow?



          "I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.



          Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."



          Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."



          Petrovski. Holy shit. "Wow. That's a really good reason."



          Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"



          Marcie's hand had fallen to her lap. "Well. I would cry."



          Lexi sniffed. "You cry if you spill coffee on yourself."



          "Coffee stains, and that was my favorite dress!"



          Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"




          Then, however her love interest comforts her, proceed.






          share|improve this answer






























            0














            I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.






            share|improve this answer








            New contributor



            Dawn Kelli is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
            Check out our Code of Conduct.



















              Your Answer








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              3 Answers
              3






              active

              oldest

              votes








              3 Answers
              3






              active

              oldest

              votes









              active

              oldest

              votes






              active

              oldest

              votes









              4














              There is a trick for this in The Emotional Craft of Fiction.



              It's called 'me centered narration.'



              Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.




              He came into my room and I quickly wiped my eyes, before he could see my tears.
              I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.



              "What's wrong" he asked gently.



              "Nothing." I busied myself about the room, not looking at him, afraid
              that doing so would lead me to another melt down. Where had that come
              from? I wasn't a frail little girl who needed saving. I'd saved myself
              long ago--knew plenty well how to stay ahead of trouble.



              ...etc...



              "All right," he said at last, "I'm glad you're okay."



              He made to leave, and I said, "No, wait."




              Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.






              share|improve this answer


















              • 1





                +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

                – wetcircuit
                7 hours ago






              • 1





                Works in third person too.

                – Galastel
                7 hours ago















              4














              There is a trick for this in The Emotional Craft of Fiction.



              It's called 'me centered narration.'



              Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.




              He came into my room and I quickly wiped my eyes, before he could see my tears.
              I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.



              "What's wrong" he asked gently.



              "Nothing." I busied myself about the room, not looking at him, afraid
              that doing so would lead me to another melt down. Where had that come
              from? I wasn't a frail little girl who needed saving. I'd saved myself
              long ago--knew plenty well how to stay ahead of trouble.



              ...etc...



              "All right," he said at last, "I'm glad you're okay."



              He made to leave, and I said, "No, wait."




              Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.






              share|improve this answer


















              • 1





                +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

                – wetcircuit
                7 hours ago






              • 1





                Works in third person too.

                – Galastel
                7 hours ago













              4












              4








              4







              There is a trick for this in The Emotional Craft of Fiction.



              It's called 'me centered narration.'



              Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.




              He came into my room and I quickly wiped my eyes, before he could see my tears.
              I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.



              "What's wrong" he asked gently.



              "Nothing." I busied myself about the room, not looking at him, afraid
              that doing so would lead me to another melt down. Where had that come
              from? I wasn't a frail little girl who needed saving. I'd saved myself
              long ago--knew plenty well how to stay ahead of trouble.



              ...etc...



              "All right," he said at last, "I'm glad you're okay."



              He made to leave, and I said, "No, wait."




              Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.






              share|improve this answer













              There is a trick for this in The Emotional Craft of Fiction.



              It's called 'me centered narration.'



              Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.




              He came into my room and I quickly wiped my eyes, before he could see my tears.
              I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.



              "What's wrong" he asked gently.



              "Nothing." I busied myself about the room, not looking at him, afraid
              that doing so would lead me to another melt down. Where had that come
              from? I wasn't a frail little girl who needed saving. I'd saved myself
              long ago--knew plenty well how to stay ahead of trouble.



              ...etc...



              "All right," he said at last, "I'm glad you're okay."



              He made to leave, and I said, "No, wait."




              Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.







              share|improve this answer












              share|improve this answer



              share|improve this answer










              answered 7 hours ago









              DPTDPT

              17k23294




              17k23294







              • 1





                +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

                – wetcircuit
                7 hours ago






              • 1





                Works in third person too.

                – Galastel
                7 hours ago












              • 1





                +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

                – wetcircuit
                7 hours ago






              • 1





                Works in third person too.

                – Galastel
                7 hours ago







              1




              1





              +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

              – wetcircuit
              7 hours ago





              +1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).

              – wetcircuit
              7 hours ago




              1




              1





              Works in third person too.

              – Galastel
              7 hours ago





              Works in third person too.

              – Galastel
              7 hours ago











              1














              Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:




              Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.



              Lexi jumped, wiping her eyes. "Get out. Get out of here!"



              "You're crying. What happened?"



              Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."



              "No, something." Marcie took a slow step toward her.



              Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"



              Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."



              Lexi's expression changed, from anger to ... is it sorrow?



              "I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.



              Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."



              Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."



              Petrovski. Holy shit. "Wow. That's a really good reason."



              Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"



              Marcie's hand had fallen to her lap. "Well. I would cry."



              Lexi sniffed. "You cry if you spill coffee on yourself."



              "Coffee stains, and that was my favorite dress!"



              Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"




              Then, however her love interest comforts her, proceed.






              share|improve this answer



























                1














                Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:




                Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.



                Lexi jumped, wiping her eyes. "Get out. Get out of here!"



                "You're crying. What happened?"



                Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."



                "No, something." Marcie took a slow step toward her.



                Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"



                Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."



                Lexi's expression changed, from anger to ... is it sorrow?



                "I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.



                Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."



                Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."



                Petrovski. Holy shit. "Wow. That's a really good reason."



                Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"



                Marcie's hand had fallen to her lap. "Well. I would cry."



                Lexi sniffed. "You cry if you spill coffee on yourself."



                "Coffee stains, and that was my favorite dress!"



                Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"




                Then, however her love interest comforts her, proceed.






                share|improve this answer

























                  1












                  1








                  1







                  Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:




                  Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.



                  Lexi jumped, wiping her eyes. "Get out. Get out of here!"



                  "You're crying. What happened?"



                  Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."



                  "No, something." Marcie took a slow step toward her.



                  Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"



                  Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."



                  Lexi's expression changed, from anger to ... is it sorrow?



                  "I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.



                  Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."



                  Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."



                  Petrovski. Holy shit. "Wow. That's a really good reason."



                  Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"



                  Marcie's hand had fallen to her lap. "Well. I would cry."



                  Lexi sniffed. "You cry if you spill coffee on yourself."



                  "Coffee stains, and that was my favorite dress!"



                  Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"




                  Then, however her love interest comforts her, proceed.






                  share|improve this answer













                  Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:




                  Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.



                  Lexi jumped, wiping her eyes. "Get out. Get out of here!"



                  "You're crying. What happened?"



                  Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."



                  "No, something." Marcie took a slow step toward her.



                  Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"



                  Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."



                  Lexi's expression changed, from anger to ... is it sorrow?



                  "I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.



                  Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."



                  Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."



                  Petrovski. Holy shit. "Wow. That's a really good reason."



                  Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"



                  Marcie's hand had fallen to her lap. "Well. I would cry."



                  Lexi sniffed. "You cry if you spill coffee on yourself."



                  "Coffee stains, and that was my favorite dress!"



                  Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"




                  Then, however her love interest comforts her, proceed.







                  share|improve this answer












                  share|improve this answer



                  share|improve this answer










                  answered 6 hours ago









                  AmadeusAmadeus

                  62.5k780200




                  62.5k780200





















                      0














                      I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.






                      share|improve this answer








                      New contributor



                      Dawn Kelli is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
                      Check out our Code of Conduct.























                        0














                        I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.






                        share|improve this answer








                        New contributor



                        Dawn Kelli is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
                        Check out our Code of Conduct.





















                          0












                          0








                          0







                          I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.






                          share|improve this answer








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                          Dawn Kelli is a new contributor to this site. Take care in asking for clarification, commenting, and answering.
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                          I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.







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                          answered 7 hours ago









                          Dawn KelliDawn Kelli

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