𝔞𝔩𝔩 𝔫𝔦𝔤𝔥𝔱𝔢𝔯

Questions Your Character Is Too Afraid to Ask

(But desperately needs the answer to) Because these are the thoughts they won’t say out loud, but they shape everything they do.

If I stopped trying, would anyone notice?

Do they actually like me, or do I just make their life easier?

Am I hard to love?

What would they say about me if I left the room?

Would they stay if they saw the real me?

What if I’m only good at pretending to be good?

Was it actually love, or just obligation?

What happens if I fail again? What’s left of me then?

How long until they get tired of me?

What if I deserve the things I’m afraid of?

Am I healing or just hiding better?

Why do I feel more myself when I’m alone?

Do I want to be forgiven or just forget?

What if I never become the person they believe I am?

Am I still angry, or just numb?

Why can’t I let go of them, even after everything?

If they hurt me, and I stayed, did I hurt myself more?

Am I building a future, or just distracting myself from the past?

Is this what I want, or just what I’ve been told to want?

What if I was never meant to survive this, but I did anyway? Now what?

How a Character’s Anger Can Show Up Quietly

Anger doesn’t always slam doors. Sometimes it simmers. Sometimes it cuts.

╰ They go still. Not calm... still. Like something is pulling tight inside them.

╰ They smile, but their eyes? Cold. Flat. Done.

╰ Their voice gets quieter, not louder. Controlled. Measured. Weaponized.

╰ They ask questions they already know the answers to, just to watch someone squirm.

╰ Their words are clipped. Polite. But razor-sharp.

╰ They laugh once. Without humor. You know the one.

╰ They leave the room without explanation, and when they come back? Different energy. Ice where fire was.

My favourite one is Creamy Caramel Latte🍮☕️

But I also like tea.. with some sugar🥰

unbothered character dialogue + prompts ⋆.ೃ࿔*:･

@celestialwrites for more!!

♡ “breathing air that you contaminate deeply unsettles me.”

♡ constantly putting their feet on their superior’s desk/table.

♡ “please remind me why you are relevant.”

♡ always commenting at the worst moment possible.

♡ “life was far more peaceful when i thought you were dead.”

♡ when someone is yelling at them, the character pulls out a book and just starts reading.

♡ “i gave my last fuck two decades ago, you’re going to need a time machine to find it.”

♡ sees a dead body and just sighs, turns around and goes to the breakfast diner across the street.

♡ “if he opens his mouth again i’m calling the cops for a noise disturbance.”

♡ has one hobby that they get really prickly about if people interrupt or make fun of it.

♡ “when did you finally decide to be helpful?”

♡ sees another character having a panic attack and asks them to quiet down so they can finish their crossword puzzle.

♡ “maybe if you were as tall as your ego you would have seen it.”

♡ other characters having to remind them to either pretend to care or not speak at all during important meetings/situations.

♡ “i could bring the heavens crashing down, remember that the next time you interrupt my coffee break.”

♡ being the key part of the team’s plan but will continuously sleep in.

REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3

This woman holds the highest recorded IQ ever: an astonishing 228. Far surpassing Einstein (160-190), Hawking (160), and Musk (155). Yet, despite her brilliance, she faced ridicule for her response to a seemingly simple problem.

But she saw what no one else could.

Here’s her story:

Marilyn Vos Savant was far from an ordinary child.

By the age of 10, she had:

• Memorized entire books

• Read all 24 volumes of the Encyclopedia Britannica

• Achieved the highest recorded IQ of 228

She seemed destined for a life of genius.

But reality took a different turn.

“No one paid much attention to me—mostly because I was a girl. And I accepted that,” Marilyn Vos Savant once said.

She attended a regular public school, left Washington University after two years to help run her parents' business, and seemed destined for an ordinary life.

But in 1985, everything changed.

The Guinness Book of World Records listed her as having the "Highest IQ" ever recorded: 228.

Suddenly, Marilyn was thrust into the spotlight:

• Featured on the covers of New York Magazine and Parade Magazine

• Guest on Late Night with David Letterman

But she couldn’t have anticipated what lay ahead.

The Rise and the Question

Marilyn joined Parade Magazine to write the iconic "Ask Marilyn" column—a dream for someone with a passion for writing.

Yet, this dream turned into a nightmare with a single question in September 1990.

The Monty Hall Problem

Named after Monty Hall, the host of Let’s Make a Deal, the question went like this:

You’re on a game show.

There are 3 doors.

• 1 door hides a car.

• The other 2 hide goats.

You choose a door. The host opens another door, revealing a goat.

Should you switch doors?

Marilyn’s answer: “Yes, you should switch.”

The backlash was overwhelming. She received over 10,000 letters, including nearly 1,000 from PhDs, insisting she was wrong:

• “You are the goat!”

• “You blew it, and you blew it big!”

• “Maybe women look at math problems differently than men.”

But was she wrong?

The Math Behind the Answer

Consider the two possible scenarios:

You pick the car (1/3 chance):

• If you switch, you lose.

You pick a goat (2/3 chance):

• Monty reveals the other goat.

• If you switch, you win.

Switching gives you a 2/3 chance of winning.

Eventually, her answer was proven correct.

Vindication

MIT ran computer simulations confirming her logic.

MythBusters tested it and reached the same conclusion.

Some academics even apologized.

So why did so many fail to see the truth?

The Reasons People Got It Wrong

• They "reset" the scenario instead of recognizing the shifting probabilities.

• The simplicity of 3 doors obscured the underlying math.

• Many assumed each remaining door had a 50% chance.

Marilyn’s View

Marilyn blamed the compulsory schooling system for discouraging independent thinking. She argued that it:

• Creates passive learners

• Stifles exploration

• Hinders critical thinking

A Blessing and a Burden

Marilyn admits that her intellect often feels isolating—there’s no one to turn to when she needs answers.

Still, she sees her intelligence as a gift, not a curse .

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For More interesting Stories

Things women created and discovered!

All men

Francium (elemental)

Torpedoe radio guidance/navigation systems

Dishwasher

GPS

Wi-fi

Structure of the Milky Way

Kevlar

The Earth's inner core

Aciclovir - an antiviral drug used for the treatment of herpes simplex virus infections, chickenpox, and shingles

Azathioprine - an Immunosuppressive drug used in rheumatoid arthritis, Crohn's disease, ulcerative colitis, and in kidney transplants to prevent rejection

Flossie Wong-Staal was the first scientist to clone HIV and map its genes.

Pyrimethamine was initially developed by Nobel Prize winning scientist Gertrude Elion as a treatment for malaria.

Disposable diapers

Child carriers

Vaccine for whooping cough

The galaxy rotation problem - important to the discovery of dark matter

Radio astronomy - Type I and Type III solar radio bursts

That stars are primarily composed of hydrogen and helium

The new outer arm of the Milky Way - In 2004, astrophysicist and radio astronomer Naomi McClure-Griffiths identified a new spiral arm of the Milky Way galaxy

Radiation

Radon (elemental)

Kinetic energy

Heavy elements in cosmic radiation

Beta particles are electrons

Nuclear shell

Astatine (elemental)

Nuclear fission - helped in the creation of nuclear weapons

Rhenium (elemental)

Seaborgium (elemental)

Polonium and radium (elemental)

Scotchgard

Structure of vitamin B12

Carbon Dioxide

Bioorthogonal chemistry - the concept of the bioorthogonal reaction has enabled the study of biomolecules such as glycans, proteins, and lipids.

Central heating

Square-bottomed paper bag

Correction fluid (white-out)

House solar heating

Wrinkle-free fiber

Windshield wipers

Car heater

Airplane mufflers

Underwater telescopes for warships

Written computer program

Written (programming) language

Chocolate chip cookies

Pizza saver

Mint chocolate chip ice cream

DNA structure

Sex chromosomes

Lactic acid cycle

Transporsable elements

Gap genes

Myers - Briggs Type Indicator

Ursula K. Le Guin on How to Become a Writer.

How do you become a writer? Answer: you write.

It’s amazing how much resentment and disgust and evasion this answer can arouse. Even among writers, believe me. It is one of those Horrible Truths one would rather not face.

The most frequent evasive tactic is for the would-be writer to say, But before I have anything to say, I must get experience.

Well, yes; if you want to be a journalist. But I don’t know anything about journalism, I’m talking about fiction. And of course fiction is made out of experience, your whole life from infancy on, everything you’ve thought and done and seen and read and dreamed. But experience isn’t something you go and get—it’s a gift, and the only prerequisite for receiving it is that you be open to it. A closed soul can have the most immense adventures, go through a civil war or a trip to the moon, and have nothing to show for all that “experience”; whereas the open soul can do wonders with nothing. I invite you to meditate on a pair of sisters. Emily and Charlotte. Their life experience was an isolated vicarage in a small, dreary English village, a couple of bad years at a girls’ school, another year or two in Brussels, which is surely the dullest city in all Europe, and a lot of housework. Out of that seething mass of raw, vital, brutal, gutsy Experience they made two of the greatest novels ever written: Jane Eyre and Wuthering Heights.

Now, of course they were writing from experience; writing about what they knew, which is what people always tell you to do; but what was their experience? What was it they knew? Very little about “life.” They knew their own souls, they knew their own minds and hearts; and it was not a knowledge lightly or easily gained. From the time they were seven or eight years old, they wrote, and thought, and learned the landscape of their own being, and how to describe it. They wrote with the imagination, which is the tool of the farmer, the plow you plow your own soul with. They wrote from inside, from as deep inside as they could get by using all their strength and courage and intelligence. And that is where books come from. The novelist writes from inside.

I’m rather sensitive on this point, because I write science fiction, or fantasy, or about imaginary countries, mostly—stuff that, by definition, involves times, places, events that I could not possibly experience in my own life. So when I was young and would submit one of these things about space voyages to Orion or dragons or something, I was told, at extremely regular intervals, “You should try to write about things you know about.” And I would say, But I do; I know about Orion, and dragons, and imaginary countries. Who do you think knows about my own imaginary countries, if I don’t?

But they didn’t listen, because they don’t understand, they have it all backward. They think an artist is like a roll of photographic film, you expose it and develop it and there is a reproduction of Reality in two dimensions. But that’s all wrong, and if any artist tells you, “I am a camera,” or “I am a mirror,” distrust them instantly, they’re fooling you, pulling a fast one. Artists are people who are not at all interested in the facts—only in the truth. You get the facts from outside. The truth you get from inside.

OK, how do you go about getting at that truth? You want to tell the truth. You want to be a writer. So what do you do?

You write.

Honestly, why do people ask that question? Does anybody ever come up to a musician and say, Tell me, tell me—how should I become a tuba player? No! It’s too obvious. If you want to be a tuba player you get a tuba, and some tuba music. And you ask the neighbors to move away or put cotton in their ears. And probably you get a tuba teacher, because there are quite a lot of objective rules and techniques both to written music and to tuba performance. And then you sit down and you play the tuba, every day, every week, every month, year after year, until you are good at playing the tuba; until you can—if you desire—play the truth on the tuba.

It is exactly the same with writing. You sit down and you do it, and you do it, and you do it, until you have learned how to do it.

Of course, there are differences. Writing makes no noise, except groans, and it can be done anywhere, and it is done alone.

It is the experience or premonition of that loneliness, perhaps, that drives a lot of young writers into this search for rules. I envy musicians very much, myself. They get to play together, their art is largely communal; and there are rules to it, an accepted body of axioms and techniques, which can be put into words or at least demonstrated, and so taught. Writing cannot be shared, nor can it be taught as a technique, except on the most superficial level. All a writer’s real learning is done alone, thinking, reading other people’s books, or writing—practicing. A really good writing class or workshop can give us some shadow of what musicians have all the time—the excitement of a group working together, so that each member outdoes himself—but what comes out of that is not a collaboration, a joint accomplishment, like a string quartet or a symphony performance, but a lot of totally separate, isolated works, expressions of individual souls. And therefore there are no rules, except those each individual makes up.

I know. There are lots of rules. You find them in the books about The Craft of Fiction and The Art of the Short Story and so on. I know some of them. One of them says: Never begin a story with dialogue! People won’t read it; here is somebody talking and they don’t know who and so they don’t care, so—Never begin a story with dialogue.

Well, there is a story I know, it begins like this:

“Eh bien, mon prince! so Genoa and Lucca are now no more than private estates of the Bonaparte family!”

It’s not only a dialogue opening, the first four words are in French, and it’s not even a French novel. What a horrible way to begin a book! The title of the book is War and Peace.

There’s another Rule I know: introduce all the main characters early in the book. That sounds perfectly sensible, mostly I suppose it is sensible, but it’s not a rule, or if it is somebody forgot to tell it to Charles Dickens. He didn’t get Sam Weller into The Pickwick Papers for ten chapters—that’s five months, since the book was coming out as a serial in installments.

Now, you can say, All right, so Tolstoy can break the rules, so Dickens can break the rules, but they’re geniuses; rules are made for geniuses to break, but for ordinary, talented, not-yet-professional writers to follow, as guidelines.

And I would accept this, but very very grudgingly, and with so many reservations that it amounts in the end to nonacceptance. Put it this way: if you feel you need rules and want rules, and you find a rule that appeals to you, or that works for you, then follow it. Use it. But if it doesn’t appeal to you or doesn’t work for you, then ignore it; in fact, if you want to and are able to, kick it in the teeth, break it, fold staple mutilate and destroy it.

See, the thing is, as a writer you are free. You are about the freest person that ever was. Your freedom is what you have bought with your solitude, your loneliness. You are in the country where you make up the rules, the laws. You are both dictator and obedient populace. It is a country nobody has ever explored before. It is up to you to make the maps, to build the cities. Nobody else in the world can do it, or ever could do it, or ever will be able to do it again.

Excerpted from THE LANGUAGE OF THE NIGHT by Ursula K. Le Guin. Copyright © 1989 by Ursula K. Le Guin.

I recommend Le Guin's book about writing, Steering the Craft:

10 Traits That Make a Character Secretly Dangerous

❥ Disarming Humor. They’re the life of the party. Everyone’s laughing. No one’s noticing how much they aren’tsaying.

❥ Laser-Sharp Observation. They see everything. Who’s nervous. Who’s lying. Who would be easiest to break. And they don’t miss.

❥ Unsettling Calm. Even in chaos, they stay still. Smiling. Thinking. Calculating.

❥ Weaponized Empathy. They know how to make people trust them. Because they know exactly what people want to hear.

❥ Compartmentalization. They can do something brutal, then eat lunch like nothing happened.

❥ Controlling Niceness. The kind of kindness that’s sharp-edged. You feel guilty for not loving them.

❥ Mirroring Behavior. They become whatever the person in front of them needs. It's not flattery. It’s survival—or manipulation.

❥ Selective Vulnerability. They know how to spill just enough pain to make you drop your guard.

❥ History of “Bad Luck”. Ex-friends, ex-lovers, ex-colleagues… they all left under “unfortunate” circumstances. But the pattern says otherwise.

❥ Unshakeable Confidence in Their Morality. They don’t think they’re the villain. That makes them scarier.

hi dhaaruni! i want to learn about radical feminism, could you rec some books/texts? thank you <3

YES.

Right-Wing Women, Woman Hating, and Letters From a War Zone by Andrea Dworkin

Are women human?, Only Words, and Toward a Feminist Theory of the State by Catharine A. MacKinnon

The Second Sex by Simone de Beauvoir

The Politics of Reality: Essays in Feminist Theory by Marilyn Frye

Sexual Politics by Kate Millett

Sister Outsider by Audre Lorde

The Feminine Mystique by Betty Friedan

Women, Race, & Class by Angela Davis

Invisible Women: Data Bias in a World Designed for Men by Caroline Criado Pérez

This Bridge Called My Back by Cherríe Moraga and Gloria E. Anzaldúa

The Industrial Vagina: The Political Economy of the Global Sex Trade by Sheila Jeffreys

Against Our Will: Men, Women, and Rape by Susan Brownmiller

We Should All Be Feminists by Chimamanda Ngozi Adichie

Material Girls: Why Reality Matters for Feminism by Kathleen Stock

Of Woman Born: Motherhood as Experience and Institution by Adrienne Rich

The Beauty Myth by Naomi Wolf (it was published in 1990 before Wolf went cuckoo for cocoa puffs)

On Rape and Sex and Destiny: The Politics of Human Fertility by Germaine Greer

Bad Feminist by Roxane Gay (just never look at her Twitter if you haven't already since this book really is very good and her Twitter ensured I'm never reading another book of hers ever)

And thank you for enjoying my newsletter!!

20 Compelling Positive-Negative Trait Pairs

Here are 20 positive and negative trait pairs that can create compelling character dynamics in storytelling:

1. Bravery - Recklessness: A character is courageous in the face of danger but often takes unnecessary risks.

2. Intelligence - Arrogance: A character is exceptionally smart but looks down on others.

3. Compassion - Naivety: A character is deeply caring but easily deceived due to their trusting nature.

4. Determination - Stubbornness: A character is persistent in their goals but unwilling to adapt or compromise.

5. Charisma - Manipulativeness: A character is charming and persuasive but often uses these traits to exploit others.

6. Resourcefulness - Opportunism: A character is adept at finding solutions but is also quick to exploit situations for personal gain.

7. Loyalty - Blind Obedience: A character is fiercely loyal but follows orders without question, even when they're wrong.

8. Optimism - Denial: A character remains hopeful in difficult times but often ignores harsh realities.

9. Humor - Inappropriateness: A character lightens the mood with jokes but often crosses the line with their humor.

10. Generosity - Lack of Boundaries: A character is giving and selfless but often neglects their own needs and well-being.

11. Patience - Passivity: A character is calm and tolerant but sometimes fails to take action when needed.

12. Wisdom - Cynicism: A character has deep understanding and insight but is often pessimistic about the world.

13. Confidence - Overconfidence: A character believes in their abilities but sometimes underestimates challenges.

14. Honesty - Bluntness: A character is truthful and straightforward but often insensitive in their delivery.

15. Self-discipline - Rigidity: A character maintains strong control over their actions but is inflexible and resistant to change.

16. Adventurousness - Impulsiveness: A character loves exploring and trying new things but often acts without thinking.

17. Empathy - Overwhelm: A character deeply understands and feels others' emotions but can become overwhelmed by them.

18. Ambition - Ruthlessness: A character is driven to achieve great things but willing to do anything, even unethical, to succeed.

19. Resilience - Emotional Detachment: A character can endure hardships without breaking but often seems emotionally distant.

20. Strategic - Calculative: A character excels at planning and foresight but can be cold and overly pragmatic in their decisions.

These pairs create complex, multi-dimensional characters that can drive rich, dynamic storytelling.

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