Something's Wrong Sentence Starters

‘Something's Wrong’ Sentence Starters

Something’s Wrong With My Muse

“Oh, God, you’re bleeding. You’re bleeding a lot.”

“Stop squirming, I’m trying to help.”

“Hang on, I got you.”

“Just lean on me, I’ll help you walk.”

“We should get that looked at.”

“Don’t tilt your head back, you’ll make your nosebleed worse!”

“Just sit up and breathe, ok?”

“Eh, you’ll be fine. I think. Maybe.”

“Whatever you do, don’t go to sleep. Stay awake.”

“Oooooo. That looks painful.”

“Oh, thank God! Don’t scare me like that!”

“How the hell did you do this to yourself?”

“Hey, hey, stay with me, ok?”

“You stopped breathing.”

“Oh look, it’s alive.”

“Take deep breaths, you’ll be fine.”

“Arms shouldn’t move like that…”

“What happened to your leg?!”

“Yep, that’s broken alright. How’d you manage that?”

“Here’s some ice for that.”

“You’re welcome, by the way.”

“Yeesh, you look like shit.”

“Wait, you were mugged?!”

“Is that a stab/gunshot wound?”

“Ok, ew. I’m not cleaning that up.”

“Easy, easy! Just lay down, you hit your head.”

“You probably have a concussion, so I wouldn’t be moving around too much if I were you.”

“I thought you were dead!”

“On a scale of 1 to 10, how much does it hurt?”

“Can you walk on your own?”

“You’re getting blood on my clothes!”

“How many fingers am I holding up?”

Something’s Wrong With Your Muse

“Is that three fingers you’re holding up?”

“I’m so sorry for getting blood on your clothes!”

“I’m not sure I can walk on my own.”

“On a scale of 1 to 10, my pain’s at least an 8.”

“You thought I was dead?”

“Do you think I have a concussion?”

“I hit my head; now I don’t feel so good.”

“I’m so sorry. Do you mind cleaning up?”

“I think I’ve been stabbed/shot.”

“I just got mugged!”

“Do I look as bad as I feel?”

“Could I maybe get an ice pack for this?”

“Thank you, by the way.”

“I think my leg is broken.”

“I can’t feel my arm.”

“I’m going to need more than deep breathing to calm me down.”

“I’m not dead yet!”

“Oh, God, I’m bleeding. I’m bleeding a lot.”

“Are you really trying to help?”

“Please help me.”

“Can I lean on you? I don’t think I can walk.”

“I think I need to get this looked at.”

“I can’t get my nose to stop bleeding!”

“I can’t seem to catch my breath.”

“I’ll be fine. I think. Maybe.”

“Please help me stay awake.”

“This hurts just as much as it looks like it does.”

“Sorry - did I scare you?”

“I don’t know how I managed to do this to myself.”

“I don’t know if I can stay awake.”

“I stopped breathing?”

Note: Revamp of an older sentence starter post found here.

Quick Tips For Developing Complex Characters That Aid The Plot And Message Of Your Story

FRAMING:

One of the most important elements of character establishment is how a character is framed within the story. This can be shown best through their interactions with others, as well as their social capital.

Is your protagonist well-respected and recognised in their community? Does something about their lifestyle lead them to be treated poorly? Are they seen as experienced and knowing, or inexperienced and overzealous? Are they well-known or enigmatic? Framing a character as a top dog with a long way down to fall, or an up-and-comer clawing their way to the top against all odds, can make their place in the story and world feel richer and more complex. How others see them shapes how the reader sees them almost as much as how they see themself.

RELATIONS:

When developing characters with close relationships to others in the story, it’s important to consider how these relationships - as well as previous connections or their family history - shape their perspective and actions. Is your character used to taking care of people and making sensible decisions? Were they raised to value honesty, or to disregard it entirely? Do they consider themself a social pariah because of their relationship to the rest of their family, or do they feel comfortable in their standing?

This can also massively impact character motivation - is your character scared of hurting those around them, or desperate for revenge? Are they held back by a fear of putting their loved ones in danger, or does it spur them to take risks to keep them safe?

SYMBOLISM + MOTIF:

Giving your characters symbolism and repeated motifs can massively help to establish them thematically within the story, be they in dialogue, appearance or description. Associating a given character with a verbal motif (a repeated phrase or question) or with a physical descriptor (a colour, metaphor or symbolic comparison), especially when tied into interpersonal symbolism, can massively help to create depth in a way that is easier for a reader to grasp.

For example, if one of your secondary protagonists has struggled for most of their life with social anxiety or self-esteem issues, using a visual metaphor (e.g. a simile relating the character to an animal, or the world around them to some sort of environmental threat) can help outline and uphold development in this character, and to help their growth shine through, especially when such a metaphor is linked to the world they live in/the wider plot.

PARALLELS:

There are two significant types of character parallel that can really help make a character shine.

The first is interpersonal. Does your character have a foil in the narrative? Are they trying to follow in the footsteps of a significant figure in their life? Are they nottrying to, but it’s happening anyway? Does their story draw parallels to existing mythology, or classic narratives, and if so, does it subvert them?

The second type of parallel is more related to the narrative. If your story is about a decay - about a world or situation slowly getting worse - does your protagonist parallel this, or contrast it? Does their story end with them symbolising the dire situation they’re in, or emerging from it unscathed? If your story is about an ascent, or a plot, or a heist, does your protagonist get more and more hopeful as the story progresses, or do they dread the triumphant climax the closer it gets? How is their growth linked to this?

CONFLICT:

Every story has a conflict, but interpersonal conflicts of belief - especially between primary characters - can help establish a greater conflict in the narrative, and can also help make worldbuilding feel richer and more complex. How have your characters’ backgrounds shaped how they see the world? What are their political beliefs? Letting them argue, clash and disagree about world views and systemic problems, even if they’re fighting from the same side, can not only help characters individually feel more complex, but can flesh out the world you’re working in and provide more opportunities for conflict and development further down the line.

Does your protagonist get their beliefs from empathy or sympathy? Do they believe in doing what’s right, or doing what’s smart? Did a tough upbringing harden them to the world or make them kinder? Did an easy, happy childhood make them naive, or apathetic? No character should automatically have all the most palletable opinions. Explain where they got their views - it makes the whole story feel more broad.

Happy writing!

concept: komaru can canonically see ghosts,, au where she can see the ghosts of the dead students from trigger happy havoc and they help her throughout her time in towa city

for example: you know that scene where komaru just,, knows how to ride a motorcycle? yeah that’s because she’s got the ghost of the shsl biker gang leader screaming at her about how to drive the thing-

roboboy !!