100 Dialogue Tags You Can Use Instead Of “Said”

10 Ways to Ensure Your Villain's Evil Monologuing Dialogue is as Unsettling as Possible!

1.) Make sure you're mixing body language with the words themselves: You can have your villain saying the most twisted shit, but if they're just standing there like a cardboard cutout, their words probably aren't going to hit as hard. Have them touch your protag. Have them toy with a weapon as if they're going to use it. Have them pace. Have them put together the blood ritual they're ranting about. Keep them moving.

2.) Have them use personal knowledge as a tool: Does your villain have some deep dark dirt on your protag? Don't let that all go in one swoop. Let them hint at it in drops before they open the dam. Maybe they use that knowledge as a bargaining tool to get an upper hand, or use it to send the trapped protag into a frenzy because they love to watch them scream.

3.) When it comes to threats, certainty is key: A threat is a threat, but there's nothing like a threat being spoken as if the villain knows it's going to happen. Whether your villain has already caught your protag, or is in the process of doing so, everything they say they want to see happen to your protag needs to come with absolute certainty. Almost as if it's a certain warning, and not just something they’re saying to be scary.

4.) Contradictions are your friend: Nothing indicates a warped villainous mind more than some juicy contradictions. Your villain might be talking about how they're going to flay your protag's hide after catching them in their dungeon, only to throw in a subtle "but, you're probably safer here with me." Find ways to toss in twisted contradictions that also underline the crazy shit they might be saying.

5.) Mess with syntax: Unsettling dialogue calls for unsettling structure. Incomplete sentences, unforeseen pauses, longwinded explanations broken up by more unforeseen pauses. Whatever it is, keep the rhythm offbeat. Don't give your reader a chance to be able to tell what's coming.

6.) Expectations? Subvert those: Your protag and even your readers might be suspecting one thing from your villain, so throw them a curveball and hit them with the complete opposite. Perhaps you've reached a point in your story where it seems like the villain might kill your protag on sight. But no, have your villain mention exactly why they aren't going to do that, and why they want to wait it out.

7.) Mix quiet confidence and loud assertion: Some might say that the silent seether is scarier, while others might agree that the sudden explosive type takes the bigger unsettling prize. In my opinion, you can really capitalize on the eeriness of villain dialogue by tapping into both. A villain that speaks on with refined confidence before very suddenly exploding, without much warning, can really power up the dread behind their words.

8.) Sometimes, ambiguity is better than being straightforward: Whether it's obvious that your villain has a lot of tricks up their sleeves--or not--leaving things to the imaginations of your protag, and subsequently, your readers is great for building dread. You can use dialogue to make it clear that they're up to something, but never make them fully disclose what that is. They might show it instead of tell it, or it might just never happen. Either way, it'll likely have everyone looking over their shoulders.

9.) There might be times where silence says everything: You might be worried about penning the correct verbiage for your villain's big evil speech, but sometimes, silence speaks wonders. When used correctly, a long pause, or a bout of silence after your protag has said their piece can build a sense of uneasiness more than them actually speaking would have.

10.) Find ways for your villain to mirror the hero: A monologuing villain is better when they're throwing your hero's values and beliefs back in their face. A hero that believes in mercy? Well, have your villain talk about how they'll make them beg for it. A hero that believes in the greater good? Have your villain talk about their idea of a greater good.

As always, GO WRITE SOMETHING TODAY! <3

svsss fics have the best starting lines

whether it’s poetic or not

(im rather fond of the more crackish ones)

They’re always amazing.

(the fic that inspired this post is ‘you’ve got to be kitten me!’ by tskmo on ao3)

(go read it)

take an AU haunting me for ages now: the “sects go to the terrifying Yiling patriarch to ask for his help in the war, WWX ends up demanding LWJ marry him” fics?

Yes, that, but kinda in reverse.

The Sects go to meet the Yiling Patriarch and he’s as expected: arrogant, bold, careless, demanding. And using heretic powers to keep his Burial Mounds untouched by the world.

They negotiate, he smirks properly wicked, and and says he wants to name a bride and a marriage to the Lan.

The Lan talk, outraged, but they have a war to win so the agreement is struck: marriage to the Lan and the Yiling Patriarch is allowed to name bride and groom. They write it down exactly like that.

The war happens, but with the Yiling Patriarch’s army of the resentful dead, they lose less soldiers, win more battles. The Lan wonder why they were chosen, perhaps because they hold enough moral sway that any hostage of theirs wouldn’t result in another war? Regardless, Lan Wangji makes it his job to stick close to the Yiling Patriarch, as close as he will let anyone. He has a whole entourage of ghost brides, though only one stays close to him at all times, veiled whenever they have company

They win the war. “Bride and groom,” the Yiling Patriarch says and swears to return in three months. There is talk of taking him down now that Wen are gone, but no one wants to go to war in the Burial Mounds.

The Yiling Patriarch arrives in three months as promised, dressed in red, followed by a parade of people. “I’ve come to collect my debt,” he tells them. “I will name Lan Wangji as the groom,” he says, sparking confusion and outrage. Does he intend to name one of his ghost brides next? And indeed, he reached for one, lifts her veil, revealing living woman, but takes the veil for himself instead. “And I, myself, will be his bride.”

The story goes a little like this:

One. Wei Ying’s parents die and he follows them. Only he is young and alive and curious and the Burial Mounds are very hungry. They devour him skin, flesh, bone, teeth. And they spit him out again. And again again and again.

Two. Wen Qing is her uncle’s favorite, but she’s her brother’s only sister. She fears what war means, what the retaliation might mean. Young Masters go to the Cloud Recesses for study on invitation, Wen Qing goes to the Burial Mounds to beg.

Three. There is very little begging to be done in front of a boy her brother’s age, who hasn’t been hugged in years and keeps the company of murdered brides as though they are his mothers, aunts and sisters. She asks for protection, he asks for a meal.

Four. They cannot stay in the Burial Mounds forever. It is not a place for children even Wei Wuxian realizes that one morning and promptly disappears in his childhood bedroom, a cold cave filled with trinkets of the dead. He survived on the cost of skin, flesh, bone, teeth. They cannot all pay this price.

Five. The Sects knock at his door, a solution presents itself. He dressed Wen Qing like his older sister, veil and all, and hides her among his undead. They strike a bargain.

Six. They could keep a hostage, but a hostage will not keep them fed. Brides, he knows from childhood on, marry out. One of his sisters would’ve taken with her all her servants, had her unwilling husband not killed her on the wedding night.

Seven. “This is why it has to be a Lan,” Wen Qing tells him. Your husband would not kill you like this. They might keep him in some other way, but what could be worse than skin, flesh, bone, teeth? A wedding night of death? Nothing. And if he can help his family by making them servants and himself a bride, he’ll stay locked up in the Cloud Recesses. At least this prison will not spit him out.

What Lan Wangji knows is this: the Yiling Patriarch is mocking them, but there is a debt and a debt must be paid.

They marry in name, no matter how much the Yiling Patriarch taunts him about the contents of a proper marriage, and then they live separately. They keep an eye on him of course, him and his servants, who keep to themselves, settling in Caiyi and the Cloud Recesses, wary, hungry, terrified people - not of their master, but of everyone else.

And then, on accident maybe, a slip of the tongue, one of those servants soak a different name. Within a second, the Yiling Patriarch is in front of them in protection, though he looks less arrogant, less bold, less careless, less demanding. He looks, Lan Wangji thinks, like someone who has more too lose than he’d ever admit. He looks terrified like no one in the Cloud Recesses ever should.

So maybe he should ask him why

20 Emotional Wounds in Fiction That Make Readers Root for the Character

Abandonment: Characters who have been abandoned by loved ones or caregivers can evoke sympathy from readers.

Betrayal: Being betrayed by someone close can create deep emotional wounds that make readers empathize with the character.

Loss of a Loved One: Whether through death or separation, the loss of a loved one can be a powerful emotional wound.

Rejection: Characters who experience rejection, whether in relationships or by society, can be relatable and evoke empathy.

Abuse: Physical, emotional, or psychological abuse can create complex wounds that shape a character's personality and behavior.

Neglect: Characters who have been neglected, especially in childhood, can evoke sympathy from readers.

Failure: Experiencing a significant failure or loss can create emotional wounds that make characters more relatable.

Guilt: Characters who carry guilt for past actions or decisions can be compelling and evoke empathy from readers.

Shame: Feelings of shame can create internal conflict and make characters more relatable and sympathetic.

Injustice: Characters who have experienced injustice or unfair treatment can evoke strong emotions from readers.

Trauma: Characters who have experienced traumatic events, such as war or natural disasters, can be sympathetic and relatable.

Loneliness: Characters who feel lonely or isolated can evoke empathy from readers who have experienced similar feelings.

Fear: Characters who face their fears or struggle with phobias can be relatable and evoke empathy from readers.

Self-doubt: Characters who struggle with self-doubt or low self-esteem can be relatable and evoke sympathy.

Identity Crisis: Characters who are grappling with questions of identity or struggling to find their place in the world can be sympathetic.

Addiction: Characters who struggle with addiction can be complex and evoke empathy from readers.

Betrayal of Trust: Characters who have had their trust betrayed can be sympathetic and relatable.

Unrequited Love: Characters who experience unrequited love can be sympathetic and evoke empathy from readers.

Isolation: Characters who feel isolated or disconnected from others can be relatable and evoke sympathy.

Fear of Failure: Characters who struggle with a fear of failure can be relatable and evoke empathy from readers.

Help I just need somewhere to put my fanstay au thing that was inspired by a dream if I type it out on a doc I’ll try to actually make it look good

Cass run from the guards you stole something and ur funny

Oh no you slipped down a Sid spath root thingie tree right in front of a shop

Oh no the guards a catching up

Cass run inside the store now there’s a hot person also more valuable things that are actually kinda trash

I keep dreaming of 1942 French guns what does this mean for me

Cass it’s actually a bookstore with a bunch of random shit in the corner. Steal it. Oh fuck you got attached and you kicked the owners out. Oh you let them back in but it’s your place now. Cass I doubt your ethics more and more I swear you were NOT this fucked up when I dreamt you

Turns out the bookstore had something to do with a nature reserve and ppl are trying to fuck that up. Beat their ass nature needs your arsonistic ways

Oh the hot Demi girl wants to do gender fuckery with you. That’s hot. hi Sandra yeah sure I’ll participate in gender fuckery with you *finger guns*

Another idea that I have very in thought out ngl I just kinda wanted a yandere oc but then I got a little in vested

Meh I’ll just paste the info and picrews I have of them

Shikayama Satomi

Yandere

28

In nursing school/may or may not be actually a scientist

鹿理美

And for the person she’s obsessed with:

Endou Hiyashi

藤理美

Fave color is purple

Economics major

Philosophy minor

Painting hobby

Me once again scrolling through my very specific preferred fic filter:

Why does this one say edit/delete that’s concerning I shouldn’t be able to delete others work OH WAIT WHAT THATS MINE WHY DID THAT SHOW UP

*whispers seductively*: worms~

Ok but like. What the fuck is there to do on the internet anymore?

Idk when I was younger, you could just go and go and find exciting new websites full of whatever cool things you wanted to explore. An overabundance of ways to occupy your time online.

Now, it’s just… Social media. That’s it. Social media and news sites. And I’m tired of social media and I’m tired of the news.

Am I just like completely inept at finding new things or has the internet just fallen apart that much with the problems of SEO and web 3.0 turning everything into a same-site prison?

This is basically a preview of what I’m currently starting to draw.

And then I’m just drawing this one art piece of Bianca Di Angelo, because 1. I can, 2. I had an idea while I was drawing the first picture, so now I’m following through.