Avoiding Plot Holes By Seeding Doubt
Avoiding Plot Holes by Seeding Doubt
Having an “expert” character conveniently fuck up right when the plot needs it to happen, when they otherwise would never, always loudly looks like the hand of the author sabotaging things. Which is exactly what’s happening.
However, if you set up that scene in a way where that fuckup is possible and warranted, you can turn “this is so contrived” to “omg I knew that was going to happen”.
Some suggestions!
Firstly, if we’re dealing with humans, humans are not machines. Variability in skill even at the expert level happens. Go watch the Olympics or any professional sporting event and people have terrible days all the time.
In fiction, a conveniently terrible day because that’s just how this works doesn’t fly. Diablos ex machinas tend to go over easier than deus ex machinas, but a character failing at a critical challenge in the narrative for no reason screws with a lot of the tension and expectations. “For no reason” takes no effort by the author to set up and pay off, and it reads as cheap.
Behavioral variables
I am a novice archer. I write expert archers. I do not write supernaturally accurate archers. From the very beginning of my story, my expert, with four centuries of experience, isn’t nailing perfect kill shots with every hit. A) he doesn’t need to and B) leaving his enemy to die slowly and painfully is a low he will absolutely stoop to if he thinks it’s warranted.
He’s as good as he has to be and if he gets the job done, he doesn’t care if it’s a little messy. Him being messy and overconfident is what gets him in the end, too. If he’s trying, he’ll do better, but most of the time “eh, I got close enough, they’ll die eventually” is his mindset.
“Expert” in fiction being “this is a character who will reliably pass the challenges set up for them by the narrative”.
So if you have an “expert,” allowing them to get a little bit lazy and overconfident, or simply not think of themselves as needing to be perfect in a given situation, you allow yourself a lot of wiggle room for them to majorly fuck up.
Doesn’t work very well if I throw my archer into an archery tournament, but I haven’t done that, and I’ll get to that later.
Environmental variables
Using the archery example once again: Archery is finnicky and precision is key. So if you’ve got your archer, or any marksman, in a windy environment, they have to work that much harder to factor in the wind when setting up their shot.
If it’s rainy, or the sun’s in their face, or it’s dark, or it’s loud and they can’t focus, these things aren’t exact data points the audience is going to do the math on. Or, if they and their enemy are moving, which, in combat, is highly likely.
Physiological variables
Maybe your character didn’t get enough sleep, or they’re stressed about this moment, they’re cracking under the pressure, they’re doubting themselves, the enemy got into their head, or they’re distracted worrying about something else. Or they got drunk the night before, they ate too much or too little. They’re sick, their hands are sweaty, they’ve got a sinus headache. They’ve got cramps, or hot flashes, or earlier they pulled a muscle and it still tweaks.
These are all, once again, introducing doubt into the narrative so that, when they fuck up as the plot demands, the audience should consider “well they weren’t at their best, I believe it”.
—
The sloppy way to do this is to go, in the moment:
“But because it was windy, X missed his shot”.
Is this the first time the reader is learning that it’s windy? Pretty convenient to introduce it right as it becomes important.
Rather, establish your variable beforehand in a disconnected moment. Try to ground it to a different element, otherwise it might look like it’s being mentioned for no other reason than “this is important”. Or, if it’s environmental, bury it with the other sensory descriptors.
When establishing the scene and setting, casually mention how the wind is interacting with the characters—making their hair a mess, throwing pollen everywhere, making skirts billow, etc.
Have another character complain about this variable bothering them
Have the character instantly regret the decision they made the night before for unrelated reasons. Like, if they got drunk, now they’ve still got a headache.
Depends on the story and the audience, of course, but I personally think having the narrator explicitly call out the variable fuckery going on reads a bit hammy. I like letting the audience figure out what went wrong with the clues I give.
If the scene demands, I'll also let my characters get annoyed and upset about their shots going wrong and blaming the environment. So long as it's not "hand of the author here to tell you what went wrong" you've got options.
I wouldn’t pull this trick too many times, otherwise your “expert” ends up consistently not an expert and then their sudden success looks suspect and contrived.
If you are writing some sort of tournament where this character is deliberately setting themselves up for success and is considering all these variables… a great example I like is Todoroki vs Bakugo in My Hero Academia season 2.
Dude is an uncertain mess throughout the rest of his tournament once his “fuck you dad I’m gonna win by half-assing it” suddenly isn’t enough to beat Midoriya. He’s forced to face some Tragic Backstory and it throws him off his game—establishes doubt.
He has a string of successes once he starts taking baby steps with the other half of his powers, and in the finale, he’s up against someone where he really does have to give it his all if he wants to win. His brute force powers are up against someone who has honed his very specific and powerful abilities for a decade.
And he can’t do it.
The final fight stops being a matter of power metrics and who would win if they both were competing at their best with all the tricks in their playbook available, which is what most of the tournament had been up to this point.
Basically—it stops being a numbers game, and starts being an emotional one. If you have a character you need to fail at something, but who wouldn’t otherwise, consider shifting the battle from external to internal, so the task failure is just the catalyst for the real meat of the story: what this loss means to this person in the long run.
**Side note there are of course a ton of anime tournament fights probably better than this one, Rock Lee’s whole arc against Gaara is one of them, I just don’t remember it well enough to comment on it.
Not every reader is going to be savvy enough to go “well that’s going to be important later”. Use betas and editors to help gauge how vague or obvious your foreshadowing is.
But even if you have readers sussing out your foreshadowing: Part of the fun is figuring out how the journey will end, even if we know when and where. Otherwise tragedies and prequels wouldn’t be made.
The dramatic irony of knowing variable fuckery is at play when the character is unaware can be so fun as the audience. Horror films are kind of built on it.
More Posts from Sparklingsilvermagnolias and Others
Do you have any tips for how to slow down time in a story?
How to slow down time
To slow down time in your story you need to use a mix of different writing ingredients: you need different descriptions that capture the reader in the moment as well as internal monologue and different sentence structures.
Detailed Descriptions:
Sensory Details: Use the five senses—sight, sound, smell, taste, and touch to describe what the character is seeing, hearing, feeling, smelling, and tasting in intricate detail.
Detailed Observations: Zoom in on small, often overlooked details. The sound a tea cup makes as it hits the ground, the way an expression on a character's face changes, the turning of heads as someone enters the room.
Slow Motion: Manipulate the time by describing how it feels like slow motion to the characters: "Time slowed down, and it felt as if the whole of humanity had decided to stop breathing for a moment."
Physical Reactions: A detailed description of the physical aspects of a scene. The movements a character makes, how their gaze turns, their breathing changes, their body begins to shake.
Psychological Aspects: Focus on the anxiety of a character looking at a clock that never seems to move, their nervousness seeping out of them
Internal Monologue:
Memories and Flashbacks: Add context by showing memories or flashbacks that relate to the situation.
Pondering: Let the character reflect on the situation, their feelings and their plan for the next steps. Let the reader explore the character's inner life.
Dialogue:
Reduced Dialogue: Dialogue brings a scene into real time. Use it thoughtfully and sparringly, with lots of inner thoughts and reactions in between.
Silence: Make use of silence between the characters which can be filled with more descriptions.
Language:
Smaller Steps: Write out each action taken, no matter how small, and focus on describing each step that happens.
Control Pacing: Use your sentence structure to create long descriptions that slow it down, and short, impactful ones to pick up the pace if needed for a moment.
More: Masterpost: How to write a story
- Jana
i think people (men and men-simps) miss a crucial aspect of women hating men.
the harm it inflicts.
if a woman hates men and is vocal about it, the worst that happens is she alienates the men in her life and hurts some feelings.
but that's the extent of it. our society doesn't discriminate against men. our society doesn't value women's contributions over men's. our society doesn't sexualize men the way it sexualizes women. men aren't generally viewed by society as a commodity or a prize at the end of the battle or a reward for being a decent person. our society doesn't view men as tools for sexual gratification and nothing more. "misandry" is low-stakes.
and it's borne of misogyny. men hate us, men oppress us, men violate us, men have built the world to tear down our self-esteem and minimize our worth, men assault us, men are in charge and then they pay us less and don't promote us, men control our bodies and send us to prison if we don't act as incubators against our will, men view us as free maids and mothers and shoulders to cry on before using our holes for their own enjoyment. we don't know which man will hurt us like this by looking, we act suspicious and they tell us we're paranoid we trust them and get hurt and they tell us we should've known better.
of course we hate men. men oppress us in all facets of society and despite decades of progress we're still suffering under them, and it's getting worse with the overturn of Roe v. Wade and the election of a rapist into our nation's highest office because America hates women more than it hates rapists. it's to be expected that we would hate men.
when we hate men, we hurt feelings. when men hate us, we are murdered and violated and exploited and imprisoned.
and before the terf accusations pile on, i do not count trans women as men. i support anyone joining Team Woman. my goal is to smash the patriarchy, not other women.
yeah, it’s like that atwood quote about how men are afraid that women will laugh at them while women are afraid that men will murder them
Tips for writing those gala scenes, from someone who goes to them occasionally:
Generally you unbutton and re-button a suit coat when you sit down and stand up.
You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.
When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.
A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)
Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)
The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.
Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.
Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.
Other Words for "Look" + With meanings | List for writers
Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.
Gaze - To look steadily and intently, especially in admiration or thought.
Glance - A brief or hurried look.
Peek - A quick and typically secretive look.
Peer - To look with difficulty or concentration.
Scan - To look over quickly but thoroughly.
Observe - To watch carefully and attentively.
Inspect - To look at closely in order to assess condition or quality.
Stare - To look fixedly or vacantly at someone or something.
Glimpse - To see or perceive briefly or partially.
Eye - To look or stare at intently.
Peruse - To read or examine something with great care.
Scrutinize - To examine or inspect closely and thoroughly.
Behold - To see or observe a thing or person, especially a remarkable one.
Witness - To see something happen, typically a significant event.
Spot - To see, notice, or recognize someone or something.
Contemplate - To look thoughtfully for a long time at.
Sight - To suddenly or unexpectedly see something or someone.
Ogle - To stare at in a lecherous manner.
Leer - To look or gaze in an unpleasant, malicious way.
Gawk - To stare openly and stupidly.
Gape - To stare with one's mouth open wide, in amazement.
Squint - To look with eyes partially closed.
Regard - To consider or think of in a specified way.
Admire - To regard with pleasure, wonder, and approval.
Skim - To look through quickly to gain superficial knowledge.
Reconnoiter - To make a military observation of a region.
Flick - To look or move the eyes quickly.
Rake - To look through something rapidly and unsystematically.
Glare - To look angrily or fiercely.
Peep - To look quickly and secretly through an opening.
Focus - To concentrate one's visual effort on.
Discover - To find or realize something not clear before.
Spot-check - To examine something briefly or at random.
Devour - To look over with eager enthusiasm.
Examine - To inspect in detail to determine condition.
Feast one's eyes - To look at something with great enjoyment.
Catch sight of - To suddenly or unexpectedly see.
Clap eyes on - To suddenly see someone or something.
Set eyes on - To look at, especially for the first time.
Take a dekko - Colloquial for taking a look.
Leer at - To look or gaze in a suggestive manner.
Rubberneck - To stare at something in a foolish way.
Make out - To manage to see or read with difficulty.
Lay eyes on - To see or look at.
Pore over - To look at or read something intently.
Ogle at - To look at in a lecherous or predatory way.
Pry - To look or inquire into something in a determined manner.
Dart - To look quickly or furtively.
Drink in - To look at with great enjoyment or fascination.
Bask in - To look at or enjoy something for a period of time.
Questions to Ask Yourself About Your Character
What is their relationship with their parents?
What is their favorite meal?
How do they identify?
What's their style?
Are they proud of themselves?
Are they patient or impatient?
Do they have siblings, and what's their relationship with them?
What are their standards?
Have they ever been in love?
When was the last time they felt loved?
Have they gotten their heart broken?
Do they know who they are?
What are their preferences?
What do they want?
What are their goals?
What would they do if they failed?
What would they save in a fire?
What's one childhood item they still love?
20 Ways to Show Extreme Fear in Your Writing
As I dive into researching signs of fear for my horror WIP, I wanted to share some of the most compelling and visceral reactions I’ve come across. Whether you’re writing a chilling scene or crafting a character’s panic, these 20 signs of fear can help bring tension and realism to your story.
Physical Reactions
Hyperventilating — sucking in air but never feeling like it’s enough
Chest tightens — feels like a weight or hands pressing down
Limbs shaking violently, knees buckling
Complete loss of muscle control — collapsing or unable to stand
Cold sweat soaking through clothes
Heart hammering so hard they feel it in their throat or head
Tunnel vision — the world narrowing down to one terrifying focal point
Ringing in the ears or sudden deafness, like the world drops away
Dizziness / feeling faint / vision blurring
Dry mouth — unable to speak or even scream
Uncontrollable Behavior
Screaming / sobbing / gasping — involuntary vocal outbursts
Panic run — bolting without thinking, tripping over everything
Clawing at their own skin / chest / throat — like trying to escape their body
Begging / pleading out loud even if no one’s there
Repeating words or phrases — “No, no, no” / “This isn’t happening”
Hiding instinctively — diving under tables, closets, or corners
Desperate grabbing — reaching for someone, anything solid
Loss of bladder or bowel control (for extreme terror)
Total mental shutdown — frozen, slack-jawed, staring blankly
Memory blackout — later can’t recall what happened during the worst moment
How to Write Better Villains (Because Your Story Deserves One)
There’s nothing worse than a forgettable villain. You know the type: cartoonishly evil for no reason, monologuing their master plan to no one in particular, and vanishing from memory the second you finish the book. A great villain, though? They haunt your thoughts, challenge your hero, and—sometimes—you catch yourself *agreeing with them*. If you want to level up your storytelling, here’s how to craft villains that stick.
1. Give them a reason to be bad (and make it make sense)
Nobody wakes up one day and just decides to be evil (unless they’re in a Saturday morning cartoon). Real people are shaped by their pasts, fears, and desires—and your villains should be, too. Maybe they believe they’re saving the world, just in a way that costs too much. Maybe they were betrayed and now trust no one. Whatever the case, give them a *why*. Even better? Make your readers *understand* that why, even if they don’t agree with it.
2. Avoid the evil-for-evil’s-sake trope
Mustache twirling is out. Complexity is in. A villain who kicks puppies just to prove they’re the bad guy is boring. But a villain who feeds stray dogs while orchestrating a political coup? *That’s* compelling. The best antagonists aren’t evil—they’re driven. And when their goals put them in direct conflict with the hero, *that’s* where the tension comes from. Let them think they’re the hero of their own story.
3. Let your villain challenge the protagonist in meaningful ways
Your villain shouldn’t just be a physical threat—they should challenge your hero’s beliefs, force them to make hard choices, and maybe even make them question themselves. When the antagonist represents a deeper, thematic opposite to the protagonist, you’ve got literary gold. Think of how The Joker unravels Batman’s moral code, or how Killmonger forces T’Challa to reconsider Wakanda’s isolationism. Conflict isn’t just punches—it’s philosophy.
4. Make them unforgettable
Whether it’s a chilling line of dialogue, an eerie calmness, or a twisted sense of humor, give your villain something *distinct*. Personality matters. A unique voice, a specific mannerism, or an unexpected vulnerability can elevate your villain from “meh” to “iconic.” Think about what makes them tick—and what makes them *memorable*.
5. Don’t be afraid to make them right
The scariest villains are the ones who are *almost* right. When a reader can see where they’re coming from—or even agree with some of their points—that’s powerful. It creates tension not just in the story, but in the reader’s own mind. And that’s exactly what a good villain should do: make you question, make you uncomfortable, and make the story impossible to forget.
What are some of your favorite villains in fiction? Drop your favs (or your own villain WIPs) in the tags or replies—I’d love to see them!
some essays to fill your time
Just a bunch of things I've read recently.
The Authoritarian Roots of India's Democracy by Tripurdaman Singh
Why is Everything So Ugly?
Casual Viewing by Will Tavlin
“You are Next”: Unmarried Urban Women in India and the “Marriage Talk” by Shilpa Phadke
Crossing Days by Thomas Dai
Inside the Indian Manosphere by Lhendup Bhatia
Optimism and Desperation by Camilla Grudova
Everyone is Cheating Their Way Through College by James Walsh
Blunt-Force Ethnic Credibility by Som-Mai Nguyen
When My Authentic is Your Exotic by Soniah Kamal
The discontent of Russia by Joy Neumeyer
On anti-political projects by Kat Rosenfield
'Correcting' historical wrongs is a slippery slope by Manu Pillai
Ways I Show a Character Is Grieving
They say "It’s fine, I’ve processed it" while clearly processing it through spreadsheets, sarcasm, or passive-aggressive emails.
They treat memories like landmines. They avoid certain songs, places, and foods like they bite and they kind of do.
They hoard weird things. A receipt. A voicemail. A cracked mug. Objects that wouldn’t matter to anyone else but now feel sacred.
They laugh at really inappropriate times. At funerals. In therapy. During serious conversations. It’s not funny, they just don’t know what else to do.
They forget things. Not just dates. Entire days. Their brain is buffering because it’s too full of everything they don’t want to feel.
They get too angry at tiny things. The pen runs out? Full mental breakdown. It’s never about the pen.
They say “they wouldn’t want me to be sad” as a way to guilt-trip themselves into pretending they’re not actively falling apart.
money is such an underrated accessibility option.
like people want to think any disabled person who is after money is morally suspect some way, because they're not asking for "treatments" or "accommodations" like a lot of our issues can be fixed way more easily with money. can't drive? paying for a taxi is often one of the more accessible alternatives. can't cook? you can pay more to have prepared food delivered to you. food restrictions? that food straight up costs more money. can't clean? you can pay for someone to do that. house inaccessible? having (lots) of money can help with that, you get the gist.
having money won't make us abled. it also won't stop our symptoms from being distressing, painful, or debilitating. but there's a huge gap in experience between the average poor disabled person and someone who's actually wealthy. you can buy your way out of some of the difficult situations most disabled people are left to rot in. wanting money, needing money, asking for money is pretty natural when it's such a useful tool. why get so weird about disabled people wanting money like i'm pretty sure everyone wants money anyway
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