Reverse React Fic Idea

The Power of Silence in Dialogue

We often think of dialogue as something that’s just about what characters say, but let’s talk about what they don’t say. Silence can be one of the most powerful tools in your writing toolbox. Here’s why:

1. The Unspoken Tension

When characters leave things unsaid, it adds layers to their interactions. Silence can create a tension that’s so thick you could cut it with a knife. It shows things are happening beneath the surface—the real conversation is happening in what’s left unspoken.

Example:

“So, you’re leaving, huh?” He didn’t look up from the table, his fingers tracing the rim of his glass, slow and deliberate. “Yeah.” “Guess I should’ve expected this.” (Silence.) “You’re not mad?” “I’m not mad,” she said, but the way her voice broke was louder than anything she'd said all night.

2. Building Anticipation or Drama

Sometimes silence can heighten the drama, creating a pause where the reader feels like something big is about to happen. You don’t always need words to convey that sense of dread or anticipation.

Example:

They stood there, side by side, staring at the door that had just closed behind him. “You should’ve stopped him.” She didn’t answer. “You should’ve said something.” The room felt colder. “I couldn’t.” (Silence.)

3. Creating Emotional Impact

Sometimes, saying nothing can have the biggest emotional punch. Silence gives the reader a chance to interpret the scene, to sit with the feelings that aren’t being voiced.

Example:

He opened the letter and read it. And then, without saying a word, he folded it back up and placed it in the drawer. His fingers lingered on the wood for a long time before he closed it slowly, too slowly. “Are you okay?” He didn’t answer.

TL;DR

Silence isn’t just a pause between dialogue—it’s a powerful tool for deepening emotional tension, building anticipation, and revealing character. Next time you write a scene, ask yourself: what isn’t being said? And how can that silence say more than the words ever could?

Readers of TCF: Why You Should Read Turning and Vice Versa

Are you interested in Found Family tropes? How about time travel fiasco and everything in between that's happening to badass main characters? Want to get involved and seeing the battle between corrupted monarchy and royalty? Last but not the least, feel the thrill of seeing OP characters kicking bastardized enemies from behind and giving them their own medicine? If so, Turning/TCF should be the perfect novel for you!

I wanted to point out the similarities and differences of what makes Turning on par with TCF's themes! Keep in mind I haven't reached halfway of Part 2 of TCF yet, so my knowledge might not align with TCF's current timeline. With that out of the way, here are the common themes of why you should read TCF/TURNING:

1. Found Family

It's what hooked me into TCF in the first place—everyone's relationship with Cale, a tight knit that wouldn't seemingly unknot no matter how hard you try to separate them. In TCF, we have Cale as the center of the wave, our beloved Commander who had experienced many fights of his own that shaped his world view, and consequently, how other people spanning a whole continent see him as well. Meanwhile Yuder, in his current 2nd timeline, had not only learned to cherish and paid attention to those around him but also communicate and connect to a deeper level he previously failed to achieve in the 1st timeline. You could argue that Yuder's title as Commander's Assistant is almost the exact same as Cale's position as the Young Master. In a way, they have their main support, but it doesn't mean it's only their means of support. What's funny is that they're both picking up strays left and right on the street and giving those said stray a place they could comfortably and confidently call home, and it never fails to make me smile every time they have a new recruit.

Yuder is more active at involving himself with the other Calvary members, it's because of his unique disposition as Commander's Assistant and also a former Commander gave him the power and ability to patiently train people. Not to mention, he is considered as Instructor From Hell for his absolute 0 nonsense and merciless style of train that makes people pass out after training, grow exponentially and come back for more.

If you're wondering if the side character that you just read and loved instantly would disappear, worry not! Kuyu and Yoo Ryeo Han treat their characters carefully and equally, and more often than not, they will reappear in the story! Whether unintentionally or intentionally is the biggest question.

2. Commanders Of The Previous Life And Their Similar Position

They both prefer to be the forefront and lead the fight—often clashing with the enemies head on. They even have more or less similar fighting styles, in which they wouldn't want to draw out fights unnecessarily, have an incredible mountain of patience in dealing with pests and would wholeheartedly throw hands at anyone who insults their loved ones. Not to mention, they're both sacrificial bastards™. They're both generous, in a way they would teach other people how to fight and fend for themselves, thanks to their commanding experience that spanned for a decade.

Their previous lives are a topic of sensitivity—and I can't help but see how they were distant and cold in their previous life after losing the people that were important to them. Similar to being cursed with a series of bad luck (ahem). Cale became closed off, harder to approach yet still providing help and assistance in his own way as the team leader despite that, he had the strong will to live on. The Calvary members' impression on Yuder were negative at the start, thanks to his stoic expression and unwillingness to approach or connect to anyone, leading to a series of accumulated misunderstandings and bad reputation, but despite that, he was their unmoving fortress and cave that shielded everyone until his death. Both gave off the impression of being respected and feared, with nobody that they feel connected to.

In a way, you could conclude their 1st timeline as nothing more than horrible strings of bad luck since you can't exactly fault anybody. And that's exactly the beauty of this tragedy. Their past lives were their own experiences, and not exactly a direct result from a single person.

As a transmigrator, Cale was given a second chance to live his own life through a novel he read. He used his knowledge to manipulate the original timeline and twisted it to his favor, and suddenly, he has a god tier level good luck. Unknowing that he had literally and metaphorically picked up people with him and became a living legend for generations to come.

As a regressor, Yuder woke up after his execution thanks to the hypocrisy of nobles and false accusations. Virtually having nobody to believe him only to wake up in 11 years from the past and became determined to protect the important person that died in his timeline: Kishiar La Orr and stop the tragedies that happened in his past life.

It made me realize they weren't so different in circumstances, after all.

3. Outside POV

We can't forget the hilarious reactions that people often harbor for these two protags! My main source of POV prime entertainment would honestly be Clopeh from TCF and Kiolle from Turning. They have their own interpretation and often hilarious thoughts for the MC, but they respected and feared them the same.

It is through these interactions that we had the glimpse of how people in the novel interacted and perceived them, and let me tell you, it gets hilarious from there. With Cale, and his absolute 0 self-awareness and refusal to explain his actions any further unless necessary vs Yuder, who would shoot down any misunderstanding and still be misunderstood in a silly way.

Misunderstanding is a common theme in TCF but don't let it stop you since it only plays on how other people perceive Cale with no dramas attached. It serves as a pace of narration and even comedic undertones. Turning in particular, is like a breath of fresh air. Fixing the misunderstanding is a theme in Turning, and I couldn't be more happy to indulge in both tropes.

4. Enemies

Ah, yes, secret organizations are a common denominator in both novels, but of course—there's more. Monsters in particular, are present in both novels. It almost led me to believe that if we combine these two novels, they wouldn't be out of place. Gods, mages, priests, sword masters, guardians—you name it, are shared by them like a ping pong ball.

The powerful antagonists don't disappear from taking a hit from one blow, and we see it both in TCF and Turning time and time again about how they're running on time. The conflict in TCF that should be minor became much bigger than anticipated, and I could say the same for Turning.

The fights in these novels have lessons ingrained in them—and that's what I cherish the most. The protagonists grow with the people they surround themselves with, and how those people would repay the favor later on.

What sets them apart is the existence of plates and ancient powers in TCF and omegaverse in Turning.

I didn't consider Awakener as the main difference because, if you think about it, the Ability Users in TCF could be considered as "awakeners" in Turning's world building system. Which is why I wanted to read or see a crossover of them, if possible.

5. Almost Exact Elemental Abilities

How nostalgic, this was the og's in TCF! Cale is never the same without the talking ancient powers he conversed with in his head. As much as I wanted to push how it led to funny interactions and nothing more, it was also the reason why Cale was such a badass despite being dubbed as having a small and weak plate! He mercilessly trumps over his enemies with his ancient powers despite not wielding any weapons: Wood/Shield, Healing, Wind, Fire and Earth. I'm aware he has more than that but I don't want a long list of their attributes AND names yet. What we do know is that Cale would overcome that weakness and grow to be more powerful as the chapters goes on, and that same goes for his people as well.

As for Turning, Yuder is an awakener that could wield all natural elements, namely: Fire, Water, Air and Earth. Although his abilities are at a disadvantage when facing monsters, his dexterity and efficiency in different kinds of weapons and experience makes up for his weakness. Similar to being an Ability User, being an Awakener grants the person their unique set of powers after encountering a battle of will with themselves. So the power varies from character to character. I love learning a new character's ability, and what role they would play in the Calvary!

6. Opposites Of Methods Yet Similar In Goal

Cale wants to live peacefully and achieve a slacker life while Yuder wants to save the world and prevent the disasters happening again in the 1st game (timeline).

If you think that Cale doesn't have the same goal as Yuder, you're wrong. Cale and Yuder are similar in so many ways, that both ultimately wanted to save people and grant world peace if possible. They both made the impossible possible and hilariously enough, in their way to becoming a legend. They both don't see their own actions as praiseworthy and get confused whenever other people praise them. Their own failures and shortcomings are the reason for their self doubt. It shows that despite everything, they're still human.

Cale has creative liberties and more headache inducing than Yuder, but they made everyone worry about them in equal measure. Being confined and forcing a vacation for them makes everyone feel relieved, haha!

7. Romance

Expecting a romance in TCF is virtually little to none, unless you include side character romances, it isn't the center of the novel. I firmly believe that Cale wouldn't entangle with any romance subplots, but of course, as a reader, we have the power of fanfiction in our side and making our imagination a reality. Although there's no romance, the interaction between Cale and his Found Family is a reward in itself.

Turning, however, has the greenest of green relationship regarding our MC and ML! Yuder and Kishiar's dynamic is my go to read whenever i'm in dire need of fluff. Sometimes, they're so sweet that it gives me so much tooth rotting fluff! I can't even stand it sometimes, I need a relationship like them in my life! The relationship between their 1st game and 2nd game are so stark you could hardly believe they're the same person as they once were due to the bad luck set by their first connection to the point it sent you to tears.

And that's exactly the charm. In Turning, love is both painful and beautiful. In a way, Kishiar and Yuder accept each other's flaws and shortcomings without compromising anything, with no misunderstandings and toxic relationships. It's a step up after reading toxic BLs, and frankly, I can't go back there after reading this masterpiece.

if you dislike omegaverse, fortunately for you, it isn't centered to just that and it's relatively new in their current era that makes you forget about it until it reappears due to the minority of people that falls under the category of alpha/omega. It's a refreshing take on the trope we readers knew so well and read how characters adapt to these changes, as well as suffer the consequences. It wasn't until 300+ chapters in the novel that suppressants became a thing, and there isn't even a power imbalance between an omega and alpha. Their second gender doesn't affect their social status and they're treated as normal people because of being a relatively new phenomena.

I think my favorite part about the whole Toriel confronting Kris about the pie scene in the beginning of chapter 2, is that fact that Toriel isn’t the least bit concerned that Kris just owns a knife for personal use. She’s just like “ah yes my child’s knife that they keep around” which tells me that Kris has probably never once actually used the knife to be violent towards others or hurt themselves. They just like that knife and carry it around for pie eating purposes.

Writing Theory - Conflict 101

THEORY

goal + obstacle = conflict -> plot

You may have heard that a story needs conflict, but what does that mean?

No, it's not explosions. Or murder. Or smut.

Your character wants something, that's the goal. Something is in the character's way, that's the obstacle. The way your character deals with the obstacle to reach their goal is what makes an engaging conflict.

You see this on a plot level as well as on an individual scene level: Character wants X, but obstacle Y, so they have to go do Z

Conflict is like the engine of the plot, so if it's missing in a scene, then it's likely to feel redundant, boring, as if the story came to a halt (because it did; the engine stopped).

The goal and obstacle pair generally appear in two orders, with a "reaction" element:

Character sets a goal, but an obstacle happens, so the character reacts by changing course

Something happens (obstacle), character reacts to it and decides on the next action (goal)

You can alternate between the two, then you get something like this: character tries to accomplish something, something gets in their way, forcing a new approach, character reacts to the changes and decides how to move on from here, sets a new goal, tries to reach goal, faces obstacle...

This can also keep your character active rather than passive. Even in a reactionary scene, your character is responding and making a decision, rather than being a puppet to external forces. It can be smart to not have too many reactionary scenes back-to-back, as this can also feel passive. The goal-obstacle-reaction type scenes don't really have this problem and you can intersperse them with reactionary scenes now and then for variation.

You can have one major goal and many smaller goals. The goal(s) can also shift over the course of the story.

If you struggle to think of an obstacle, ask yourself: what is preventing my character from achieving their goal right now? Why can't they walk up to the villain and defeat them? Why can't they pull their love interest into a kiss? Why is your story longer than two paragraphs?

Ideally, goals and obstacles (and conflicts) are interwoven with character development, theme, etc., making for a solid plot where all these elements form one smooth fabric together. As a beginner, it's alright to first pick one thing to exercise rather than trying to balance all these things at once. Learn to create these bare bones of a plot and then improve upon that foundation.

EXAMPLE: Revenge of the Sith

Anakin would like Padmé to not die. = goal; He doesn't know how to prevent it. = obstacle

Stop the Sith = goal; Not knowing who the Sith Lord is = obstacle

These form conflicts and they push the plot forward. There are several smaller goals, like defeating Dooku/saving the Chancellor, preventing Palpatine from dying, manslaughter, killing Obi-Wan...

A scene with the goal - obstacle - (reaction) order: Anakin wants to use Palpatine's knowledge (goal), but Mace Windu is about to make that permanently impossible (obstacle). Thus, Anakin needs to pivot from yelling to slashing in order to reach his goal.

A scene with the obstacle - (reaction) - goal order: Anakin, the superstar Jedi, has just helped a Sith Lord kill a Jedi master (obstacle/problem; goes against the bigger "stop the Sith" goal). This has an effect on him (reaction; "What have I done??") and leads to a decision: join Palpatine. This then sets him on his next goal(s): destroy the Jedi to prove he's worthy.

Here you see how those two "types" of scenes flow into each other.

EXERCISE

Write two short scenes - one for each type (reactionary and goal-obstacle-reaction). They don't have to be unrelated.

Now, write another two scenes, but this time make them successive.

See if you can do this in the form of a short story: write 5-10 successive scenes.

Celebrate that you've just written a story! :D

These techniques, like so often with writing, need practice to sink in. So write some fun short stories or wacky scenes, and you'll notice you get better the more you do it. Have fun!

DSMP streams divided in months

these don't include every stream (not just cause they're wips) since some don't have a date. meaning those could not be added in these month playlists, but they are in these two. for some others i could try and guess

if you know the right dates, let me know

2020

april

may

june

july - [LORE]

august - [LORE]

september - [LORE]

october - [LORE]

november - [LORE]

december - [LORE]

2021

january - [LORE]

february - [LORE]

march - [LORE]

april - [LORE]

may - [LORE]

june - [LORE]

july - [LORE] (lore playlist doesn't exist yet)

august - [LORE]

september - [LORE]

october - [LORE] (no lore playlist yet)

november - [LORE]

december - [LORE]

2022

january - [LORE]

february - [LORE]

march - [LORE]

april - [LORE]

may - [LORE] (no playlists yet)

june - [LORE]

july - [LORE] (no playlists yet)

august - [LORE]

september - [LORE]

october - [LORE]

november - [LORE]

december - [LORE]

post finale

any stream from the month after the last lore stream, meaning the Syndicate finale in december 2022

right now, the title says 2023, but i know Eret and Sam have briefly joined the server in 2024. the title will change to fit the years, but i have to find them first

and that's it! if you use these playlists or send them to others, can i ask for a reblog so i know people are finding them useful?👉👈

Where to start as a beginner writer

Are you new to the world of writing? Here are some pointers to consider when starting out your journey!

Define your purpose

A super important first step for any writer is to ask themselves why they are actually writing. What sort of message do you want to put out into the world, what types of stories are you going to tell? Do you want to make people cry, laugh, do you want to inspire them, do you want to shine a torch on important issues, do you want to thrill them or make them feel good?

Familiarize yourself with character arcs

Before plot, there is character! Character arcs are a great way to get yourself started on your writing journey. Learn about internal conflict, misbelief, positive and negative arcs, backstories... Once you know this, the plotting side of things clicks into place much easier.

Understand the basics of story structure

You do not need to be a plot-genius to write a good book. As long as you have a good grasp on your character arcs, and a basic understand of how a story is structured, you’re good to go! It’s great to read about 3-act, 5-act, hero’s journey, and other structures on examples of books you’ve read or films you’ve seen.

Read in your genre

Cannot stress this enough! Every writer should be a reader. It’s so important to read within and outside of your genre, because reading is the best way to learn and grow and improve.

Don’t be afraid to write whatever comes to mind

All writers get stuck into certain parts of their writing, and we all become victims of perfectionism or procrastination one way or another. Don’t let this be a thing to discourage you. What’s important to know about writing is that the more you do it, the more you will improve. So even if you’re writing something for fun, or you’re not entirely happy with the quality, know that actually writing it will help you more than avoiding it.

Did you know I have a free novel plan to get you started on your writing journey?

You can grab it through the [link here] or below!

the-plottery.com

The Plottery Links

The Plottery offers writing services such as book coaching, book editing, novel plotting digital courses, and theory books on the craft of w

I like how alberu knows how cale operates. Like everybody seems to be assuming that cale is righteous and his morale compass is definetely "good", but alberu knows thats not the case. Its not so bad that everyone thinks so, i feel like it will be the running gag throrough the whole series, but i was hoping for at least someone to have an idea that cale is always strategizing and his intentions are not purely good.

Cale is kind, yes. But he is not righteous

I REALLY hope alberu does not change his view of cale, from someone who always has ulterior motives to a lawful good person

While it's...cute? in fanart to see Kris go up and hug Susie, in canon, when Kris is moving on their own to sit next to her, they always give her space.

(Measuring tape for social distancing added for emphasis)

And the one time Kris (jokingly?) asked her for a hug/to share her jacket, they asked, they didn't glomp her.

They immediately smile at her ribbing a moment later, showing that they're not bothered by the refusal.

In fact, any time they've gotten physically close, it's because Susie approached Kris.

Which Kris seems to be perfectly alright with; she's their best friend and Kris does seem to want to be close to her, since they ask her for a hug after the Spamton fight.

My point is, Kris deliberately gives her space when it's up to them how close to get to her. Not only are they respectful of her boundaries, Kris seems to want Susie to bridge that physical gap herself.

If they hug, Susie's probably going to be the one to do it first.

Catch me crying in a dark ally way, I guess. A confession that is far more heavy than a climactic romantic one at this point. An admission to fear, although the cause of the fear unknown, out in the open and laid bare to tend to. Kanna's talk with Yuder before this about her own fears and the move Enon made to reveal himself to Kishiar couldn't have been utilized more beautifully.

Kishiar had suspected it for so long, and even after hearing it out loud himself he doesn't move in any way that Yuder doesn't approve of first. That embrace, though. He wants to reassure him so badly.

but seriously though i’m sick and tired of those masterposts that are like “here! A reference site on Greek mythology for all your needs! Look it has all fifteen Greek gods on it!” And I’m like. tHERE WERE LIKE HUNDREDS OF FIGURES IN MYTHOLOGY YOUR CRAPPY HIGH SCHOOL LEVEL BIBLIOGRAPHY SITE MEANS NOTHING TO ME 

if you want a basic outline of Greek mythology okay sure fine??? but like. if you want an extensive fucking reference site you are looking in the wrong goddamn places

as a self-declared greek mythology snob my reference site is fucking always this fucker right here. almost every single figure ever mentioned in a Greek text is on it, it has the most obscure gods, spirits, nymphs– it’s GREAT. You really wanna extend your mythological knowledge past the basic 12 and like four others? USE THEOI.  plus plus PLUS everything is cited so you can actually read the source material written about whoever it is you’re looking at.

fucking signal boost this. i’m so sick and tired of writer’s helpers blogs referring people to sites with as much information you would get from opening a third grade mythology book jesus chriiiiiist