“You’re gentle with me, and it’s so kind, but surely - surely you can’t be happy being so gentle, and I want… I want you to be happy. So just— don’t hold back.”

Can we get a whumpee who's openly mad at how long it took for them to be rescued because they genuinely thought their team had given up

How to Write OCs With Trauma

Just as I had shown with the 3 love posts for this series, there are a ton of ways that trauma can be shown through character behaviors or even speech patterns. Different people react differently when it comes to trauma, and you should also keep in mind what kind of trauma the character had gone through and what they were like before it occurred before deciding how they would be like now.

In the following post, I will be giving some different responses to trauma that your characters could display.

I. The “IDGAF Anymore” Trauma Response

Perhaps one of the most used responses to trauma that you see in characters in media is the character that blocks off their emotional responses to anything thereafter. They may fall in love with someone but they’ll never admit it because they don’t wish to be hurt. They may find a new family to love them but they shut themselves off from expressing said love because they are afraid of being hurt again.

Essentially what this response boils down to is a fear of being hurt again. Most people that shut down emotionally have been abandoned or abused or betrayed by someone they once trusted in some way; sometimes the thing that makes them feel betrayed isn’t even the other person’s fault such as an older sibling moving out of the house and away from their family once they get older or the death of a loved one.

II. The “Anger Issues” Response

I have known 2 people personally really well that have had this response to trauma. This response is where a person is so emotionally shut down (much like the last response spoken about) that they won’t allow themselves to show any emotion other than anger.

I once had a therapist tell me “usually when a person is angry, there is another emotion behind the anger, whether it is fear or depression or otherwise.” So the first question you should ask yourself when making a character with the rage response is… why are they angry? What emotion is being masked by the explosion of their anger? What are they trying to hide from? What traumatic experience is making them feel this way and how do they really feel about said experience? Depending on your answers and the kind of character you’re writing about, the angry outbursts can be different.

Some people will yell, some will get violent, some will punch holes in walls and doors and furniture… some will scream into a pillow… some will storm away in the middle of a conversation or hang up the phone if someone says just the wrong thing. Really think about what your character is like, how they respond to tense situations, before you lean into their anger response because some anger responses do not fit certain personality types.

III. The “Sensitive One” Response

Some people, when dealing with tense situations, become intensely emotional. They may cry easily when someone just looks at them cross-eyed. They might go quiet when they’re anxious. They might get really defensive at the smallest things. The Sensitive One can be shown in many, many ways, as there are lots of different types of sensitivity, so really consider your character and what they’ve been through before you decide which type of sensitive person they are.

IV. The “Unmasked Hero” Response

Not all heroes wear capes… that’s the saying, right? These people are the activists. These are the people that will talk to anyone for hours and hours just to talk them down. These are the people you always hear saying “I never want people to feel the way I felt when I went through this.” These are the people that become therapists to help others going through their issues. The Unmasked Heroes live their lives to make it so that no one has to experience the pain that they felt, if they can help it.

V. The “Rebel” Response

I do what I want. That’s the theme song of the Rebel. They lash out, usually acting like the victim no matter what happens (sometimes they really are, but sometimes they aren’t). Trauma can completely rewire a person’s brain, but with the Rebel, they often felt repressed before or like they were unable to fully be themselves and when something traumatic happens, something snaps in them to trigger that “I don’t give a flying fuck” response in their brain and suddenly they’re doing anything and everything they ever wanted to do (and sometimes even didn’t want to do) just to spite the rest of the world and if you don’t like it, you can kiss their ass. This can also be shown through a runaway after something traumatic happens.

This is another very common, often used trauma response.

VI. The “Mental Breakdown” Response

As a mentally ill woman myself, I want to emphasize: not all who go through trauma get mental illnesses and not all with mental illness went through a mental break. That being said, it is very common for an extremely traumatic experience (or life, in some cases) to give someone a mental illness. Or rather, to bring it out of them. There are illnesses like Bipolar, PTSD and more that come to the surface after an extreme mental break, PTSD being the more famous for this very situation.

What is important here is that there is no one situation that will cause a mental break. Depending on the person, it can be something that would be nothing to one person but would completely break another down while a third person might be going through 5 things all at once and seem to be handling it well. There are so many different illnesses out there, and a lot of them are very similar, so what I think is most important is that you do your research before you write an illness you have not personally seen or experienced. If you know someone with an illness you want to write about, ask them if you can run some idea by them and make sure it isn’t stigmatizing the illness, as mental illness gets stigmatized left and right in media.

VII. The “Class Clown” Response

Another common thing that is shown in media - and I’ve noticed is very common in real life - is the depressed clown. There are so many people that listen to society telling them it isn’t okay to not be okay, so they laugh and clown around to make others laugh and just like a lot of people need others’ compliments to feel validated, these people often need laughter to feel validated.

Some people that become the Clown type will deflect their sadness by making dumb jokes. Maybe, if you write about your character texting or on social media, you can show them in a downward spiral and just get on their social media page to post a dumb pun to negate the negativity. Or make a joke at their own expense, which is also common. A lot of people will make others feel bad for not being able to laugh at themselves, and these people are [often] great at doing exactly that, even if they end up in tears later on when they’re by themselves.

VIII. The “Angsty Artist” Response

As I’m sure a lot of you are aware, a lot of artists have a lot of emotions they are processing and a lot of them will use their art (whether it be visual or writing or otherwise) in order to process it.

You may have a teenager writing angsty fanfiction or poetry. You may have a young adult opening their first blog where they write about their life beginning adulthood. You may have a person that is drawing dark, gory artwork. Whatever it may be, the art can either directly reflect the way they feel, such as the dark artwork, or they may do the opposite and write about their personal idea of a utopia and use art to escape. Either way, the art is a means to process and understand themselves better and/or escape from reality for however long they do it.

The only good and bad thing about using this response is that a lot of people that use art end up getting lost in it. They end up becoming obsessed and never cease to work on the art or think about the art and may become consumed by their own processing creativity.

IX. The “Addiction” Response

Addiction can come in so many forms. It can be the typical drugs, cigarettes, alcohol… or it can be addiction to getting lost in a hobby (see #8: The “Angsty Artist”)… or it can be becoming a workaholic. Honestly, anything can become an addiction if you let it consume you, so keep that in mind. It could even be something such as them becoming a hoarder because they are afraid to let their past go, so they won’t let anything go.

There are so many other responses to trauma. There are billions of people in the world, and tons of them have trauma in their lives. To say that it all boils down to these responses would be silly, but these are some common responses to trauma that would be a great starting point if you’re trying to figure out how to have a character of yours going through trauma.

Hey writing tumblr - and specifically, whumpblr! Have you ever wondered about a character’s life after their tongue is cut out? Not just me, right? Anyways, I had a conversation with the lovely @reinedesombres about the logistics of swallowing with no tongue, and she was happy to provide a bunch of information! Reinedesombres is a speech pathologist and swallowing specialist (although she would like to add the caveat that she generally works with stroke patients and the like, not people who have undergone torture like many of our whumpees) and was able to provide some really neat stuff, so I figured I’d share it with the rest of you! Because she has a background in linguistics, I also asked some questions about vocal function without a tongue, and will include that part of the conversation as well.

Screenshots from our conversation are below the cut. I’ll try to come back later and transcribe the screenshots for whump writers who use screen readers.

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Morgause’s puppet

Following this piece where Santiago asks for help escaping.

c.w. whumpee escaping, mentions of guns, implied future torture, mentions of death, whumpee bonded with their whumper, slight victim-blaming, emotional whump/crying, burns and scars 

——

“You have everything you need, right? You’ve got a gun?” 

Hayko didn’t know his own motives for asking. He had seen the other man cramming one into his leather jacket before they left and surely that couldn’t be the only one. He’d been careful from the start anyway, wouldn’t let something like that slip.

Santiago grunted a response. Felt down his sides where the weapon should have been and sighed when he found it taught against the pocket right where it should be

“Do…” Hayko asked, “you know how long it’ll take?” 

If Santiago left now, the trip would hardly take a day and there he would get some cover or so it was going to be. Then, he would continue down the road with whoever it would be— Hayko felt inadequate for not being told— and make off from Oklahoma. To New Mexico. It had been the goal from the start. When Santiago had told him, he had gone through the plan over and over until he could have repeated it back to him verbatim

Santiago shook his head. Cast an uncertain glance at the waiting car in front of theirs, cast another one pushing to the horizon where the sun began to dim and back to Hayko now. “How long will it take you to get back?”

Hayko scoffed low. “Does it matter?”

“I’m more worried about you than me. It’s nothing personal but—they find me? I’m gone. It’s as simple as that.” 

GHOSTS OF ST. PETERSBURG ―

TIMELINE ― a few months into sonya’s life with pyotr

CW ― smoking, very slight dehumanisation

When Sonya can’t sleep, he likes to wander the halls, pretending he’s a ghost. Flitting from moonbeam to moonbeam, spinning tragic backstories: he’s a war-ravaged soldier, returning to find his beloved has fallen for someone else; he’s a society belle, struck down with some mysterious illness. He’s a lonely, only son, drifting unseen and unloved through the cool throat of the hall.

It helps, in a way; it’s a degree of freedom he doesn’t deserve, but his ghosts make the Laval House a little less lonely. 

That night, he’s a jilted bride; imagining the dress fluttering at his heels, he runs through the halls, the glass balcony doors looming like the pearly gates, an event horizon he’s never been brave enough to cross — the balcony has always remained out of bounds, a tantalising impossibility.

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