Rimini doll convention 2014


Hi everyone!!!
I’m just survived to the two days of the RDC and I’m so worn out, but so happy and excited ;3
This time the stand was a collaboration between the BJD Italia community users of the north Italy, and became a wonderful experience, for me. so many different experience in sewing, making props and forniture, so many opinion and individual creativity that will inspired me for the future.
All part of the stand is made by us, walls, forniture, outfits, make ups and posters, a really tought work but the entusiasm and compliments that we had received filled me with happiness and desire to improve for the next step and convention (the Italian doll convention Milano, 16-17th may 2015)
This experience was very expensive for me, three days in a hotel and many hours by cars, dinners always out, etc… but the intensity of emotion to live so many days and hours speaking, seeing and touching dolls and knowing so many owners that you know only online is inexplicable.
I hope to expand my skill and the next years try to make a cool stand like this on the L-doll convention, can’t wait to know many European too!!
A really big thank you to all the people coming to see Us, for buy, take pictures or only say hi.

In this days I will post/reblog a lots of photos, by talented photographers and owner that mine are few and not very well as always .__.
My dolls are only on the front:
Thoru, the migidoll cynical cho and Masao, the dollclans Kien.
The other belongs to Shatiel, Vivia, Luna sleeping liar, Madda, 3lysa, Cathleya and Sefelicle

Too Much of a Good Thing

No matter how hard we writers try, it can be so easy to fall into the trap of “too much.” Some writers get excessive with colorful descriptions, and some just can’t help writing pages and pages of playful banter. Whatever your weakness, know which of these literary devices you’re using too much of, and consider pulling in a different one to shake things up a bit.

Exposition. Past events that explain the starting point of your story. This can be social, economical, or political events that resulted in the present state of the world. It can be a character’s childhood, past trauma, or past triumph. Anything that occurred in the past, before your story begins, is exposition. 

Description. What we see, hear, smell, taste, and feel (touch). Description can be a character’s appearance, the look and sounds of a setting, the taste of something wonderful. Anything you can experience with any of the five senses qualifies as description. 

Dialogue. Any word that is spoken counts as dialogue, even when your character is muttering to themselves when they’re alone. I’m going to make a case that every form of communication between characters should also count as dialogue. This could include telepathic communication (mind messages), electronic communication (e-mail, text message, online chat), and written communication (notes and letters). 

Narrative. What is actually happening. Does your character sit down? Does she stand up? Does she change her clothes, get on the bus, slay the dragon? When you’re using action verbs, you’re likely narrating. Think of radio sportscasters. They have to convey what is happening because we’re not there to see it.

Rumination. When a character is evaluating, reflecting, analyzing, thinking. If your character has a problem, and you’re writing their thought process to solve it, that’s rumination. If someone just betrayed your character, and he’s thinking how hurt he is, and how he never saw it coming, that’s rumination. Rumination is usually subjective - it involves your character’s opinions, pains, and pleasures. Anything going on inside your character’s head is rumination. 

Ultimately, the amount you use of any given device is going to contribute to your overall style, so complete balance isn’t necessary. You can still use a lot of dialogue or a lot of description, but when it starts to feel “too much,” challenge yourself to use these remaining devices to spice it up. 


my-chemical-everything said:

How do you reveal important things about your characters pasts without it seeming forced?

It’s usually best to bring it up when it’s relevant to the current scene, unless you’re trying to make a point that the memories are invasive. You can create a small scene for this that also reveals something else about your character.

You can also reveal the information in steps so that it feels more natural. Think about when you remember an event that happened to you: you don’t have an internal two-minute monologue about the time you took a vacation. You remember bits and pieces that create a feeling. To replicate that feeling, try something like this:

Amy tapped her fingers nervously on her desk, gazing out the window at the concrete wall across the alley. It was almost 4:30 and she hadn’t so much as flipped a page in the file open in front of her in ten minutes. She cast a worried glance over her shoulder at the department manager and quickly straightened the papers before cramming the file into her bottom drawer.

Four of the other girls were going to the bar after work and Amy only had a small window of time she could escape in before they showed up in her cubicle to drag her away. They couldn’t see her - she was running out of excuses and although she wasn’t sure, her dog may have died twice in the last six months.

In a later scene:

The waiter handed her a short, wide glass and glared at her. She could hardly blame him - three drinks and not one tip. But what was she supposed to do? She was already spending money she didn’t have on drinks she wasn’t drinking. Amy tried to pretend that it wasn’t there, that her heart wasn’t pounding with stress, but the glass was slippery and cold and she couldn’t help but let the smooth scent of gin waft up her nose. The walk back to the crowded table was too long.

The first scene reveals some information about the character:

  • Amy has an office job, and probably not a high-flying one judging by her view and her worry about her manager
  • Her coworkers like her enough to invite her out repeatedly even though she keeps turning them down
  • She’s a sloppy liar, or lies so much that she can’t keep track of it
  • She’s been working there for at least six months
  • Something about going to the bar or out with her coworkers makes her nervous

The second scene expands upon that by revealing that

  • She didn’t escape/couldn’t lie her way out of going
  • She doesn’t have money to blow on drinks
  • She’s not drinking them but finds them enticing, which is setting you up to reveal in more detail at some point that she’s a recovering alcoholic (and for whatever reason, secretive about it)

You can reveal just about anything about a character this way without having the scene be clunky and out of place. When I’m doing exposition, I always like to make sure a scene is revealing at least two things about a character’s personality, motivations, past, etc. Scenes that exist only for one purpose often feel flat to me. It’s interesting to read because it lets the reader deduce a bit on their own, which is more like what we would actually experience if we were discovering something about a real person. Your approach will need to vary a bit depending how explicit or surprising you want to be, but hopefully this gives you a starting point!

anonymous said:

I'm currently writing a fantasy-story with six main characters. I'm introducing the main characters by having the two antagonists hearing a spies vague report about them and later on discussing about two of them together. I've become increasingly worried that this is "info-dumping", but knowing about the main characters' past is vital for the story. This way I'm also able to introduce the antagonists in an exciting way. Is there any way I can make it work better?

Here is what we have on infodumps and exposition.

The best way to make lengthy reveals work for your story is to make it immediately relevant to what is going on in the story. If all a passage does is lay the groundwork for things that have yet to mean anything to the reader—that is, if you are giving them background and information on characters they have no reason to be invested in yet—readers may get bored and skim until something exciting happens… which can then turn into a problem, since they are missing critical pieces of information.

Part of what makes infodumping at the beginning of a story a dangerous thing is that readers have no context yet. This is also one of the reasons a common piece of writing advice is “start as late in the story as possible”: Get the readers interested in the story from the start, and they are more likely to stick around through the background information that makes the story even better. 

Some general tips on infodumping backstory and exposition:

  • Spread it out. Do readers need to know everything, right this moment? Is there any way you can “breadcrumb” bits and pieces of their backstory throughout a longer stretch of the story? Making the exposition last a bit longer not only eases up on infodump-y passages, but can also add to tension and suspense as readers get excited by the story and want to learn more about the characters.
  • Keep it interesting. If the readers do need to be armed with some information right from the get-go, make it clear why. If you can relate the backstory to something that is going on, or if you can make it interesting or pleasant to read, long stretches of information will be more palatable and easier to remember.
  • Treat flashbacks with caution. Flashbacks are by no means the spawn of the devil, but if you rely on them too heavily, your story can start to feel disjointed. Too much attention to flashbacks in a single timeline story can feel like not enough attention given to a dual- or multiple-timeline story.
  • Treat dialogue with caution, as well. I am a huge believer in natural-sounding dialogue. Most characters should not be willing (or possibly even able) to reel off a textbook’s worth of history about a setting or another character. Expository dialogue does work, but formatting a conversation around “let me tell you everything we know about Castle MacSettingLand” might be pushing the suspension of disbelief.



Le Musée du Quai Branly met à l’honneur l’art du tatouage dans une exposition de longue durée, intitulée Tatoueurs, Tatoués : pendant plus d’un an, du 6 Mai 2014 au 18 Octobre 2015, la Mezzanine Ouest du bâtiment proposera un tour d’horizon des pratiques de tatouages, tant dans nos sociétés occidentales que dans les tribus d’Asie ou d’Afrique.

LeMusée du Quai Branly consacre sa prochaine exposition aux tatouages de tout temps et de tout lieu : le commissariat de l’exposition fut confié à Anne et Julien , fondateurs de la revue HEY ! Modern art and Pop Culture,spécialisée dans l’art brut.

Ce choix réside dans le fait que le tatouage apparaît comme un marquage identitaire, signe de rébellion dans nos sociétés occidentales dans les années 1970, mais aussi signe d’appartenance à une tribu ou à une caste dans certaines tribus africaines ; cette pratique ancestrale est visible dans la quasi-totalité des sociétés, porteur de messages et de convictions personnelles ou sociétales !

Ainsi, le Musée du Quai Branly a pu réunir plus de 300 oeuvres historiques et contemporaines, provenant des quatre coins du monde, pour nous conter l’histoire et l’importance sociologique des tatouages et des rituels pouvant leurs être liés. Entre autres, 13 “volumes” reproduisant la peau de manière hyperréaliste furent tatoués par des maîtres de l’art tels que Tin-Tin, Jack Rudy ou Xed LeHead.

Visible pendant plus d’un an, cet espace promet de mettre en perspectivel’art du tatouage dans nos sociétés, depuis les tatouages traditionnels revenant en force dans l’Asie et l’océanie actuelles aux tatouages chicanos véhiculée depuis les années 1970 dans les prisons américaines.

Tatoueurs, Tatoués, l’exposition au Musée du Quai Branly,
Du 6 Mai 2014 au 18 Octobre 2015
Lieu : Musée du Quai Branly
Horaires : 11h-19h | nocturnes jeudi, vendredi et samedi jusqu’à 21h - fermé le lundi
Tarifs : 7€ | 5€ tarif réduit