Some resent Hannibal studies
Prints available on my redbubble!
Will Graham in Hannibal S1E11 "Rôti" and S3E03 "Secondo"
first of all none of us could afford hannibal’s therapy
unaired episode where hannibal accepts medicaid
Hannibal is independently wealthy and deeply invested in fucking with people who are interesting enough. Show up with a good story about how you are trying very hard to not give in to the urge to make tiny statues out of people's teeth and he'll see you for free.
Sliding scale payments where the scale is how fucking weird you are
"the mirrors in your mind can reflect the best of yourself, not the worst of someone else."
Title: The Third of July
Rating: Teen
Summary: Will and Hannibal are paired together in psychology class to do a project and they end up getting more than they bargained for out of their study session. 😉 (aka Fourth of July fluff 🎆)
So... I found this and now it keeps coming to mind. You hear about "life-changing writing advice" all the time and usually its really not—but honestly this is it man.
I'm going to try it.
I love the lawyer metaphor, because whenever I see “John knew that...” in prose writing I immediately think “how? How does he know it?” Interrogate your witnesses. Cross-examine them. Make them explain their reasoning. It pays dividends.
All of this, but also feels/felt. My editor has forbidden me from using those and it’s forced me to stretch my skills.
[ID: The full text of an article. It reads:
"Writing Advice": by Charles Palahniuk- In six seconds, you’ll hate me.
But in six months, you’ll be a better writer.
From this point forward – at least for the next half year – you may not use “thought” verbs. These include: Thinks, Knows, Understands, Realizes, Believes, Wants, Remembers, Imagines, Desires, and a hundred others you love to use.
The list should also include: Loves and Hates.
And it should include: Is and Has, but we’ll get to those, later.
Until some time around Christmas, you can’t write: Kenny wondered if Monica didn’t like him going out at night…”
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Instead, you’ll have to Un-pack that to something like: “The mornings after Kenny had stayed out, beyond the last bus, until he’d had to bum a ride or pay for a cab and got home to find Monica faking sleep, faking because she never slept that quiet, those mornings, she’d only put her own cup of coffee in the microwave. Never his.”
Instead of characters knowing anything, you must now present the details that allow the reader to know them. Instead of a character wanting something, you must now describe the thing so that the reader wants it.
Instead of saying: “Adam knew Gwen liked him.”
You’ll have to say: “Between classes, Gwen was always leaned on his locker when he’d go to open it. She’d roll her eyes and shove off with one foot, leaving a black-heel mark on the painted metal, but she also left the smell of her perfume. The combination lock would still be warm from her ass. And the next break, Gwen would be leaned there, again.”
In short, no more short-cuts. Only specific sensory detail: action, smell, taste, sound, and feeling.
Typically, writers use these “thought” verbs at the beginning of a paragraph (In this form, you can call them “Thesis Statements” and I’ll rail against those, later) In a way, they state the intention of the paragraph. And what follows, illustrates them.
For example:
“Brenda knew she’d never make the deadline. Traffic was backed up from the bridge, past the first eight or nine exits. Her cell phone battery was dead. At home, the dogs would need to go out, or there would be a mess to clean up. Plus, she’d promised to water the plants for her neighbor…”
Do you see how the opening “thesis statement” steals the thunder of what follows? Don’t do it.
If nothing else, cut the opening sentence and place it after all the others. Better yet, transplant it and change it to: Brenda would never make the deadline.
Thinking is abstract. Knowing and believing are intangible. Your story will always be stronger if you just show the physical actions and details of your characters and allow your reader to do the thinking and knowing. And loving and hating.
Don’t tell your reader: “Lisa hated Tom.”
Instead, make your case like a lawyer in court, detail by detail. Present each piece of evidence. For example:
“During role call, in the breath after the teacher said Tom’s name, in that moment before he could answer, right then, Lisa would whisper-shout: ‘Butt Wipe,” just as Tom was saying, ‘Here’.”
One of the most-common mistakes that beginning writers make is leaving their characters alone. Writing, you may be alone. Reading, your audience may be alone. But your character should spend very, very little time alone. Because a solitary character starts thinking or worrying or wondering.
For example: Waiting for the bus, Mark started to worry about how long the trip would take..”
A better break-down might be: “The schedule said the bus would come by at noon, but Mark’s watch said it was already 11:57. You could see all the way down the road, as far as the Mall, and not see a bus. No doubt, the driver was parked at the turn-around, the far end of the line, taking a nap. The driver was kicked back, asleep, and Mark was going to be late. Or worse, the driver was drinking, and he’d pull up drunk and charge Mark seventy-five cents for death in a fiery traffic accident…”
A character alone must lapse into fantasy or memory, but even then you can’t use “thought” verbs or any of their abstract relatives.
Oh, and you can just forget about using the verbs forget and remember.
No more transitions such as: “Wanda remember how Nelson used to brush her hair.”
Instead: “Back in their sophomore year, Nelson used to brush her hair with smooth, long strokes of his hand.”
Again, Un-pack. Don’t take short-cuts.
Better yet, get your character with another character, fast. Get them together and get the action started. Let their actions and words show their thoughts. You -- stay out of their heads.
And while you’re avoiding “thought” verbs, be very wary about using the bland verbs “is” and “have.”
One of the most-common mistakes that beginning writers make is leaving their characters alone.
For example:
“Ann’s eyes are blue.”
“Ann has blue eyes.”
Versus:
“Ann coughed and waved one hand past her face, clearing the cigarette smoke from her eyes, blue eyes, before she smiled…”
Instead of bland “is” and “has” statements, try burying your details of what a character has or is, in actions or gestures. At its most basic, this is showing your story instead of telling it.
And forever after, once you’ve learned to Un-pack your characters, you’ll hate the lazy writer who settles for: “Jim sat beside the telephone, wondering why Amanda didn’t call.”
Please. For now, hate me all you want, but don’t use “thought” verbs. After Christmas, go crazy, but I’d bet money you won’t. End ID]
honestly guys i am such a sucker for southern will graham. i need his southern lick to come out when he's comfortable around people, i need him to call his dad 'daddy' and for him to be his daddy's boy and not his son (its meant to be endearing), i need him to have a poor man's stew that's half gravy that he grew up on, i need him to know how to make a really good chicken fried steak, i need him to own some mud boots, i need him to dip his head slightly when he says ma'am or sir, i need him to call freddy missy in a really sarcastic voice, i need him to have an older grandmothery figure back in his old neighborhood that sends him care packages and taught him how to make the best sweet tea this side of the united states
i need will graham to have southern in his veins, its so important to me...
There's so much to be said about the line "They know" in Mizumono. It has so many different meanings. "They" is so many people.
Will is saying "Jack knows you're the Chesapeake Ripper".
Will is saying "Kade Prurnell and the FBI know we're all breaking the law."
Will is saying "Alana knows about you, about us."
But when you say the word "they", you talk about others. It's someone else. It's exclusive of the speaker. And isn't that the kicker? They all knew something. They all had goals.
Jack's goal was to kill and/or apprehend Hannibal.
The FBI's goal was to take in Jack and Will.
Alana's goal was to protect Will and herself.
But Will says "They know" because he isn't included in any of this knowledge. He doesn't have a clear goal. He doesn't know what he wants. Not until it's too late.
Did you notice in Mizumono that when Will gets out of the cab at Hannibal's house, he gets out sort of slow and unsure, but still relatively calm, until he sees Alana laying on the front walk? Then he hurries. Then he seems alert. Then he gets out his gun. It's a quick change. He's panicking because these people who are alive and with him are hurt.
Then boom, another quick change, because Abigail, who was thought dead and separated from him, is not hurt, she's here, and suddenly so is Hannibal, and the regret is replaced with panic. How did this happen? How is Abigail alive? Why didn't they leave? Why aren't they safe and far from here?
And you know why?
It's because Hannibal and Abigail, they know. They know (or at the very least Hannibal did) that Will betrayed them. They know that Will was supposed to be with them. And they know that it can not be that way, not now.
And Will, the double agent, the loyal soldier and the lovesick fool, he was blind. He did not know. He couldn't have.
these percentages are optimistic and may not reflect reality
