and plot tension

anonymous asked:

Do you have any tips on writing really great mutual pining? It's a pretty big part of my next fic but I can't seem to get the emotions across in my writing ;-;

Plotting Great Romance

While “pining” implies an almost lack of romance, I still think the same goals of writing a great romance apply. You develop each of the two characters separately, and you develop a basic story for each of them separately, and then you see what happens when you bring them together. Think of it like clapping - each hand is capable of accomplishing a lot on its own, but when you slap your hands together, it creates a unique sound that one hand cannot produce on its own.

You could plot out the scenes/tension/suspense between them before developing each individual character, but I think it can be more challenging that way. So I would try to imagine the backstory, the characteristics, the wants, the needs, the goals, the motivations, the quirks, the interests…figure out who each of these characters is first.

Once you have that, you can start to think about how each character affects the other. What new characteristics do each bring out in the other? Are they good or bad? What ways do they challenge each other? What impact does each one have in the other’s life? Don’t think in terms of romance at this point. Just imagine your characters together, and imagine them separately. What’s the difference? What aspects of their personality do they suppress around the other and which ones do they set free?

Then, consider what qualities they each admire in the other. Why does each of them like being around the other? And counterpoint - what things frustrate them about the other?

When it comes to pining…

…make the reasons behind their unrequited romance good. A reader can quickly get frustrated by two characters who are simply too shy to admit their true feelings, or too naive to recognize chemistry and affection that is obviously mutual.  This is easier than you think. Imagine what obstacles a relationship between them might have, and then have your character foresee this obstacle as too troublesome to deal with.

For example, in a Romeo/Juliet type storyline, two characters might pine for the other but fail to act on their feelings due to family expectations. An artist might never pursue art because their parents expect them to be a doctor, just like a person may not pursue another romantically because their parents wouldn’t approve. 

Geography might be another potential obstacle. Two characters that meet unexpectedly while on vacation may hit it off, but knowing they each live on separate coastlines, they anticipate a stressful long-distance relationship and hold back on confessing feelings. 

An existing relationship is a big one - a character might not feel fully committed to their current partner, but their partner has never treated them poorly and for all intents and purpose, they seem perfect for each other. So they hold back feelings for another person because they don’t want to hurt the person they’re currently with, who they do still care about deeply. Their life might also be comfortable with this person, or even well established, with a nice home and kids, and not wanting to hurt your children with a divorce is a big reason someone might hold back on feelings for someone else. 

Basically, you need to consider what is stopping each character from confessing their feelings. Fear of rejection is implied - there needs to be more than that in order to carry mutual pining for an entire novel. There need to be other obstacles, and they need to be ones that your characters can predict, and ones they care about. 

Let me put it much more simply. Instead of each character asking, “What if they don’t love me back?” have them ask, “What if they do love me back?” And consider what the answer to that question is. Once these feelings are requited, what are the consequences?  What is each character afraid of? 

So I think that would be my biggest suggestion - make their hesitations be about more than rejection. And when it comes to describing their emotions, don’t try too hard. Tell your story, and see what emotions naturally unfold. We convey emotion by putting ourselves into the shoes of our characters and imagining how it might make us feel. I think once you have the story well plotted and the characters well developed, it’ll become easier to describe what each of them is feeling. 

Good luck!

-Rebekah

Pillow Talk — S.Coups

Originally posted by taecheol

A/N: so this is kimbapkiddings’ first smut imagine written by yours truly, admin japchae! I rly hope you guys like it. I was super inspired by pillowtalk by zayn bc c’mon, pillowtalk?? s.coups?? they gO TOGETHER so here’s this imagine. have fun ;-)

Plot: The tension between you and Seungcheol had already been there when you became his close friend as a new backup dancer for Pledis. It only escalated once the two of you were paired for a sexy lap dance routine. When he looks into your eyes during the lap dance, he can see it all: your body underneath him and your pillow talk late in the night.

Word Count: 2,298 words
Song: “Pillowtalk” by Zayn
Content: rough-ish vanilla sex, cunnilingus, fingering, calling him oppa

Keep reading

OK I would never ever want to see less Polly so SK if you’re reading this (not likely but you never know who might be lurking), DON’T MISINTERPRET ME but…

What if Polly couldn’t forgive Tommy in s4? 

What if Ada became Tommy’s new Polly? 

What if she came back to the business and took on a leadership role and kicked so much ass and became so much more central to the plot? IMAGINE THE TENSION. Imagine Polly trying to live a more normal life with Ruben and battling with her envy about Ada’s new position and her boredom with being out of the business. 

I just need more Ada but knowing SK, getting more Ada would come at the expense of Polly’s screen time and I don’t want that. Argh. 

Also can we talk about Sherlock’s character development (and developing plot tension) in relation to his drug use and admitting to it?

We have ASIP:

“I am clean!” “Is your flat?” *Suspicious look and avoidance of answering.

A) Sherlock won’t admit to drug use/having drugs in the flat

B) Sherlock isn’t using right now

Then HLV: 

A) Is caught using drugs, but claims it’s “Just for a case”

B) Is back to using, and we all know it’s not just for a case - it’s cuz he’s broken up over John

And finally, TAB:

A) Admits that he uses, but argues that he is a “user”, not an “addict” (whether this is true or not is debatable, and also depends on your definition of “addict”, whether you’re talking physical dependency or emotional/mental dependency)

B) Is seriously fucked up and nearly overdoses. 


On the one hand, Sherlock is getting more and more open and honest about, and John is becoming more aware of, his drug problems. On the other hand, his using is getting worse and worse. 


God, I’m so worried for my poor baby. But seriously, let’s not erase or overlook this part of Sherlock’s characterization. I think BBC have done a good job of portraying a modern Sherlock who struggles with drug usage, just as the original did, and it’s good to have representation we can talk about. 

@vanetti

anonymous asked:

for the unpopular opinion thing: jimon has the potential to be a good ship

strongly agree | agree | neutral | disagree | strongly disagree

i love jimon a lot!! i have since i read the books actually. i have a penchant for rivals to friends to something more type ships because i love the underlying chemistry & narrative tension two opposing characters provide to each other - the potential for confrontation and the resulting growth and understanding! healthy rivalries are always great. of course as i’ve talked about before i love all types of ships (provided that they’re interesting and healthy and well-written or at least have the potential to be interesting) so be they enemies to lovers (or lovers to enemies!) or friends to lovers or strangers to lovers or rivals to friends to lovers i don’t care, as long as we see narrative growth and chemistry of some sort!! chemistry here meaning emotional/plot-based tension, not necessarily romantic or sexual. 

name: sabre
pronouns: she/her/hers
timezone: cst
favorite tropes: enemies to lovers; the enemy of my enemy is my friend; fake relationships; will they or won’t they?; unresolved sexual tension
any plots you can’t resist?: any of the above plus plots with groups of friends with history and inside jokes and slice-of-life vibes; sex in the city esque friend groups; girl gangs
what site preview are you most excited for?: i like everything i’ve seen so far!
what’s your favorite time of day?: between midnight and four in the morning when it’s dark and quiet and i haven’t started to regret staying up too late
favorite holiday tradition: giving gifts! receiving gifts feels awkward af but giving is really nice ☺️
what tv show are you binging right now?: i binged through all of the good place that was available and now i just sad dog whine as i wait for thursdays to come around
favorite emoji: 💀💀💀💀💀💀💀💀

@rataplani It’s too bad because Deponia genuinely has some good things going for it. The worldbuilding (imo) is interesting. The art direction is great. The musical interludes are catchy and memorable and funny. It’s got a charming touch of weirdness and several zany tropes. The jokes aren’t always low–there are some stupid-but-good-movie levels of humor, like the kind you come across in Zoolander or Ace Ventura (the only stupid movies I’ve ever liked). There are some amusing 4th wall breaks. Character development exists. And the plot presents some genuine tension with a seemingly-intractable dilemma and a couple of surprising twists. Personally, I like (and am even endeared to) the series, particularly for these merits.

I will even go as far to say that I appreciate that Rufus (the main character) is clearly designed to be an asshole. (Not that I want him to be one.) I think the writers are under no illusion that Rufus is a juvenile, self-absorbed, hero-complex piece of trash. And in my experience, we get plenty of white male main characters in games that are ALL those things except the developers are absolutely clueless that that’s who they’re writing. Plus, with those it’s always the brooding cynic or the young, bright-eyed “chosen one.” This time, it’s the village idiot. So I will contest @bleeding-barghest​‘s accusation that the story ultimately says what Rufus does is “OK.”

As the bard says of Rufus in a refrain, “He completely f*cked up!” For Rufus’ behavior he is disliked by the other characters, he becomes the butt monkey, and after our feelings of schadenfreude there are serious consequences for him (and, of course, others). I don’t feel the world or the writers reward him for what he does (his idiocy drives the story enough for 3 games, with the small glimmers of decency being enough for us to put our faith in him). He doesn’t quite get what he wants in the end of the trilogy. It’s not a free pass. It’s not the silver platter.

However, I think the sticking point comes in that, as @bleeding-barghest notes, there are too many points where the behavior goes too far, and that there isn’t enough of a redemption at the end to suffice for a lot of people. And I can see how, despite the writers’ tacit acknowledgement about the things offensive or wrong about Deponia, the fact that they choose not to do enough about it and/or have written it in the first place makes things as bad or worse. It’s understandable that if we’re going to play an unlikable character, we want them to be likable by the end. Rufus, maybe, doesn’t quite get there.

Fic Writer Appreciation Day

There are so many amazing writers in the OQ fandom I don’t know if I can list them all… but I’ll give it a try.

@lala-kate. I love her stories. They are always so beautiful and so emotional. The way she writes children is also amazing. Try reading Her. It takes a horrible plot line and turns it beautiful.

@loveexpelrevolt. Her prose is legendary for me. Her use of imagery is incredible. Try reading So Darkness I Became. You’ll know what I’m talking about.

@somewhereapart. An amazing writer! If you’re in this fandom you’ve probably read her work and loved it. Try reading Breaking In. It’s a slowburn but it’s excellent buildup.

@keepshiningon. She’s a new writer but she has so much potential. Her new story Stranger Things Have Happened is going to be great.

@audreysl0ve. Love love love her stories. She really has an amazing grasp on pacing and plots. She makes the tension fly off the page. Try reading The Escort. It’s a very deep and sensual story.

@believingispowerfulmagic. She has written so many stories. All of them incredible. I love the way she characterizes the dynamic between Robin and Regina. She always makes sure that they are honest and supportive. Try reading Comfort Food. It’s a favorite of mine right now.

@belleoftheballpoint. I love her stories. She puts OQ in these situations that are magical or tragic and they just make you want more. Try reading Fate. It’s a short story but I love it.

@miladylocksley. I haven’t read very many of her stories but she just posted an amazing sneak peek of a one shot that has me so very intrigued. It looks like it’s going to be very tragic but also very beautiful.

@gray-autumn-sky. She is my go to for Canon Divergence. Her characterization of Robin and Regina are perfect. She finds a way to twist canon but still make it feel real. Try reading First Steps. It’s a lovely Hood-Mills universe that centers around Robin’s daughter.

Sorry if I’ve forgotten anybody.

the eternal struggle

Me: OMG it’s so great that the central relationship of this series is a platonic friendship, so often stories rely way too heavily on romantic/sexual relationships in order to drive the plot or to create tension, I mean, platonic friendships are just as important and can be just as emotionally deep and harrowing as romances, UGH you never see this in anything I love it so much ;___;

Me:

Me: …but I would also like to see them bone

Chapters 433 + 434 Thoughts

….This probably wont be so much a review of these chapters, but more an examination about why I’m disappointed in them. 

I feel like I need to preface this by saying I LOVE Natsu. He’s my third favorite character, and he used to be my very favorite. I have no problem with him stomping villains, and saving the day. He’s the protagonist. It’s what he does, and should be doing, and I like him doing it. And this arc is supposed to be all about Natsu bringing FT back together, while simultaneously helping to solve his friends problems. As I said near the beginning of this arc, it’s like an RPG, with Natsu going around recruiting team members, by completing character’s individual quests, to meet the recruitment requirements. I have no problem with this. It’s all good. 

HOWEVER, like many others I’m sure, I was left dissatisfied with these current events, and with this current mini arc, which seems to be racing to a close. And my problem with Natsu being shown to be oh so strong - strong enough to single-handedly bring down a War God (the first God we’ve ever even seen in this series) -  is the execution of the previous arc coupled with this current one. But I’ll get back to that in a minute. 

The second problem I have, is that I can’t feel excited about Natsu’s current strength, nor does it leave much of an impact on me, because of the pace of this current arc. Everything is moving too fast, and happening too easily, against villains, who we are being told are a threat, but have never actually been proven to be so. They have just been introduced to us, have been able to do little, if anything against the FT members, and are being taken out with little effort. So the reward for the readers feels very empty because of it.

Now, back to the main issue, and the issue I’ve had very often for many, many arcs now, and that is the execution of FT. 

The fact is, Natsu has ALWAYS been strong. ALWAYS. We’ve been told of his potential, we’ve had people be in awe of him many times previously, and we’ve been shown time and time again, how he’s overcome odds with sheer will, heart, and strength, in order to take down the bad guys. Yes, he’s had help, and yes, there have been times when even he has failed, and especially in the previous Tartarus arc. But IMO, those moments weren’t blatant ENOUGH to counterbalance the many moments of glory Natsu has had throughout the series, nor enough to impart more joy on the audience over the current events that are now unfolding.

As I said, Natsu did have a rough time of things in Tartarus:

- He defeated Jackal pretty easily, but Jackal came back, and needed to be properly taken out by Lucy once and for all.

- He was quickly frozen by Silver, and then captured.

- He defeated Franmalth, but again, only with Lucy’s help.

- He failed at defeating Tempesta, ending up unconscious/poisoned instead, while Gajeel did defeat his opponent, and Gray came in and defeated Tempesta with ease.

- He needed the twin dragons’, and then Gray’s help to take down Marde, and it was Gray who delivered the final blow. 

- He lost Igneel right before his eyes, and could do nothing to stop it.

All of the above sounds like a fantastic set up to pump us up for Natsu getting stronger after this time skip, right? 

Wrong.

Again, the execution of it was badly done. To start with, not enough time has passed for us, as readers, to truly appreciate Natsu’s powerup. But also, for me personally, to feel more excited about Natsu’s increase in strength, there were two things that needed to happen in Tartarus: 

1. Natsu should have blatantly lost to Tempesta while CONSCIOUS, to the point that he was about to be defeated, and then Gray should have swooped in and saved him. Either that, or he should have been on the brink of losing very badly to MARDE, and again, Gray should have come in and saved him with his devil slaying abilities. 

2. It should have been his fault that Igneel died. 

Maybe that’s too cruel, but IMO it needed to happen. If Natsu had been directly involved in Igneel’s fight, and eventual death, THEN his increase in strength would feel so much more rewarding. Imagine Igneel having died because Natsu got in the way, trying to help in his fight with Acnologia, and it cost Igneel his life trying to protect him? Then we would have an even more blatant and direct motivation for Natsu to want to get stronger. We needed him to outright fail in a major way, and he didn’t. And that is what is causing me personally, to not feel so hyped by seeing Natsu owning people left and right.

As I’ve said already, Natsu’s has ALWAYS been strong. I’ve never thought of Natsu being weak, or needing a huge power up. Even when he failed to defeat any of the dragons during the GMG, Natsu still always comes off as so much stronger than most of the other characters. 

So, seeing him take down a God with just a couple of punches leaves me feeling very empty, because it’s a situation we’ve seen many a time before, including in this very arc. It was shown when he was literally melting the coliseum at the GMG; we saw it when he took down Bluenote, an opponent, unlike Avatar, which we know definitely is strong because he once matched up against Guildarts;  we saw him easily take out 3 Avatar members in quick succession; and we saw him in this very chapter taking down the leader of Avatar. We didn’t need more proof, and more people being in awe of Natsu right now, while Erza, Lucy, Wendy, Gray and Juvia are relegated to fighting nameless, faceless soldiers. 

And it adds insult to injury that he’s taking down a deity of war, which in any other manga, would likely be portrayed as a very formidable opponent. I think things would have been better under the circumstances if Erza, Gray and Lucy, and maybe even Wendy and Juvia had teamed up with Natsu to take it down. That would have made it a little easier to swallow, and would have also further emphasized the point Natsu was making in his speech, in that he and his friends work together.

I understand what Mashima is trying to do here, but for it to really have worked, and for more readers to really appreciate it, things in the past arc needed to go a little differently. We needed to see Natsu FAIL BIG TIME for this current payoff to feel like a payoff, instead of the status quo. 

Maybe I’m wrong, and it is just me who feels this way, but I am disappointed by how things are going thus far, and this arc just feels very hollow at the moment. I have a lot more to say about the series as a whole, and mostly about the lack of tension ever since the first time skip (which I thought never should have happened) and the lack of casualties during the tenroujima events (in which I thought Makarov should have died for the benefit of the story), but I’ll leave it here for now. 

[Aelin’s] return to the city is a flurry of vengeance, score settling, and surprising alliances, and Maas delivers the action in her characteristic cinematic style. …Packed with brooding glances, simmering sexual tension, twisty plot turns, lush world building, and snarky banter. Even better, Aelin’s tale is far from over: the final chapters of this installment promise more epic adventures and badder bad guys to defeat in forthcoming volumes.
—  Booklist’s review of Queen of Shadows