Oooh headcanon that when the Host is in a very busy place or somewhere with a lot of things to narrate he gets overwhelmed, and it helps if the person he's talking to also uses third person to help him distinguish that conversation from the rest of the noise.
aw, poor guy. but i like this!! dr iplier probably advises him to bring headphones whenever he’s out walking around in public so he can listen to classical music and not have to narrate wherever he goes and what people talk about.
“Just the way the mother stood by her daughter all through when the devil was possessing her.”
“Oh, I know. I love that part.”
“Yeah. I… I remember it so vividly. Um… Shane, my son, he got a stomach virus the first time that I saw that movie. He was vomiting for two days. It was just… It was awful. Poor little guy. This was when I shared custody with my former husband, and it was his weekend. So I… I was there in the car, just… Sort of bundling my son, and he’s getting sick in this bucket I brought. And he’s crying his little eyes out. And then I thought, BAM! The Exorcist. And I looked in the rearview mirror of that car, and I said, "Mandy Riddle… If the mother in that Exorcist can keep it together while Satan himself is making a mess inside that little girl, you can get through this.” So… You know what we did? We grabbed that bucket and marched right back in the house.“
Leaving out the different theories about who’s alive and who’s not, the Undertaker actually made a point when he said…
Because Vincent would have laughed, he was that kind of guy.
And I find funny that literally a few pages before…
The Undertaker almost died laughing when he saw how much Diederich’s appearance changed.
I don’t think I should also mention the fact he cried (most human emotion he showed so far) upon thinking of Vincent’s body burnt to the bones.
So, are there still people doubting over their very probable and almost certain blood link? Basically, all we need is Yana’s written confirmation.
Also knowing how Shinigamis are humans who killed themselves, it physically hurts me to realize that the Undertaker got a second chance at being happy in death and managed to have a family, but still ended up having to witness the damages done to Vincent (his son)’s body after he was brutally murdered. Seriously it fucks me up.
Imagine all the fun they must have had when Vincent was still alive, finding occasions to laugh at everything together…
how do you write kisses and other intimate moments, from holding hands to nsfw? like, what details are the most important and when and stuff like that
It’s easier than it looks, trust me.
See: deep down, and from a storytelling point of view, a kiss scene (or even a sex scene) isn’t actually that different from a scene where the character stubs their toe against a table leg. In all three cases, you’re mainly and basically setting up an action, and then describing the feelings that action arises in the character. Two sides of the same coin: the action, and the reaction.
I won’t dwell much into the first part. An action’s an action, in whatever words you want to put it: whatever the wording, prettier or uglier, it will always end up being the same thing. I can write ‘And then they kissed’ in a fic and use the exact same words when telling my friend about what happened on Saturday between Sarah from sales and Peter from accounting.
Now the reaction, though, is the place where the magic is. You’re writing literature. And, since literature’s ultimate goal is to convey, what you’re aiming for is to convey the feelings, not the action itself, in such a way that the reader feels those feelings themselves. An action is concrete, happens in a certain context, and it’s more than likely that the reader hasn’t experienced that exact action in that exact context. Feelings, though, are atemporal, and it’s almost certain that they, sometime and somewhere, have experienced that feeling. So they’re the ones where the essence is.
As I said, your aim is to convey those feelings. And there are two ways to do that:
1- Appealing to reason: stating them, since the reader is capable of abstract thought. Easy. If you write “John was sad” the reader will know that John was, in fact, sad, and they’ll be like ‘aw, poor guy’, because they also know being sad is something negative.
2- Appealing to emotions: Completely by-passing the whole ‘abstract thought into concrete feelings’ part of the brain and going straight to the primal part, the raw emotions. Now, this is trickier, but also more rewarding: it evokes a visceral reaction, and thus way more intense.
As stated above, if you write “John was sad”, I’ll probably think ‘aw, poor guy’. But if you go the extra mile and state exactly what about that day made John sad, like he missed the bus so he came late to class and the teacher called him out, and then he forgot his lunch money and had to eat just a snack bar… then I, as a reader, am gonna remember all the times I missed the bus, and all the times I arrived late and my teacher called me out, and all the times i forgot my wallet, and more importantly I’m gonna remember how bad I felt about it, so not only am I gonna know John felt sad, but I’m gonna feel personally sad too. That’s why people cry at movies. It even has a name: the process of turning a thesis statement into a description is called ‘unpacking’.
And, I mean, making people empathize isn’t actually that hard: humans, as a species, are very social creatures. In fact, Neanderthals were way better fit for the habitat and yet, they went extinct and we didn’t, and a huge part of why is, precisely, our ability to communicate and create bonds. Making us bond with people is so easy, it’s been played for laughs:
“We are the only species on Earth that observe “Shark Week”. Sharks don’t even observe “Shark Week”, but we do. For the same reason I can pick this pencil, tell you its name is Steve and go like this (breaks pencil) and part of you dies just a little bit on the inside, because people can connect with anything. We can sympathize with a pencil, we can forgive a shark, and we can give Ben Affleck an academy award for Screenwriting.” - Jeff Winger (Community)
Sometimes, merely stating the actions themselves will do the trick, because the reader themselves will put on the character’s shoes, remember all the times it happened to them, and how it made them feel. Of course, it will be harder if the reader hasn’t experienced it: reading about a character stubbing their toe against a table hurts me more than reading about them getting stabbed simply for the fact that I’ve never gotten stabbed so I don’t know how much pain it entails but I sure have gotten my fair share of toes against tables. And maybe that’s going to be a problem if you write about stabbings, but for… common stuff, like kissing, hand-holding, and even sex, it is safe to assume the reader has either a) experienced it themselves, or b) consumed so much media that has already described the thing they almost feel like they have. It already comes pre-chewed, you don’t even have to be that vivid because in the parts where you’re vague, the reader will fill the gaps anyway. Not only that, but they’ll fill them with their favorite kind of flavor: if you tell me someone’s hot, I’ll immediately picture my ideal person, and the more details you add the more I’ll have to deviate from my idea of perfection, and the less appealing the character would look in my head.
On the other hand, and back to describing concrete scenes, the more details you add, the more vivid the scene gets, and the easier it is to submerge yourself in it and put yourself in those shoes. And for that, you want to describe the feelings, but not as static statements but as a dynamic sensory experience. That’s why sensory descriptions work so well: they tell us what’s happening, not in terms of the abstract concept of what the character feels inside their head but as something we can actually see, hear, touch, feel. Like cinema: I don’t need a narrator to tell me “Sarah felt scared” in a scary movie if I can hear the ominous soundtrack, her jagged breathing, if I can see the dimly-lit street as if I was walking it myself. Don’t tell the reader how to feel, what to think: tell them tangible, concrete experiences, and they’ll do the feeling on their own.
In short, again, think of it like a painting: the action verb is the background, that tells me if I should be putting myself in a forest or in a castle. Two strokes of a brush, and it’s done. The details, the message, is conveyed through sensory verbs, in fine movements that cast the lights and the shadows and the perspective and turn the painting so vivid I could swear I’m there.
ELDER THOMAS: I try my best to help him… It’s not very easy. Elder McKinley always gets very upset after a hell dream and sometimes I don’t really know what to do. I feel awful for him. Poor guy doesn’t deserve them nightly..
Days have gone by, knowing we may have caught it just in time has boosted my spirits a lot and my appetite at that as well, josh is out with Tyler and Jenna had plans so she couldn’t come and entertain me, I decided that I would turn on the Bluetooth through out the house and do Josh’s laundry and clean, which is something we should’ve done when we got back from tour but cmon we’ve been slacking big time I changed into shorts and a tank, and started my cleaning.
lmao Bucky wishing to get a bit of sleep bc Steve always wants it reminds me of this video where a dog was sprawled on the floor and this cat kept rubbing its body all over the poor dog's neck and then actually sat on the dog's face and if that's not an accurate depiction of Steve Rogers and Bucky Barnes' sex life, I don't know what is.
Could you write about Neil's mom and her abuse towards him? Like Andrew finding out or Arron talks to him about it because he understands? My poor sons need to talk about their problems
( what’s that? just the lonely sound of my heart breaking. )
The problem is: they never talk about it
It takes years of small mentions and absent comments (moments Neil plans seriously, but tries to pass off casually. He never truly relaxes about revealing his past) for Andrew to piece together a full picture of Mary Hatford
Neil’s bias goes deep. His mother saved him. his mother compared to his father was, if not loving, at least protective and concerned. she taught Neil to survive! All her lessons were for his benefit!
The longer he outlives her, the more rose tinted his glasses about his mother become
Andrew knows this
Mostly he doesn’t think too much about it because, well, she’s not with Neil. Andrew is. While what she did to Neil obviously still lingers, bringing it up never seemed like the answer.
He’s right: pointing out Mary’s faults would more than ruin Neil’s week.