can i be more involved

bats-and-shit  asked:

Strange coincidence: My name is Rowan and I'm a witch too. I'm just a baby witch but I'm working on it. Do you have any tips on how I can get more involved? I typically use crystals and herbs for my spells. ❤️ Thank you

Hello fellow Rowan, and I have a few links for you:

Some Witches to Follow:@cunningcelt@thistleunderthemoon@stormbornwitch@witchy-woman@witchtips@cosmic-witch@witchella@violetwitchcraft@orriculum @breelandwalker@mothmaam @spiritscraft

(Each one of the bloggers above posts different but very useful and valuable content that covers as many aspects and angles of witchcraft that I can think of.)

PSA: OOC

(Possibly triggering materials)

I’m not making this to spread hate, I’m not making this for attention or pity. I am making this post to make sure that this doesn’t happen to other people.

A few months ago I was being harassed by psychoyearnings (Sage). I use the term harassed because that’s all I can think of to call it. She would actively manipulate me and my friend. Calling me a bitch when I stood up for myself and then going back and flattering me with sweet words. Her actions would cause unnecessary fights between me and my friend, which is what I assume her goal was. I can recall multiple panic attacks caused by her behavior.

Unfortunately, I can not share specific stories because they involve more than myself.

After I blocked her, and she returned from the hospital, psychoyearnings (Sage) made an account called erstwhile-rp (Drew) without telling anybody it was her. On this account she spoke with me and my friends ooc in hopes of getting close to us again. She wanted to become close in hopes of “ruining” us. Unfortunately, I can’t share specifics because this still involves more than just myself.

This morning, a friend of mine told me that psychoyearnings (Sage) confessed to being erstwhile-rp (Drew) while very drunk. After messaging erstwhile-rp (“Drew” aka Sage) I was able to get her to say that she made the account to specifically fuck with me and that she was disappointed she didn’t get the chance to do so. Sage claims that everybody else she hurt (worse than myself) “weren’t her target”.

I am telling this story so that it doesn’t happen to anybody else. I know this is a long post, I know this is a negative post, but it’s important to me that I share this information.

This is the last you will be hearing about Sage/Drew on my account.

facebook and reposting

I know nobody’s here for long spiels, but this might be a bit lengthy… I’d much rather fill my dash with replies to you guys about stuff that has actual substance, or just post art in general, but this needs to be said.

Please don’t message me to ask if you can re-post/re-upload/re-distribute my work. I have an instagram, twitter AND tumblr where I distribute my work. That’s where I’d like to keep it. 

I appreciate the respect you’re giving by asking, but it gets exhausting to keep saying ‘thank you, BUT’…it says clearly on my description page to Not Repost Anywhere. It does not say ‘Please only repost with permission’ it just says Don’t Do It. If you send me IM’s about re-uploading my work on instagram/FB/twitter/wattpad etc, I will ignore it. My silence isn’t an unspoken ‘do whatever you want’, it is a blatant ‘no’. OTL

In terms of Facebook - I respect and admire the effort put in by those who run translation fanpages - but I will also have to automatically decline all of your requests. Not because I don’t want my work to be accessible to those who don’t speak English, but because I’ve had multiple facebook accounts re-upload my work without my consent and with barely any credit/proper captioning of the work. And whenever I’ve tried to fix the issue, I’ve either been blocked, or had the re-posters try and lecture me about how I’m asking for the impossible.

Artists don’t ask for much. We do this for free and because we enjoy sharing our love for a series with the world in the best way we know how - by drawing out our feelings and ideas. It’s honestly a bonus and privilege to be able to earn money from my fanwork/fanmerch, and I greatly appreciate every gesture of patronage. 

Artists shouldn’t have to ‘suck it up’ or be ‘aware that this comes with the territory’. Some artists, especially those who share work on Pixiv, face very real VERY serious legal repercussions if their fanwork is tracked back to them from sites that they did not consent to it being uploaded to. It doesn’t take much to paste a Pixiv artists description into google translate to see if they have said ‘Do Not Repost’ in their native tongue. 

Please respect artists. Please look at our descriptions, read our FAQs and consider ‘why am I re-posting in the first place? Do I have explicit permission? Did I check if they allow this? why not just support and spread my appreciation for their work by reblogging their art post, or telling friends about their blog/twitter/pixiv?’

Artists are not machines made of endless amounts of money, time, or energy. We’re human beings that thrive on feedback, communication, and mutual respect. I wouldn’t have gotten to where I am now if not for the wonderful, kind people who supported and encouraged me on my art accounts. To those who support artists by re-blogging our work and/or keyboard smash their thoughts at us, I love you dearly. To those who support artists by purchasing our prints/keychains/charms/standees/zines? You guys are phenomenal, we couldn’t do half of what we do without you. 

To the re-posters however? And to those who try to lecture artists about the Ways Of the Internet and how Reposting is Inevitable? The solution starts with YOU, not us. Mutual respect and honest communication, please utilise it.

anonymous asked:

What kinds of scenes could I include in my story that would involve developing character relationships? I have this problem of having characters seemingly pop into the plot when the scene calls for it, but then they disappear for long periods of time, and these characters SHOULD be seen more often than they are. What can I do to involve my characters more?

Involving Minor Characters More

I will apologize in advance because this post is a bit metaphor heavy, but I think the metaphors really help in explaining the involvement of “minor” characters. So the question here is: How do I develop character relationships when one character only appears sporadically?

DON’T use the characters merely as “coffee breaks” from the main plot. 

If these characters are popping up routinely following major action sequences or plot movements, you might be guilty of doing this. Scenes like this are often seen as “filler” because they act as a reprieve from the intensity of the plot. These scenes are often stretches of dialogue that have no bearing on the main conflict of the story, and may even include bantering and humor. Scenes like this are often forgiven in stories because they serve to develop relationships between characters or even explore subplots or character backstories, but if your character is only popping up in these instances, then their presence starts to become awkward. 

Imagine you worked in an office, and all morning everyone is milling about, working hard, making deadlines. One worker finishes up a task and decides to take a coffee break and hits up the staff lounge. And regardless of when they take this break, every time they go in there, there’s some joker just sitting in a comfy chair, chilling out and waiting for the actual workers to come by and see them. 

This person engages the workers in mindless chatter to give them a break from the mental and sometimes physical strain of their jobs, and then when everyone goes back to work, they’re still just sitting there, waiting. Until someone else finishes up a rough assignment and comes by for a break. This whole setup is a bit odd.

These characters can still be part of the “coffee breaks” of your story, especially if the conversations they have help to define their relationships with others and explore their pasts. But for them to be important characters to your story, they should accompany the main characters back to the office, or at the very least head up to their own floor to do some productive work of their own. Otherwise they shouldn’t even be in the workplace (the story) to begin with.  

DO increase their involvement in the plot

What is the main conflict of your story? If you’re not sure how to answer this question, then work on figuring that out before you worry about how you’ll develop their relationships. They need to have reasons to interact, and if you feel as though you don’t have very many of those reasons as of now, then it’s possible that this disappearing character doesn’t have much stake in your story’s conflict. 

Think about all possible outcomes of your conflict - both the potential happy endings or sad endings, and then ask yourself how these outcomes affect this disappearing character. What is at stake for them? If they have no personal interest in what is going on with the main character, then you’ll want to give them a reason to care. Give them something to lose (or something to win, assuming a positive outcome). 

Think of it this way. If your story’s conflict were a sporting event, your main cast of characters should all be players on at least one of the teams. Your secondary, or minor, characters can be spectators, but they should have something at stake in the game, such as a bet on the outcome, or even just a strong allegiance to one of the teams. If they have a stake, they’re not going to just Google the score later. They’ll want to be there to see what happens, to yell their outrage or cheer their joy. To show their support, or possibly heckle the opposing side in hopes that they’ll screw up. 

Give them a motivation that’s related to all the stuff you’ve got going on in your scenes. If these disappearing characters are absent from many of the scenes, you have to ask why? If they’re not involved, then make them involved. Give them a role, or remove them from the story entirely. 

DO imagine their lives apart from the protagonist.

If you’re struggling to find a role for the character in the conflict, then try thinking about what they’re doing in all that time off screen. Brainstorm their own personal journeys. What are they working towards? What are their obstacles? Thinking about these questions in the context of the world or story universe you’ve created may trigger something that ultimately ties back to the main conflict. 

Thinking about this also creates some depth for your character. Going back to my very first example (our joker in the staff lounge), it’s possible that this joker is actually working while everyone is coming in and out. Maybe they’re tidying up, preparing snacks for everyone, working on projects in a notepad, making phone calls, or fixing a broken microwave or refrigerator. Maybe there’s more to this character, but we never know because they drop everything the moment a worker (or main character) stops by. 

And let’s keep going: imagine that this habit causes their work to suffer, because they’re sacrificing their own needs for the needs of the staff that come by seeking their company. How does that affect them, and can you think of ways to bring it to the forefront? Could the workers notice? Could the disappearing character disappear at a moment the MC relies on them to be there the most? What happens as a result? 

If you consider the character important enough that developing their relationship with an MC is of concern to you, then they should be important enough to work into the main plot in some form or another. 

I hope my lengthy metaphors were helpful! Good luck and happy writing :)

-Rebekah

I’ve just finished reading all seven books again and it mesmerizes me how, five years after my last reading, I’ve had a different understanding of some arcs, and I was emotionally more involved in some characters. I can’t wait to read the series all over again in five, ten, twenty, fifty years! I’m not afraid anymore of growing older and losing interest in Harry Potter because it has so many layers, so many characters, it is just a different appreciation every time!

sebastian stan is appreciated yet underappreciated at the same time. he’s pretty but he’s also this really good, interesting person. 

this panel has so many good moments [x] such as:

  • had to stop speaking because he couldn’t stop staring at this dog.
  • remembers taking a picture with someone 
  • “when you’re given a platform you have to do something about it..you have to expand beyond your own personal goals.”
  • “i never really thought in a million years that this character or these stories or something, you know, to have someone, who, just reached out to me and said you know, ‘thank you for recognizing something or i’m related to this’ is probably the most gratifying experience out of this whole process.”
  • “the task for me would be to be more involved and see where I can help…even if it’s just, I don’t know, putting a smile on someone’s face, or answering some questions or you know, making someone feel better.”
  • “i’m awkward, I get nervous nervous, I get panic attacks, I get crazy, you know, whatever, depression.”
  • “my job is always to remain as honest as I can and to just, i don’t know, help in some way.”
  • goes on this whole thing about trying to focus on what he can control v what he can’t control, how that helps him to be a happier, better person.
  • “one of my goals in life is to really embrace struggle.”
  • “it’s important to kinda take in and be really grateful about sort of what’s happening, which i always remind myself, no matter what, and i really, really am.”

this video is in romanian w/ english subtitles, so all info is from there [x]

  • “i was very lucky, i tend to forget this. when i was 22 or 23 years old i wasn’t thinking about what it meant to her after the revolution came, to decide to go elsewhere for a better life.” on his mother, the sacrifices she made, and better understanding now that he’s older.
  • “after my grandma died, to be honest, it was difficult for me to go back there cause i had to go to the cemetery, to live that moment again, and face what happened with her. it was a very delicate situation for me.”
  • “when i saw that car driving fast with that flag with the hole in the middle, I felt like… i always remember something major, important was happening.” on the revolution when he was a kid.
  • “when i was watching it (a video of Ceausescu) i felt something so…i mean, i remember like the memories were there in my muscles. i felt like a knife went through me when i heard that voice it felt to me like it was yesterday.” 
  • “the thing that i feel changed most was a deeper sense of responsibility.” on being asked if fame changed him.
  • his parents are what keep his interest in romania alive, and are the reasons he can still speak the language.

here’s another panel [x]

  • remembers more fans. 
  • “the rough patches that you may going through are sort of, also, these great gifts that you can kind of rise from.”
  • paraphrasing but: we’re all capable of rising from difficult moments in our lives to get somewhere. 
  • “it’s the company you keep. people you surround yourself are extensions of you, that’s how i always feel..and i was lucky to have good influences.”
  • gives a fan a hug.
  • space nerd who exposes his knowledge and would live on the moon.

Bonus things: 

  • i think it’s important to remind the people we love why we love them or how they’ve touched us. i mean, i guess if it wasn’t for my mom i could probably be, not even in america right now. [x]
  • "embrace your differences and the qualities about you that you think are weird. eventually they’re going to be the only things separating you from everyone else.” [x]

[9]

OH MY SHIT SAKURA’S AWAKE THIS CHAPTER REALLY DOES LOVE ME

GUYS GUYS GUYS

GUYS. OK. SO.

THIS IS EVERYTHING THAT WAS AFRAID OF BEING RECTIFIED ALL AT ONCE

When Tomoyo was revealed as the Other Saboteur I feared it was because she was ensuring Sakura would win, and that Sakura hadn’t actually earned the victory that she so sorely needed. More than that, Sakura was asleep, and I thought she would miss out on the plot explanation and not get to say goodbye, as per usual. 

ENTER CLAMP: MAKING ALL MY DREAMS COME TRUE. 

Tomoyo was protecting her, not letting her win. Sakura won on her own merits and nothing from this plotline is going to discount that. 

Even better, Sakura gets to hear this from Tomoyo directly and ACTUALLY GETS THE CLOSURE HERSELF FOR ONCE. 

THIS RIGHT HERE YOU GUYS

THIS IS WHAT I LIVE FOR

AAAAAAHHHHH

Hey all, here’s a little sample of the MCR Rotoscope video so far! I put in the original clips for where people haven’t turned in the drawings yet/the set is unclaimed. If you’d like to be a part of this project and draw some frames please send me a message with your email! I’d really love to get some more people involved so I can get the video finished ASAP! 

10

Chapter 9: Visitors; but way more dramatic XD

Please tell me that Green actually sees through her pain, and it hurts to see her smile because he knows, but despite all that she’s still selfless, putting others before herself; showing concern to those around her, even when they don’t

The words “It’s just been so long since I’ve actually been treated like a person.” echoes in his head; how long has it been since she was last shown respect? He had to, he just had to. 


6S1M belongs to @/raccoonsinqueen / @raccoonsinqueen-taxes , check out their fic here~ X3

When Will We Learn How Pearl Met Rose

I just had the weirdest idea for how we will eventually learn how Pearl met Rose.

So like….Lars is implied to becoming “Steven’s Knight”….i mean, look at this picture…

And then look at this one

When Steven leaves, Lars tells him something that really stuck with me and I feel like will be the core of Lars development from here on out:

“You brought me back to life. Just let me be somebody who deserved it. “

It seems to me that Lars is driven to be a better person who can help the off-colors (who he sees himself in) to freedom. He wants to deserve this second chance and I feel like in many ways this will continue when they do eventually get back to Earth. I can see Lars becoming Steven’s knight and becoming more involved with the greater plot and dedicating himself to helping despite his fears.

Which is why I really hope the Crystal Gems notice this, but that Pearl notices this above all else. In many ways, I think that her seeing Lars becoming Steven’s “knight” so to speak may help her open up about how she met Rose. I feel like she would see herself in his actions and if they do ever go too far (such as Lars having little care for his safety because of his “pink zombie” status) I would love for Pearl’s own arc to peak with an explanation of how she once gave herself to a cause/person once as well. 

As weird as this would have sounded to me six months ago, I feel like Lars’ character development may be the key to unlock Pearl’s backstory on when she first met Rose. 

here are some war and peace tidbits that weren’t in the great comet that i think the great comet fandom would enjoy if they don’t already know (and also encourage them to read the whole novel or at least watch the miniseries bc lbr it’s great).

  • for all of you who love pierre’s intense hatred of napoleon, it’s actually twice as funny because he loves napoleon at the beginning of war and peace. in the opening scene, he is one of the only people to defend his actions in society. he loved him.
  • anatole throws a party with dolokhov at the beginning and they end up capturing a bear, tying a police officer to it, and sending it down the river.
  • the hélène/dolokhov affair actually happened waaaay before all of the other events in the great comet!! it happened only a year or so after hélène’s marriage to pierre in 1805. during the events of the great comet she had actually just ended an affair with a guy named boris drubetskoy, who is mentioned briefly during the opera!
  • after the duel between pierre and dolokhov ended his affair with hélène, dolokhov stayed with the rostovs and actually developed a Massive Crush™ on sonya!! he proposed to her but she turned him down for her cousin/natasha’s brother, nikolai
  • the kuragin sibling’s dad, prince vassily, actually briefly tried setting anatole up with marya bolkonsky. marya (or mary, as she’s called in the great comet) was actually really into him for a bit until she caught anatole doing stuff with her french companion, mlle bourienne

pls ask me more abt this damn book i’m obsessed and great comet was what started my obsession okay omg. also talk to me about hélène kuragina shes my wife

anonymous asked:

I've often heard that knife fights are mutual suicide, simply because it's so hard to avoid getting hurt while disabling an opponent. Is that true? If so, could you give any tips on writing a realistic knife fight between two relatively equally skilled characters?

We did a post called “Knife Fighting Do’s and Don’t’s” which you might find helpful, it’s also full of links to other resources which may be helpful.

Knife fights are dangerous, in large part because every blow is potentially fatal due to cumulative bleed out/nicking something important or even seemingly unimportant, there is no time for error much less room as combat happens remarkably quickly with the high lethality causing a sudden end, and the fight itself often happens in a blitz.

Even in the hands of someone who has no idea what they’re doing, the knife is incredibly dangerous. Just bull rushing into someone and stabbing them repeatedly in the sides or gut often as many as ten to twenty times will kill them. This is often the case in muggings, for example, and why the knife is a very popular choice. You don’t need skill in order to kill someone with a bladed weapon. You don’t even really need it to be effective beyond understanding the concepts like slashing and thrusting, swinging wildly in the heat of the moment is remarkably effective in this case.

This is the first and perhaps most important tips to writing a character who is experienced and skilled, they understand the dangers inherent in the weapon they are wielding, they recognize it, respect it, and respond accordingly. One of the problems some writers get into when trying to convey skill is to go with the approach of, “it’s not a problem for me, but it will be for you”. This is valid, the problem is that they assume the danger is nullified rather than their character’s comprehension of that danger being the deciding factor. If I know the risks involved, I can take more or navigate more easily than someone with no experience at all. However, the danger itself never goes away. No matter how skilled you are every fight can end with you lying bloody on the ground.

That’s just the way it is.

If you write a character who fights, they and you should always carry the worry of them dying in the back of their minds. And if they don’t, then you should figure out why instead of assuming it’s natural because they have “skills”.

All right, let’s dig in: Knives

Remember, two hands.

When people who have never done martial arts (and even sometimes people who have) there’s often an over focus on the weapon or on the striking, the hitting. In knife fighting and just in general, the off hand or the second hand/hand without the blade is extremely important for both defense and control. All blocking, deflecting, and the openings created will be made with the off-hand. You stop the arm with one hand, cut it with the knife. This protects you and allows you to keep fighting. The off-hand may become a sacrificial body part as necessary to lock up the enemy blade, getting the knife lodged somewhere non-vital if perhaps unpleasant is sometimes necessary to opening the path to victory.

Defense is important.

The blades will not be clashing like a swordfight (which they shouldn’t be clashing in a swordfight anyway, but that’s a different kettle). All blocks, defenses, and redirects will happen with that other hand.

Keep It Tight

Tempting as it is to use words like “swinging” or others in a similar vein, try to keep your vocabulary to descriptors that imply tight, controlled motion. You don’t want a feel that’s wild and out of control but rather intentional, directed, and focused.

“He lunged forward, swinging wildly.”

Versus:

“He stepped back, off-hand catching the wrist and redirecting the incoming dagger. Slashing his blade across the back of the enemy’s hand, he dropped down. With a forward lunge, he cut up along the underside of the arm, tucked tight, and drove his weapon into their gut.”

Debilitate, Disable, Finish:

If you have the option to lunge for the kill then great, but the best way to keep your enemy from stabbing you on the way out is to get rid of their weapon first. Attacking the hand that holds the weapon on your way in ensures that you can get rid of it. The best way to avoid a double suicide is to not be so focused on killing your opponent that you forget about their weapon. The guy you just stabbed six times in the gut can still stab you before he collapses.

Prioritize your threats.

If you have the opportunity to remove the participant before the weapon then fine, but 9/10 you’re going to want to focus on ridding them of their ability to kill you on the way out before moving in.

Move, Move, Move

It can be difficult to think in multiple directions, especially if you have no experience with two bodies interacting. They aren’t going to stand there hacking at each other, they’re going to try to create openings. As any hit from the knife can be deadly due to cumulative bleed out, avoidance is the primary name of the game.

Understand Anatomy

While knife fighting is fast and vicious, it’s also very much about anatomy. You get get downright surgical with a knife if you want and when writing your fiction it’s best to brush up on all the tendons, ligaments, veins, and so forth that are close to the surface and up for grabs or slashes in this case.

Medical knowledge will help you with combat in general, but with knife fighting you really want to know what can get cut to make X stop working before moving in for the kill. It sounds simple in practice, difficult in execution.

Study Actual Knife Combat/Combatants

This may seem like a no brainer, but if you really want to understand what it looks like when someone experienced handles a blade then you want to spend some time looking at guys like Michael Janich, the bladed weapons practice in Silat, Krav Maga, Marines, etc. It’s best to get that experience in person, but YouTube will also be your friend here. There are a lot different martial styles which include knives as part of their disciplines.

Take everything with a grain of salt and remember that videos online won’t make you an expert. If you’re a US citizen, you can also track down most of the Department of Defense manuals for the military available for free online. Some of the information such as that from Rex Applegate is outdated but finding his books and reading through them may help you imagine.

Half of writing anything is studying, learning what it is, what it does, learning so you can imagine the techniques in different ways. Theory for a writer is just important, if not more so than technique. You may not be able to perform it in life, but if you can grasp the theory then you can start applying that to your characters and their approaches to different situations.

Remember Violence is Problem Solving, Think of Your Character’s Personality.

Learning that all combat is not universal, that different approaches exist will help you branch out when writing your characters and allow you to develop combat styles unique to them. A good example of a narrative which does this is Season 2 of Netflix’s Daredevil, wherein Matt, Elektra, Frank Castle, and Wilson Fisk all have different approaches to using violence as a means of solving problems, where the way they fight is also an expression of who they are as people. The kinds of violence your character engages and the way they choose to utilize violence as a means of problem solving is an expression of their personality, not just their skill level.

Two characters of similar skill level can have very different fighting styles, even if they’ve studied in the same style. Take into account who these characters are and let that dictate how they choose to use violence. Not all characters are going to be efficient killing machines. Some are going to be joyous free spirits bouncing their way from one enemy to another, leaping and bounding with a blood streaked grin across their face.

You may think you know nothing, but take what you learn and then apply that knowledge to your character. Let them decide what to do with it. They might use it, they might ignore it.

Don’t sweat the small stuff.

What is most important here is figuring out how to sell the scene to your audience in a variety of different forms.

-Michi

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