can i be more involved

“I want to keep everything small. I even freak out when we go on TV sets and they push everything a little bit further out. I want it - I don’t want it to be all about me, you know, I don’t even want to stand too far forward from them, I want everyone to be on the same length.” 

Niall Horan, 2017

photo: x

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.

Cinderella AU

Rated: T

Pairing: Jack/Johnny, aka “Samurai Bravo”

Word Count: 11k~

A/N: This is a gift for the lovely @c2ndy2c1d. She wanted the classic cinderella story but with that samurai bravo twist, so I did my best to create a universe that could house the two of them and would still make sense. It’s a little silly and not too serious so I hope you like it bb <3

Keep reading

I know this is a wild concept, but compassion is not a finite resource. You can feel for the victims in Manchester, while also expressing sympathy for whatever pain Ariana’s experiencing. No, she is not the top priority, since we know she isn’t hurt (physically, at least), we know she’s with friends and family, and generally we know she’ll be okay. But she was still affected by what happened tonight, and acknowledging that doesn’t mean ignoring or diminishing the suffering of others.

he’s probably playing my immortal or something vaguely emo like that

if you really think about it … all wlw ships are Connected …… all of them … somehow

3

WHAT’S UP, I NO LONGER CONSIDER MYSELF PANSEXUAL FOR I HAVE COME TO REALIZE THAT I AM JUST A GUY WHO REALLY LOVES GUYS

Hey Mythical Artists!!! @emilythemythical @polaroidneal and I are creating a cool Mythical Coloring Book!!! We would love and appreciate if yall would love to participate!!!

We want this to not only be a fun fandom project for all the artists, but also be a chance to get together and create something special for Rhett and Link that symbolizes a simple yet special event, that ended up bringing them together!!! (Coloring Mythical Beasts when they met in first grade) :3

DM us on twitter for rules and more info if you are interested!!

Emily: @MythicalEmily on twitter

Sam: @polaroidneal on twitter

Eve: @Snivycat on twitter

Undercover Jon Theory: How possible is it?

I’ve been on the fence with this theory for a while. I’ve gone between flirting with the idea and rejecting it. My inclination to believe in it came from seeing Jon reacting uncharacteristically in certain moments or some dialogue that seemed too on the nose when it wasn’t backed up by what we were being shown. On top of that, Kit’s acting was inconsistent with what this storyline was expecting me to believe and certain dialogues and actions that seemed to be on script contradicted it too. However, I wrote it off as bad execution in 7x04 and 7x05. Then 7x06 happened and Jon actually bent the knee - while Dany was willing to help him without it - and it made no sense nor did him calling her “Dany” out of nowhere or “My queen”. She came to help them and lost a dragon/child, but giving up his kingdom because of that? That’s not just betrayal; it’s foolish. I couldn’t fathom why Jon would do that. Come 7x07 and the episode expected me to believe Jon had never told a lie or broken a vow in his life (when he had before) and sabotaged a deal which he basically went on a dumb wight hunt for.

His lack of emotion for Arya and Bran threw me off in 7x05, but I just wrote it off as bad direction just so that it didn’t keep me up at night. But then Jon didn’t react to Brienne’s presence and neither did she. He didn’t seem guilty about his decision and how Sansa would take it, when for the first four episodes of this season he’s had quite visible reactions related to her. But suddenly, Jon was all about Dany now and didn’t give a damn about the Starks or the North? That made no sense. So I started listing out the inconsistencies to come to certain conclusions. This post attempts to break down this storyline from various angles to see if there can be an explanation beyond “it’s just bad writing”. It’s pretty long, but I didn’t go into as many details as I wanted to.

Keep reading

anonymous asked:

Can I give Connor a hug?

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

When ur not sure what header to use between this:

Or This

8

Andrew Deluca in s14e07 “Who Lives, Who Dies, Who Tells Your Story”