characterisation

I really hate how straight people will say “your sexuality is such a minor part of who you are don’t let it define you” when literally they’re the ones that immediately characterise you once they find out your sexuality they really have no idea what it is like to be defined by your sexuality

The latest episode was really good though I wish I hadn’t read the spoilers beforehand. However I did look for them so… only have myself to blame. 8)

Anyway… does anyone think that although Lyste started off as a bit of an arse (but hoo-boy, the swoon factor; join the Empire, they have hotties lawlz) when he made his debut in Fighter Flight… he seems to have become more grounded, more reasonable in some respects as the show has progressed, notably in A Princess on Lothal and now An Inside Man?

It seems the writers decided to make him a sympathetic minor recurring Imperial with some depth rather than keeping him as a jerk with few virtues.

I have to admit the change in characterisation does feel a bit jarring but I do like and appreciate how the writers have made the odd minor recurring Imperial other than Kallus (who looks set to become a key player in the future) be a bit more grey for that nuance.

Observing Kallus’s body language and expression after Thrawn walked away, he looked deeply uncomfortable and uneasy with what he witnessed.

Interestingly, Lyste reacted in a similar way which implies that although he’s a dutiful Imperial and followed Thrawn’s orders to the letter… he felt the same as Kallus, though most likely without dirty treasonous thoughts. 

On the other hand Pryce just smirked in triumph. She is cold and sadistic though, so her reaction was appropriate for her character.

I am extremely concerned now for Kallus and Lyste. Are they really cut out for surviving in the Empire with people like Pryce and Thrawn around? 

Originally posted by txngledupwithyouallnight

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When visualising the ‘other’, there are constant assumptions made about who these people are, what they look like, what they must think – and as one gets to know this 'other’, one realises the emptiness of these characterisations. The Film brings the lives of five women into focus. Women whose only common meeting ground is that they identify themselves as outside of the heterosexual framework and live in the same city. What they identify as, their stories, relationships and activism, set against the backdrop of Delhi – form part of the narrative and create a tapestry of images and metaphors, that invites one to re-engage with and rethink the notion of the other, the lesbian.

Delphi Complete Paintings of Amedeo Modigliani

Though he died young in relative obscurity, the works of Amedeo Modigliani are now regarded as some of the most important canvases of the twentieth century. Modigliani’s innovative portraits and nudes are characterised by their asymmetrical compositions, elongated figures and monumental use of line. Delphi’s Masters of Art Series presents the world’s first digital e-Art books, allowing readers to explore the works of great artists in comprehensive detail. This volume presents Modigliani’s complete paintings in beautiful detail, with concise introductions, hundreds of high quality images and the usual Delphi bonus material. (Version 1)

* The complete paintings of Amedeo Modigliani — over 350 paintings, fully indexed and arranged in chronological and alphabetical order
* Includes reproductions of rare works
* Features a special ‘Highlights’ section, with concise introductions to the masterpieces, giving valuable contextual information
* Enlarged ‘Detail’ images, allowing you to explore Modigliani’s celebrated works in detail, as featured in traditional art books
* Hundreds of images in colour – highly recommended for viewing on tablets and smart phones or as a valuable reference tool on more conventional eReaders
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* Scholarly ordering of plates into chronological order

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CONTENTS:

The Highlights
PORTRAIT OF PEDRO
THE HORSEWOMAN
HEAD, 1911
CARYATID
PIERROT
BEATRICE HASTINGS
CESLO LAGAR
JUAN GRIS
JEAN COCTEAU
CHAIM SOUTINE
SEATED NUDE, 1916
NUDE SITTING ON A DIVAN
MADAME ZBOROWSKA
RECLINING NUDE WITH BLUE CUSHION
LEOPOLD ZBOROWSKI
SEATED BOY WITH CAP
JEANNE HÉBUTERNE, WITH A DOOR IN THE BACKGROUND

The Paintings
THE COMPLETE PAINTINGS
ALPHABETICAL LIST OF PAINTINGS

Other Artworks
LIST OF DRAWINGS AND SCULPTURES

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anonymous asked:

yOOOOOOOU. ARE. SUCH. A BEAUTIFUL. BLOG IN THIS FANDOM. both stylistically and in characterisation and development and writing and. i love your blog so much and i'm so happy i found it!

where are all these beautiful nonnies coming from wowie? And you are a beautiful nonnie, you don’t understand how much these notes make my day. Thank you so much for these kind words, thank you for being here and for being so wonderful. I am so glad that you found your way here and I hope you stay forever <3

The LEGO Movie was my favorite movie of 2014, but it strikes me that the main character was male, because I feel like in our current culture, he HAD to be. The whole point of Emmett is that he’s the most boring average person in the world. It’s impossible to imagine a female character playing that role, because according to our pop culture, if she’s female she’s already SOMEthing, because she’s not male. The baseline is male. The average person is male.

You can see this all over but it’s weirdly prevalent in children’s entertainment. Why are almost all of the muppets dudes, except for Miss Piggy, who’s a parody of femininity? Why do all of the Despicable Me minions, genderless blobs, have boy names? I love the story (which I read on Wikipedia) that when the director of The Brave Little Toaster cast a woman to play the toaster, one of the guys on the crew was so mad he stormed out of the room. Because he thought the toaster was a man. A TOASTER. The character is a toaster.

I try to think about that when writing new characters— is there anything inherently gendered about what this character is doing? Or is it a toaster?

—  Bojack Horseman creator Raphael Bob-Waksberg commenting on how weird gendered defaults in entertainment are, and why we should think twice about them. Excerpted from this longer original post.
on fanfic & emotional continuity

Writing and reading fanfic is a masterclass in characterisation. 

Consider: in order to successfully write two different “versions” of the same character - let alone ten, or fifty, or a hundred - you have to make an informed judgement about their core personality traits, distinguishing between the results of nature and nurture, and decide how best to replicate those conditions in a new narrative context. The character you produce has to be recognisably congruent with the canonical version, yet distinct enough to fit within a different - perhaps wildly so - story. And you physically can’t accomplish this if the character in question is poorly understood, or viewed as a stereotype, or one-dimensional. Yes, you can still produce the fic, but chances are, if your interest in or knowledge of the character(s) is that shallow, you’re not going to bother in the first place. 

Because ficwriters care about nuance, and they especially care about continuity - not just literal continuity, in the sense of corroborating established facts, but the far more important (and yet more frequently neglected) emotional continuity. Too often in film and TV canons in particular, emotional continuity is mistakenly viewed as a synonym for static characterisation, and therefore held anathema: if the character(s) don’t change, then where’s the story? But emotional continuity isn’t anti-change; it’s pro-context. It means showing how the character gets from Point A to Point B as an actual journey, not just dumping them in a new location and yelling Because Reasons! while moving on to the next development. Emotional continuity requires a close reading, not just of the letter of the canon, but its spirit - the beats between the dialogue; the implications never overtly stated, but which must logically occur off-screen. As such, emotional continuity is often the first casualty of canonical forward momentum: when each new TV season demands the creation of a new challenge for the protagonists, regardless of where and how we left them last, then dealing with the consequences of what’s already happened is automatically put on the backburner.

Fanfic does not do this. 

Fanfic embraces the gaps in the narrative, the gracenotes in characterisation that the original story glosses, forgets or simply doesn’t find time for. That’s not all it does, of course, but in the context of learning how to write characters, it’s vital, because it teaches ficwriters - and fic readers - the difference between rich and cardboard characters. A rich character is one whose original incarnation is detailed enough that, in order to put them in fanfic, the writer has to consider which elements of their personality are integral to their existence, which clash irreparably with the new setting, and which can be modified to fit, to say nothing of how this adapted version works with other similarly adapted characters. A cardboard character, by contrast, boasts so few original or distinct attributes that the ficwriter has to invent them almost out of whole cloth. Note, please, that attributes are not necessarily synonymous with details in this context: we might know a character’s favourite song and their number of siblings, but if this information gives us no actual insight into them as a person, then it’s only window-dressing. By the same token, we might know very few concrete facts about a character, but still have an incredibly well-developed sense of their personhood on the basis of their actions

The fact that ficwriters en masse - or even the same ficwriter in different AUs - can produce multiple contradictory yet still fundamentally believable incarnations of the same person is a testament to their understanding of characterisation, emotional continuity and narrative. 

Writing: Your Characters Must Earn (or Have Earned) Their Skills
  • Magic (and other skills—especially physical skills) must be practiced. Yes, your wizard could be the “chosen one,” but remember that even Harry Potter had to practice his patronus charm. In The Matrix, Neo had to learn how to get used to working within the system.
  • Knowledge must be studied: Your character probably wasn’t born with world knowledge floating around in her brain. She might have a high IQ, but she still needs to study. Hermione Granger read Hogwarts: A History well before she attended it. NOTE: This also applies to knowledge about science fiction technology.
  • Wisdom often comes from making mistakes earlier in life: My dad will often say he learned most of his knowledge about woodworking from “the school of hard knocks.” He usually follows that with a story about how he screwed something up. Your skilled characters probably have a lot of stories. Wisdom can also come from watching others make mistakes and choosing not to go down the same path.
  • Wisdom also comes from experience: A legendary general will have seen many ways to fight a war. He knows what works and what doesn’t based on what he has seen.

-by M. B. Weston and continued at mbweston.com

Characterisation: 16 Personalities

Just like star signs, the 16 personalities are a great way to create 3D characters or flesh out existing ones. Each personality is made up of four letters that stand for a different personality type. This makes it easy to build fully-rounded, realistic characters your readers can relate too. Everyone fits into the 16 personalities, so why shouldn’t your characters?

The 16 personality website details each personality trait and explains their strengths and weaknesses, along with what a person with that personality is like in different areas of their life, such as the workplace, in friendships and as parents. 

Building characters is about using your imagination, so you don’t have to stick to each personality rigidly, but use them as a building block to add your own character’s traits, quirks and backstory into. Everyone may fit into 16 personalities, but everyone is also unique, so your characters should be too.

Check out the personality traits here: 16personalities.com/personality-types.

I hope this helps you build more realistic characters!

Happy writing!

*Check out more of my writing tips here.*

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Clara Oswald’s normal, everyday life — here meaning her biological family (Mum, Dad, Gran, Linda), her quasi-adopted family (Angie, Artie, and Mr Maitland), or her job as a teacher — has been a part of 70% of her episodes so far. Not always a major part, but there is a continual commitment to showing her roots, that travelling with the Doctor is an addition to her normal life and not the whole of her life.

I’m not a fan of character questionnaires because they often don’t actually help you develop your character. You might know a lot about them, but do you understand them? Do you really know who they are?

I’ve put together a list of 30 questions you should ask your characters – and I mean actually ask – to help you understand them, rather than just knowing things about them that won’t help you write their story. I want you to interview your character so that you can write their responses in their voice

30 Questions You Should Ask Your Characters

  1. What would need to happen for you to consider yourself at rock bottom?
  2. What would need to happen for you to consider yourself perfectly happy?
  3. What five things do you value the most?
  4. How do you react when your friends and loved ones flout these values?
  5. What is the personal quality you are most ashamed of? 
  6. What is the one thing you would never do no matter what? 
  7. What is the one thing that you would do even if you knew it wasn’t a good idea? 
  8. What are you good at?
  9. What are you bad at?
  10. Do you like who you are?
  11. What do you like about yourself?
  12. What do you wish you could change about yourself?
  13. What’s the worst physical pain you have ever felt?
  14. What’s the worst emotional pain you’ve ever felt?
  15. Who do you think is above you?
  16. Who do you think is beneath you?
  17. What have been the biggest struggles in your life?
  18. What have been your greatest achievements? 
  19. What do you think makes a person evil?
  20. What do you think makes a person good? 
  21. Are you open-minded or narrow-minded? 
  22. How is your bedroom decorated? Did you decorate it that way? If you could decorate it differently, how would it look?
  23. Describe your ideal Saturday. 
  24. Are you biased or prejudiced against anything or anyone? Even secretly or shamefully?
  25. Are you a leader or a follower?
  26. How do you deal with conflict? In what situations would you deal with conflict differently?
  27. To what extent do you care what others think of you? 
  28. If you had the opportunity to bring in one change in political policy, what would it be?
  29. Do you have any memories that make you wince?
  30. What would you make a scene in public about?
Character Talents and Skills: Regeneration

Description: the ability to restore one’s physical condition to an optimal state, healing wounds and bodily damage at a cellular level.

Beneficial Strengths or Abilities: to achieve this ability, one would require an evolved level of mental control so that the healing progress could be triggered at will. Superior genes and intelligence would both be needed to direct the allocation of energy, ensuring that if necessary, calorie intake, stored fat and even muscle tissue could be refocused to repair tissue or organ damage. Being able to consume large quantities of high energy foods without getting sick and learning to sleep at will would both heighten one’s ability to regenerate and recover as needed.

Character Traits Suited for this Skill or Talent: focus, intelligence, determination, adaptability, gluttony, conservative, self-controlled

Required Resources and Training: While a large part of regeneration would have to be genetically imparted (unless it came about through taking a drug or some kind of nano technology), a great deal of concentration and study would be required to learn how to harness and focus healing, especially during times of high stress. Meditation and having a mentor who can lead one through exercises to boost one’s mental prowess would help one master this skill. Additionally, a deep understanding of the body, organ placement and how everything works in concert would be necessary to perform regeneration without over extending oneself and depleting energy stores beyond recovery. As well, a person with regenerative skills would have to have constant access to an energy source (food, sleep, a drug, etc.) to power one’s ability to regenerate.


Keep Reading at Writers Helping Writers · Article written by Angela Ackerman

Chat Noir as Ladybug’s  Impulse Control

Has anyone else noticed that Chat Noir seems to be Ladybug’s impulse control?

Like take The Bubbler episode for example; When Ladybug is on her own, she impulsively uses ‘Lucky Charm’ when she sees Adrien being harassed by Chloe.

In Timebreaker, Ladybug becomes more impulsive almost immediately after Chat starts to fade.

 Lady Wifi: Chat and Ladybug are separated and instead of waiting for Chat to join her, LB runs after Wifi and gets trapped in the kitchen. 

Animan? I’m sure we’ve all seen the dinosaur moment. Chat almost gets chomped, Ladybug jumps into the mouth.

Antibug is the interesting one. Chat is in danger and trying to fight off the invisible Sabrina and Ladybug has to get Chloe (who was being a complete moron and a danger to everyone) out of the fight. So Ladybug impulsively ignores the advice given to her by Chloe as Chat is unavailable. (I don’t blame her but that’s another post)

In all of these moments, Chat is either not present or is in some sort of danger making Ladybug react more impulsively. 

Alternatively, during Dark Cupid: Ladybug seems to analyse everything before making a move. Everything she does is all about Chat. 

Mr Pigeonshows us that when Chat goes to reaction impulse, Ladybug is the one to put a stop to it.

So while Chat trusts Ladybug to lead the duo, Chat forces Ladybug to think about the duo’s safety and the consequences of her actions when doing so.