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What Writers Can Learn From The Witcher


Originally posted by martymcfly

So I will admit to watching the Witcher for a few reasons: I love Fantasy epics, costumes, worldbuilding and Henry Cavill. *clears throat noisily* Moving on…. After watching it, I noticed some things that we can learn from it as writers.



Originally posted by joel-miller

Magick is a grand theme in the Witcher. Everything is touched by magick somehow and it is part of the world. What I like about it? It’s realistic and isn’t some Disney-sounding shit. Every mention of magick is gilded by some tragedy.

  • Yennefer wishes to be beautiful and shed her deformities, which costs her fertility.
  • Geralt’s transformation to Witcher gives him great skill in battle but also costs him his fertility
  • Jaskier’s wishes to the Jinn almost kill him.
  • The girls practising magick in the opening episodes get hurt, die and transformed into eels for their failure.

If magick is easy and solves everything, there is no story. What need is there for anything?

Playing with Timelines


Originally posted by dakotajohnsom

I have heard a lot of people moaning about the time line of the Witcher. It isn’t until the end of the season that we see that Ciri’s timeline is the present and everything that Geralt and Yennefer go through from episode one is the past. The timelines meet at the end. I was very impressed because jumping between flashbacks and the present can be confusing, like This is Us and The Hamdmaid’s Tale (tv series) for example, which can add the feeling of effort to the audience. The audience should be tested with little tidbits and false leads because it adds a bit of fun to the narrative but they should be yanked about like a goose on a string. By disguising the two timelines and only dropping subtle hints that the time line is not what it seems (Yennefer’s claim that its been three decades since she’s worked for the king)



Originally posted by martymcfly

Jaskier is the best part of the Witcher. What could have been a quick insert turned into a well established character with a part to play. His jokes and little asides soften up Geralt’s stoic attitude and the world’s gritty outlook. Humour can save a story and make characters more approachable. Also every time Geralt says fuck, it just resonates with us all.

The Strong, Stoic Male Brooder Archetype


Geralt is the hero of our story. He’s complex, he’s strong and he is a badass. We are basically programmed to love him. We are told that Witchers don’t feel anything and most of the time Geralt seems to live up to it. As cool as this sounds, it does distance him from us, the human audience as we feel emotions. Geralt would be very unapproachable if it weren’t for the characters about him. As intriguing as Geralt of Rivia is, he would be very hard to love if it didn’t dote on Jaskier, Roach, Yennefer and Ciri.



Geralt travels around the continent as does Yennefer. Each of the towns and courts they travel to are different. The people wear different clothes, act differently and have different views. The town Geralt first visits is a dank mediaeval-feeling world that feels very dreary and repressed. Yennefer and Geralt’s debuts at court are both different. Yennfer is coming into a court that seems very refined, grand and full of intrigue. Geralt visits Cintra where everything is blunter, more warlike and plain. Both are different as they ought to be. Yennefer’s treatment at a small village where is is trying to help some people in need is clever as it shows that magick isn’t respected everywhere in the Continent as we are told. Jaskier’s clothes change as he goes from court to tavern, showing us the class difference. His song is also a very clever trick. In episode 2, he writes a song about Geralt’s defeat of the elves. In episode 3, the tavern they are in is singing it after what seems like a few weeks later.

coin-degrade  asked:

I've been thinking about omniscient Point of View ever since finishing a book with it. I've heard the taboo about using it and how most readers don't like it because it tells you everything, but I enjoyed the story. What are your thoughts on third person omniscient? How does one excel at this POV? Is it still possible to limit what you tell your readers? Why do people hate this POV?? I'm sorry for the questions. I'm just curious ><. and you explain everything so well i just had to ask.></.>

Third Person Omniscient Point Of View.

Omniscient pov isn’t well loved by many (including myself), and that’s for primarily one reason: most people who write in omniscient pov have no idea what makes omniscient pov worthwhile or how to utilize it. 

Many writers use omniscient pov as an easy way to get out of writing a good limited third person pov. This is absolutely terrible, and it results in a lot of omniscient pov stories where:

  • The narrator has no voice.
  • The story has no focus.
  • The suspense is lost.
  • The writing is just plain sloppy.

These aren’t characteristics of omniscient pov though – they’re characteristics of bad writing.

@prokopetz posted a great explanation a few years ago:

My advice when folks are struggling with writing in the third-person omniscient is to Lemony Snicket it up. Give your omniscient narrator strong opinions about what’s going on. Don’t fall into the trap of assuming that the third-person omniscient perspective must also use the objective voice; those are two separate things, and many of the most popular and successful writers who’ve written in the third-person omniscient do not, in fact, use the objective voice.

Writers often believe that omniscient pov tells the whole story like it is, giving a broad picture of the world and letting the reader decide for themselves what it’s all about. 

But that bulldozers over a large part of the why we tell stories to begin with.

Every good, engaging story, even an omniscient one, needs to be telling a specific account, with a specific focus, and specific themes. Either the narrator or the story must be saying something meaningful to the audience, or the story won’t be worth anything to its reader.

But how do we actually do this?

Sometimes you can make your narrator be a literal Lemony Snicket – another character who exists outside the story and is telling the story to the reader – but even if your narrator’s ‘existence’ is never revealed, you can still treat them like a character, with bias and personality and voice, and this will shape the narration into something intriguing and consistent. 

 Try asking yourself these types of questions:

  • What is this story about on a thematic level? (Lemony Snicket doesn’t just tell a story about some orphans who’s uncle wants their fortune; he tells an unfortunate series of events.)
  • Who is telling the story and why? (What type of person is this narrator, and why did they chose to tell this particular story?)
  • What does this storyteller focus on and what do they believe about the story?
  • What knowledge and general understanding do they have of the story and characters? (This includes your narrator’s knowledge of things outside what’s happening in the story, like science and history and so-forth.)
  • What quirks does your narrator have in their voice? (How do they communicate, what do they communicate, what words do they prefer to use?)

In the end, your narrator should have a voice and personality as vibrant and interesting as your main characters. Which means: If you don’t know how to write a good limited third person point of view, it’s incredibly useful to learn to write that first.

Understanding and pulling off good omniscient pov often requires knowing why third person limited functions and works, because good omniscient is, in many ways, just a more complicated third person limited in which your narrator is a complex concept you have to set and manage instead of a simple person you can easily determine the boundaries of in any given point.

Moral of the story:

Omniscient is not an easier third person pov that lets you get around all those icky third person limited rules. Omniscient is a highly complex and difficult to pull off pov which requires a lot of thought and skill on the part of the writer.

Omniscient is not a pov that lets you get away with telling everyone’s story at once without bothering to actually be in any of their stories. Omniscient is a pov in which your narrator is essentially their own complex character you have to manage and understand, who is telling a specific story for a specific reason.

Now, does this mean there aren’t exceptions to the rule? Certainty! But if you aren’t a five time best seller, you probably aren’t the exception.

And now for the mandatory self-promo: You can support me and my advice giving capabilities by reading my sirens and pirates debut novel, Our Bloody Pearl!

Came up with a term… which is probably not original and maybe someone has already thought about that, but anyway. Low-effort writing. Sit down, open your word document (or any other comfortable app/site for you) and type anything that comes to mind. Word vomit. The concept is not new, but when you specifically frame it as low-effort you know exactly what to expect from it. There is some effort applied, but it’s really not that much. Just enough for it to be a text and not a bunch of random words.

I find it a very helpful exercise for when you’re stuck or when you need to write something small for a prompt on tumblr, for example, just to warm up.

(submitted by @rein-hearts)


Here’s a cool little trick that I just discovered:

In Blender you can set everything in your scene to be fake lit by a so-called matcap material. One of the standard matcaps in Blender is one that looks like the colors on a normal map - In fact, it IS the colours on a normal map. If you take a screenshot of your 3D object with the normal matcap on, you get a perfect 2D normal map of it!


I made this coin by sculpting a head, and then just taking a picture of it on a coin surface with some text, then applying that picture as a normal map to a flat coin-shape.


You could of course do this by baking a normal map the usual way (planar projection with great ray depth), but this way is much faster and you literally can’t make mistakes!

little things

requested: can you make an imagine where Tom cheats on his gf and he wants to get back together but he randomly meets the reader (y/n) who is willing to help him get his gf back but he ends up falling for the reader instead

summaryTom is down on his luck with his relationships, the last one blowing up in his face right in the middle of your coffee shop. He turns to an unlikely stranger for help–you. However, after you agree to help him, he finds himself falling for the unlikely stranger instead.  

word count: 2k

pairings: tom holland x reader

warnings: none

a/n: depending on how popular this one gets, i might turn it into another series. we’ll see!! i couldn’t write tom cheating on someone because i dont have the heart to so i tweaked it a tiny bit i hope thats okay  // not my gif // i also tried to make the reader as gender neutral as possible

Each time you woke up in the morning, you knew it was going to be a good day–simply because you refused to have a bad one. You sang in the shower, danced while you got dressed, whistled while you put up your hair. It was like you always had happy music playing in your mind, you radiated positivity. And what better job for someone who radiated such happiness? A humble cafe owner in New York City.

You waved to the usuals who were in your shop nearly every day–the familiar faces causing your heart to bloom open like a flower in spring. You donned your apron with a beautiful smile, greeting your employees and began taking orders.

Keep reading

coin-degrade  asked:

Hello! I've been meaning to Ask this for a while now, but haven't had time. I am writing a story where the MC goes through a Traumatic incident when she's young (7 years). However, the rising action doesn't start until she's a young adult (19 years). I have an outline of what they go through before they reach that age, but I feel like it drags out. Is there a way to keep the beginning of a story from getting boring before it reaches the rising action? Or should I get to the action?

When your rising action comes late in the story.

I’m going to preface this with the fact that I’m a speculative fiction writer and reader who has the attention space of a goldfish. This is my belief: 

Always start at the action.

When you have an important scene (or more) that takes place a while prior to the start of the rising action, you can still accomplish this a few different ways:

1. Have a prologue of when the MC is young, and then, as quickly and seamlessly as possible, catch the reader up on what’s been happening between then and the start of the action. 


  • Easy to do, or at least, easy to do well enough to get by. 
  • The reader gets to see the event first hand. 
  • The read knows all (or most) of the relevant information so you can build off it easily.


  • The reader isn’t connected with the characters yet.
  • It’s a very well-used trope.
  • I personally don’t like it.

2. Have a flashback of when the MC was young. 


  • The reader gets to see the event first hand.
  • If done well, the event is more powerful because there’s buildup to it.


  • Hard to actually do well (and often looked down on because it’s often done poorly.)
  • The reader doesn’t know everything about the trauma up front, so you have to convince them that the trauma happened without actually explaining it.

3. Let the character speak for themselves.

You can do this by having them literally speak of it to another character, or by showing the effects the trauma had on them throughout the narration without actually describing the trauma itself.


  • Feels the most natural (when done well.)
  • Forces you to accurately and emotionally portray the effects of the trauma on your character.


  • Forces you to accurately and emotionally portray the effects of the trauma on your character. 

All that being said, there are many (primarily non-speculative fiction) genres where you can get away with waiting for long periods of time between significant events, as long as you’re either (1) showing lots of character development, (2) digging deep into the daily life of a specific historical period, or (3) have some kind of philosophical or symbolic thing going for you. 

I used the third option in Our Bloody Pearl and, after a little bit of editing, most readers agreed that it worked out pretty well. (Though we all know there’s always room for improvement!)

vanyaviolence  asked:

trick or treat?


Clove Oil Luck Charm


Originally posted by midnightinparis

Find a coin that’s a bit different or has special meaning to you.

Dab your lips lightly with clove oil (spot test it first to make sure you aren’t allergic or sensitive) or ground clove (wet your lips first). Kiss the front and back of the coin three times.

Rub it between the thumb and forefinger of you dominant hand while chanting:

“With oil of clove, this luck is wove.

With kisses three, luck back to me.”

Keep the coin in your wallet or purse- or even in your car if you commute frequently.

Witchy Tip (that’s probably been said multiple times buuut it still comes in handy damnit!)

If you worship any deities and you’re closeted or don’t have an altar, you can use an altoids can (or any small container, inconspicuous or not) to store your offerings.

"Look what my baby can do!"

I dunno; is it just my family, or do other people do this: the parents are like, “look what I taught young Julio!” And then the baby/infant/not-even-two-year-old does a fist bump, or the Vulcan hand sign, or SOMETHING quirky.

Is this normal? Do other families do this? …whatever.

So, what if the RFA pulled something like that? What neat ‘tricks’ would they teach their kid?

“Look! Guys, look! Loooook!”
His baby had just figured out how to stand on its own. Turning around, everyone saw Yoosung help his child stand on the couch.
“…yeah, we know they can do that,” Zen shrugged, “It’s been a week.”
“No, that’s not it!” Yoosung exclaimed, then, kneeling in front of the baby, he put his hands low beside his right hip, kind of like he was holding an invisible ball.
“…what?” Jumin frowned.
Jaehee cocked her head. Why did that look so familiar?
A lightbulb went off over most of the RFA’s heads.
“Are you kidding me?” Zen facepalmed.
The baby grinned wide, showing an adorable lack of teeth. Their favourite part was coming up.
Yoosung thrust his hands forward, until they stopped just in front of his child, not quite touching them.
Giggling, the baby fell backward onto the couch, as if hit by a super attack.
“DID YOU SEE? DID YOU SEE?!” Yoosung yelled, turning back to his friends.
“SO COOL!” Saeyoung yelled.
“You are such a nerd!” Zen exclaimed, half crying on the inside because somehow he had lost The Girl to this power dork.

“This hot chocolate is delicious!”
“Thank you! My child mixed it for you!”
The customer looked over to the other end of the cafe’s counter, and was surprised to see that, yes, an infant was studiously mixing chocolate mix into warmed milk for their customers. The little one was seated in the counter, a baby frown of concentration on their face while they scooped and stirred, somehow managing to keep their clothes clean.
“Th…that’s amazing!”
Shocked and charmed, the happy customer slipped a few coins into the tip jar marked “Tuition in 15 years.”

“How does your child know to selfie? They can’t even walk, yet. …Zen, their selfies are better than mine. The shots are focused and the face is centred. They…they’re using the front camera! How is this possible? …Zen. ZEN. How does your child know about filters? …hot damn, why do they look so good?!”

The house staff and C&R’s employees were always happy to see Jumin’s child.
Not only because they were adorable.
Not only because their director and chairman were always in a good mood when the little one were around.
No, they were always happy because the child’s mother had taught them something special: how to tip.
So, wherever the child went, if a door was held open for them, or a candy was offered, or even if they were simply praised for being a good child, out would come the child’s little wallet, and a small bill or handful of coins was given to whoever had earned their favour.
It was a time of plenty for the house staff and C&R.

“Is…is your child dabbing at me?”
“Yes. Yes, they are. ;D”

Hide your candy. Now. Saeran’s child is GOOD at finding sweet treats.
In your purse? It’s gone.
In a cupboard? Kid can climb.
In your pocket? Yeah, they aren’t hugging you to be cute. They’re going for the goods.
Locked in a safe? Please.
They’re efforts can only be called off with a payment of ice cream.


Pairing: Changbin x female reader

Genre: coffeeshop!au, badboy!Changbin

Word Count: ~3,000

Warnings: Mentions of violence/blood but nothing graphic

Summary: Everyone at work is scared of the returning customer who has tattoos swirling up his arms and a piercing gaze. You’re the only one who rings him up because he doesn’t scare you and actually seems pretty sweet.


You’ve been working at the coffee shop for a little over a year. It pays good money and is an easy job. The owner is sweet, giving you free lunch and allowing you to take home any leftovers. Your coworkers are nice too. Min is the one who usually opens and always has a smile on her face when you show up. Hyun is talkative and whips up drinks in a flash, so you depend on him a lot during rush hour. Little Jeongin is the manager’s son and a high-schooler, so he helps you close up after school and then runs home for dinner with his parents. There are a few others too, but they come on the weekends when you’re not scheduled. Out of the four you work with, you’re the only full-time worker, other than the owner of course.

It’s easy to recognize the faces of the people who come often. Sometimes, you learn their names and their orders. It’s easy to strike up conversation when you’re taking their orders. Overall, work is a pleasant experience since everyone’s mood is always happy.

Except for once a week.

There’s this guy who comes in every Friday, orders the same iced coffee and ham and cheese croissant, and sits in the corner for a whole hour until you get off for lunch break. Everyone at work avoids the register around 11:30 since they know he’ll be coming. The moment he steps in, everyone behind the counter quiets and the mood makes a 180-degree turn.

Keep reading

“Usual luv?” the barista asked and began preparing a sea slug espresso.

The mermaid nodded sleepily, clutching a book of tide charts. “And a jellyfish on toast, please,” she replied as she slid a few coins into the tip jar.

The mermaid swam to a table and stretched in an effort to wake up. Those ships weren’t going to sink themselves.

i was selling shots at work and this old dude bought like 8 jager bombs and then when he went to get his coins out to tip me he put his fuckin viagra in my hand

RAINBOW! now has tipping!!

RAINBOW! has tipping on tapastic! If you don’t know how tipping works, it’s only available through the phone app. The nifty thing about it is that while you can buy coins to tip, you can still tip people even if you don’t have money! You can get coins by watching ads, and it will still turn into cash for the creators you tip! So….show us some love maybe? 💕

anonymous asked:

Leaving a 5 star review online isn't an excuse to barely tip. I was bursting my ass all night and your table of 6 leaving a few coins as a tip after having a 3 course dinner and our most expensive champagne is fairly insulting. Please tip us. I can't buy food or pay rent with good reviews.

Fluff Fueled by Spite

Alright so on the discord it was said that @thesearobberssun​ and I couldn’t write fluff. ( @thenickelportrust​ is a brilliant game–also just updated, so even more reason to go play it if you haven’t!–and I adore it to bits.)

We were given two prompts: Sleepy morning cuddles, and flowers. Limit of 5k words which I just squeaked by. We also let the discord pick characters. Since Rena did her angsty boy, it was decided I would do one as well (There are a lot of them though >.>) and therefore Mr. Oblivious aka Ramiel aka Walking Talking Trouble is featured. Written from his POV, per agreed.

Enjoy this pure fluff and lots of flower stuff!

Keep reading

anonymous asked:

Do the coins you get from tips on Tapastic help a lot? I've been tipping some, but idk how much it actually helps


anonymous asked:

Heyy, I just woke up with this ridiculous prompt idea (I just thought it would be fun to share). Oblivious boys E/R are always great anyway. Soo imagine one of the boys having really vivid dream one night (sth like love confessions happen there or real feels talk etc.) and later on he forgets that it was only a dream and when he is conscious he acts like he was continuing the dream scenario. While the other is totally shocked (in a positive way though). The look on their faces! / Cheers!

It wasn’t Enjolras’ fault that his reality was sometimes a little bit warped, it was his exams. 

Staying up for 50 hours straight and finally falling asleep head first into a textbook and dreaming about having an intense political debate with one or several of Les Amis was unfortunately a regular occurrence during exam period.

One day he shuffled into the Musain pulled Courfeyrac aside and said between sips of coffee “And another thing, the current economical climate is influenced by a number of factors, not just the rising price of Midori cocktails and glitter.”

“Enjolras what the hell are you talking about?”

“We… We were talking about it yesterday? With the duck that was playing chess behind us?”

“Oh. Oh honey, no. No we weren’t. Go home and get some actual sleep.”

Enjolras should have taken his advice, instead of brushing his concern aside and studying on. If he had only just listened to Courfeyrac (And Combeferre, and Joly, and Cosette, and hell- everybody who had witnessed his lethargic state) he could have completely avoided what was doomed to happen next.

“Maybe it’s the lack of sleep.” Enjolras found himself saying to Grantaire, who was absentmindedly tossing loose coins into a faraway tip jar at the Corinth.  “But I feel as though this is the right time to tell you I’m sick of keeping secrets from you and I think I love you more than France.”

Enjolras barely saw Grantaire’s response. He was too busy running away. The next thing he knew he was headfirst in his textbook in his bedroom, his cheek plastered to a page. He couldn’t remember how he got there but he felt like a complete and utter fool.

For once he decided it was finally time to get a good nights sleep, he would need it if he was going to confront Grantaire and apologise tomorrow. After an hour of tossing and turning and running through an alphabetised and itemised list of regrets, his fatigue finally won out against his mental anguish and he fell into a dreamless sleep. 

The Musain was full to bursting when he arrived. It had always been a hot spot for stressed out students needing a quiet place to study or nap (and take liberal advantage of their free wifi), exam season was no exception. Enjolras eyes searched the room before they landed on Grantaire in a corner, staring with his brow furrowed and looking frustratedly at his phone. 

Enjolras felt his heart skip like stones on a calm water. He swallowed and steeled himself, making his way over and sitting directly across from him. Grantaire almost dropped his phone in his coffee in surprise.

“Oh, Enjolras. Hi.” Grantaire said uncertainly. 

“What are you doing?” Enjolras asked, trying desperately to read Grantaire’s expression.

“Nothing important. Just trying to figure out how to reply to something.”

Enjolras nodded glumly. He braced himself to anticipate rejection. “Look, about what I said yesterday-”

“Hey, don’t worry about it. A coma-ridden monkey could see you were so sleep deprived you had no idea what you were saying. I know you didn’t mean it.”

Enjolras felt a surge of defiance rush through him. It was one thing for Grantaire to not reciprocate his feelings but how dare he try to tell him that he didn’t mean it. 

“For your information,” Enjolras replied desperately trying to keep his voice from shaking. “I meant every word of it, and if you don’t feel the same way that’s fine but don’t you dare think for a second you can get to decide to tell me how to feel!”

“Okay, okay!” Grantaire said putting his hands up defensively. “I get it. I won’t try to question your passion for non dairy based milk again. Lesson learned.”

“Wait. What are you talking about?”

“The whole ‘almond milk is superior to dairy and I will throw that lactose ridden mocha in your face if you offer me a sip one more time, Grantaire.’ thing. Isn’t that… Wait, what are you talking about?”

Enjolras blinked at him. Either he was playing dumb or he genuinely didn’t remember. Enjolras didn’t know which option stung him more.

“I’m talking about the conversation we had at the Corinth. When I told you I loved you more than France.”

Grantaire’s eyes widened suddenly in disbelief. His phone fell out of his palm and onto the table before them making a dull clunk as it hit the wood.


“I told you I loved you and-”

“No you did not!” 

“Of course I did!”

“Enjolras, I can tell you right now that if you told me you loved me not only would I have not forgotten about it, but I would have strolled over to the closest store, bought a diary, and filled the whole damn book with a written scream.”

Enjolras frowned, his brain was whirring, he was confused, and also very tired.

“But- we were at the Corinth and Combeferre was bartending with a spinning bow tie and- oh my God. Oh no. I dreamt the whole thing!” Enjolras put his face in his hands and groaned. He never wanted to be seen in public ever again. His humiliation was only made worse by the fact that Grantaire was laughing at him. He heard his chair scrape backwards.

So this was how he was going to leave things? Laughing at Enjolras’ patheticness and leaving to tell everybody about how much of an idiot he was.

Enjolras startled when he felt a hand on his shoulder, and looked up to find Grantaire smiling unbearably down at him.

“C’mon. I’m taking you home.”

Enjolras miserably rose to his feet. 

“Y’know…” Grantaire continued as he tentatively moved his hand across to Enjolras and entwined the pair of them as they walked. “I’ve fantasised about our first date for an embarrassingly long amount of time. But in the millions of scenarios I’ve imagined, I’d never thought our actual first date would be me taking you home so that we could both lie down and take a nap together.”

Enjolras’ heart rose in his chest, his brain was screaming in a mix of triumph and blissful happiness. 

“Just don’t tell anybody you got to sleep with me on the first date.”

Tsuzuru & Coffee Shops

 “Hi, Tsuzuru!” every barista said in unison.

 Izumi squinted. “…They all know you?”

 The playwright didn’t even flinch as he waved at them. “Yeah, I come here a lot.”

 “The usual?” a chirpy girl with long, bubblegum pink dyed hair asked.

 “No, I don’t have an exam. Can I grab a cold brew with salt foam?”

 “Haha, extra on the salt foam, right?”

 Tsuzuru gave her a tired smile and handed over a little pile of coins. She rejected them, ringing him up. “On the house, Tsuzuru.”

 “Ah… really?” His chin wrinkled.

 “Of course! You’re our favorite, after all.”

 Tsuzuru dumped half the coins into the little tip jar and accepted his receipt. The barista laughed.

 “That’s why you’re our favorite!”

 Izumi leaned over the bar. “Uh… can I ask what his usual is?”

 “Tsuzuru usually orders nine espresso shots with a pump of caramel over ice,” the barista whispered back to her, glancing at him. “Then he usually one shots it in front of us and walks back out. It’s actually really scary.”


 The girl nodded and grasped Izumi’s hands. “Please watch after him. We’re all really worried. He’s our favorite, we always go to your plays whenever spring troupe performs!”