dramatic conflict

top five writing (fic) tips
  1. Just Do It: a bad idea put down is literally infinitely more useful than some imaginary perfectly executed concept. writing is a process, everyone starts with crap and then builds up from that. if you have to, start with “Once upon a time…” because what’s important is that you start
  2. Begin at the End: every time you write a story you should know vaguely where you want the story to end. you don’t have to know how to get there, just know where you want to go. picture the final shot in the movie of your mind, and make it your goal
  3. Motivation is Key: the most important aspects of your characters are always their motivations. when character motivations clash, you get dramatic conflict, and the resolution of a dramatic conflict is the essence of storytelling. each of your characters must want something
  4. Read Away: you are what you eat, and you write what you read. be sure to branch out periodically, but just never stop reading, be it stories, poetry, essays, articles, or textbooks. all words have writers behind them
  5. Practice Makes Perfect: the most obvious, the most essential, and the hardest of them all. be kind to yourself with this one, and don’t give up
RIP Kylo Ren? Nah.

I don’t know if this will make sense to anyone else but… I love how scary Kylo is. Even though there is a man underneath it all–a conflicted dramatic Skywalker–he is still intimidating as fuck and I love it. So yes, of course I will miss Kylo’s mask, the frayed cowl, the villainous decoder voice, the villain swag, the clenched fists, and the lightsaber destroying shit. It will always be iconic.

But I’m SO READY for anti-hero Kylo. And I’ve honestly been ready since day one.

To anyone feeling betrayed that he might become “not as cool” or lose any of his Kylo-esque personality traits I just want ya’ll to remember a few things that might help the transition:

1) I’m fairly certain many of us went into TFA expecting this masked baddie to be just another boring dark sider, a one dimensional villain who we didn’t care about, a one and done. They definitely blew all my expectations out of the water. Everything I got and everything I’m going to get is ALL so much more and so much better than I ever hoped for. Even all the shitty discourse I wouldn’t trade for anything because, well, I got to discuss & analyze one of my all-time favorite SW characters with friends, family, co-workers, and my online SW fandom. I’m prepared for anything, I feel ready to survive this epic (and likely painful) story!

2) Kylo Ren… well, he doesn’t really like being Kylo Ren. The guy isn’t happy in the First Order isolated under Snoke’s creepy overbearing wing. Even his dad, while dying at his hand, remarked just how sad his son’s eyes are, how Ben looked deprived and malnourished. Han wanted Ben to find peace. Being the villain isn’t going to do that. He thinks he wants it, he thinks he needs it for any kind of self-worth… but is villainy his true nature or true calling? I don’t think it is. I think people will much prefer the anti-hero Kylo once we see the transformation… because he will be more confident, stable, determined, powerful, and even more badass imo because he will be fighting for himself… maybe (hopefully) even alongside Rey. NOT fighting for Snoke. I think it’s going to be super interesting watching him go down a grayer path.

3) He’ll still be Kylo. All the snark, all the sass, the puppy headtilts, the gazing into his enemy’s eyes, the ultimate Hux insult generator, the bridal-carrier… he’ll just be a little less of an asshole–you know, showing his humanity, dealing with the aftermaths of his father’s murder, getting closer to Rey, etc.

So even if he heads the way of the anti-hero and we eventually lose our masked villain I will always want Kylo to have that choice to be who he wants. Because a creepy old asshole has interfered with that choice since before he was born. If Kylo chooses to die, rot in a jail cell, or even become a semi-heroic character, just let it be his choice. And that will be more than enough badassery for me, mask or no mask :)

So I have seen a lot of content of hypothetical Keith Becomes Purple scenarios and I won’t lie that is a subject that also appeals to me quite a bit, but I find it funny that we seem to have shifted from mostly, unrealistic angst/heavy rejection (was more of a thing around season 1) to unrealistic immediate acceptance and everything’s fine and knows exactly what to say narratives.

(also, I think, misunderstanding fundamentally what about this is upsetting to Keith but that’s for a different post)

I don’t think the team is going to know what to say. I think they care- I mean, I’ve made my feelings on that very clear, but there’s also… this isn’t really something they considered and ran a bunch of scenarios for. Especially if there’s been subtle symptoms and Keith’s response has been to draw inwards and hide them- they’re probably going to be worried. They’re going to suspect a lot of things are up- scenarios that may be a lot worse or more dangerous. 

Even if they haven’t been jumping to conclusions and thus freaking out a bit- they are not going to have pre-prepared love and acceptance speeches. I mean, heck, Hunk’s apparent M.O. of trying to reassure Keith is bothering the heck out of him with minor technical questions. And considering how drastic a lot of people imagine the shift would be (which, it kind of would) there’d be a lot of technicalities there to explore.

I’m totally on board with the reveal being less-intense and drama heavy but my proposed measure here is: make it awkward. Like the entire team is basically like So Your Teammate Is Now Purple And Probably Uncomfortable About It. Give me “Oh jeez Keith is an alien like we KNEW that but I didn’t think about it- what if he’s short because we haven’t been taking care of him. Do galra- are they like plants. do we need to water him. where’s the marmora guys we need to know”

And I mean if you think about it Keith wouldn’t know either so he’d be like “Hunk that’s ridiculous” and then five seconds later “wait…is it though

…Actually, now I hope this is at least part of how it goes down in canon. We had our dramatic conflict over the subject give me “entire team handles it about like they handled stuff in Eye Of The Storm. at least one person is shirtless because of bad timing. Kaltenecker is there. Kolivan doesn’t know what’s going on because randomly changing appearance extensively is not normally a galra thing but where the heck are they getting half of these assumptions.”

Heck, it’d be a great way to rope the Marmorans into less serious scenes because let’s be honest guys, if you’re gonna hang out with Voltron you have to be up for weird shenanigans. It’s mandatory.

Love gives your enemies a perfect target



Paul x imprint!reader

Warnings: Swearing

Request: “can u write a paul imagine where he imprints on the reader but doesn’t tell her but since it’s so obvious, some vampires kidnap and torture her to get back at him and he saves her and it’s super angsty and paul being a mess and a fluffy end? thanks!”

Hope you guys enjoy this, I will get Part 2 up soon! xoxo

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Hamilton Fashion AU

Liberty Fashion Co. has just successfully broken away from an iconic Britain-based global fashion company headed by the slightly insane royal CEO. Will Liberty Fashion, led by experienced and innovative designer George Washington, be able to rise in the fashion industry to be recognized as a leader of high fashion luxury brands?

More importantly, will the company be able to stay together through the ups and downs of the fluctuating fashion industry and dramatic inner conflicts?

People of Germany: Friedrich Schiller (1759-1805) was a German poet, philosopher, physician, historian, and playwright. He was born in Marbach, Württemberg as the only son of a military doctor. He grew up in a very religious family and spent much of his youth studying the Bible, which would later influence his writing for the theatre. He had 5 sisters. He was named after King Frederick the Great, but he was called Fritz by nearly everyone. As a boy, Schiller was excited by the idea of becoming a cleric and often put on black robes and pretended to preach. Later, he entered the Karlsschule Stuttgart (an elite military academy), where he eventually studied medicine. During most of his short life, he suffered from illnesses that he tried to cure himself. While at the Karlsschule, he read Rousseau and Goethe and discussed Classical ideals with his classmates. At school, he wrote his first play, The Robbers, which dramatizes the conflict between 2 aristocratic brothers: the elder, Karl Moor, leads a group of rebellious students into the Bohemian forest where they become Robin Hood-like bandits, while Franz Moor, the younger brother, schemes to inherit his father’s considerable estate. The play’s critique of social corruption and its affirmation of proto-revolutionary republican ideals astounded its original audience. Schiller became an overnight sensation. Later, he would be made an honorary member of the French Republic because of this play. In 1780, he obtained a post as regimental doctor in Stuttgart, a job he disliked. In order to attend the first performance of The Robbers in Mannheim, Schiller left his regiment without permission. As a result, he was arrested, sentenced to 14 days of imprisonment, and forbidden by Karl Eugen from publishing any further works. He fled Stuttgart in 1782, going via Frankfurt, Mannheim, Leipzig, and Dresden to Weimar. Along this journey he had an affair with an army officer’s wife Charlotte von Kalb. In 1789, he was appointed professor of History and Philosophy in Jena, where he wrote only historical works.

Goethe convinced him to return to playwriting. He and Goethe founded the Weimar Theater, which became the leading theater in Germany. Their collaboration helped lead to a renaissance of drama in Germany. For his achievements, Schiller was ennobled in 1802 by the Duke of Saxe-Weimar, adding the nobiliary particle “von” to his name. He remained in Weimar, Saxe-Weimar until his death at 45 from tuberculosis in 1805.

Hamilton Fashion AU

Liberty Fashion Co. has just successfully broken away from an iconic Britain-based global fashion company headed by the slightly insane royal CEO. Will Liberty Fashion, led by experienced and innovative designer George Washington, be able to rise in the fashion industry to be recognized as a leader of high fashion luxury brands?

More importantly, will the company be able to stay together through the ups and downs of the fluctuating fashion industry and dramatic inner conflicts?


Nice AU idea!

Doctor/Master Gothic romance, ham and cheese and sandwiches, and bananas on the side

So I have another Scream of the Shalka fanfic running up at AO3 besides The Accidental Ambassador. This one’s called Hold Me Fast, and it’s the same characters [mostly], same personalities [mostly], same obsessions [mostly], with one key difference. Everyone’s happier! And the Doctor isn’t a shit! “Second ‘verse, same as the first / A whole lot funnier / and a lot less worse!”

Anyway, here’s Alison, who accidentally experienced one of the Master’s memories during the psychic vampire attack, remembering a key moment in his early life with the Doctor. Yes, they’re both such ham and cheese sandwiches that of course a significant moment in their lives takes place on a dark and stormy night in a cemetery where life hangs in the balance.

Most of all, though, she remembers something that never happened to her. She was younger, maybe in her mid-teens, and she sat on the floor of a granite mausoleum at night. She held the Doctor in her arms, as wind thrashed the trees outside and lightning sent jaundiced moments of illumination through the diamond grilled windows.

Alison was freezing. Her clothes, sodden with mud and blood, dripped steadily. She felt like she was fusing to the mausoleum floor, which was as cold and wet as an iceberg. Though the Doctor covered much of her body with their own narrow, knobby form, they gave her numb legs, rather than insulation. The noise of her chattering teeth sounded through her skull, but she could not warm herself. She had wrapped her cloak around the Doctor, who was shivering even more than she.

Water – or maybe blood – trickled down her forehead, and she swiped it away before it hit the Doctor. She looked down on them. Just minutes ago, she had wrested them from their tormentors’ grasp, standing between the Doctor and almost certain death. She drew her power from her rage and lashed out at the assailants. So strong was her mental assault on them that they fell to their knees as they tried to obey her and vacate. Then, as they fled, her telekinetic power just happened to shift the foundation of a particularly unstable tomb. She didn’t intend for five of them to be crushed, but she can’t deny that it was worth it.

–Because now she has the Doctor. She and they may both be among the Deca, the most avoided students of the academy, and even then among the Marks, the most despised subgroup of the Deca, but still the Doctor has been elusive till now. Whether they were perched in a tree, kneeling down in a flower bed, or carried away by a song, she could hold neither their eyes nor their mind nor their hearts. It wasn’t that they were looking at other people. It was just that they were two steps left of the communal reality.

She, someone who naturally commanded recognition, found the Doctor’s apparent obliviousness baffling and infuriated. For her, the worst thing in the universe, besides being told to Use your words!, was being ignored. Thus, as much as she essayed to gain the Doctor’s notice, she hated them for refusing her satisfaction.

Tonight, though, she learned that they had seen her all along. When they were failing in her arms, shaking with cold, wheezing with asthmatic breaths, she did not know but that they might die. If they did, they might regenerate into someone who did not know who she was, how necessary she was to them. And so she reached out, with her arms and her voice and her mind and her hearts, and told them who they were and what to do: I am your Master, and you belong to me. You will stay with me always, for you are mine.

anonymous asked:

dID YOU SAY YAMAGUCHI HEADCANONS??? I'm procrastinating my paper that's due in like two hours this is a perfect opportunity to scream about headcanons and Yamaguchi haHA >v< Okay okay so, I have this one headcanon that he dislikes goats because when he was little one of the goats thought he wanted to fight and ran straight into him, and ever since then Yamaguchi disliked goats. He's not scared of them he just sees a goat and goes "u wanna fight u dumb goat??!!1!!!" (I live for salty yams wops)

THIS IS SO SPECIFIC… i’m curious as to what your life is like, anon… hahaha he probably just has a really dramatic inner conflict whenever he sees a goat

Watch on akiba-kei-chan.tumblr.com

anonymous asked:

I honestly doubt Even would've gotten his own season. This show is about the 99'ers. And Even was such a big part of s3. Jonas didn't get his own season after Eva. William didn't get one after Noora. Even was going to get one after Isak.


 That is totally true! Which is why I always treated the Even season as a joke.

But it’s more than obvious that the character had the potential to get a season while William couldn’t handle a season if it was handed to him on a platter. And I just don’t think Jonas has the sort of dramatic conflict that could carry out a season of Skam(it would have been like a season of Jonas dealing with other people’s problems)

So even though, technically Even is not qualified to get a season, he had the character potential of telling a very satisfying and fleshed out season. 

Don’t forget the show was about teen girls for teen girls but then we had Isak’s season(arguably the best of the three) so I think Julie would see the potential a character carries as well. 

the funniest thing ever in MLP is actually unintentional

that moment right after the “to be continued” text paired with a swell of dramatic conflict music at the end of any first part of a two part season finale…

Where, no matter how heavy or terrifying the preceding moment was, it still KICKS RIGHT INTO THE END CREDITS WITH A KICKY INSTRUMENTAL VERSION OF THE THEME SONG featuring a chorus of cutesy backup vocals wailing “MYYYY LITTLE PONY~” and “FRIEEEEEENDS!”

I laugh every time.

So. Dr Str•nge wasn’t an absolute shit show so I don’t feel like I wasted my free ticket, but it was still a very bad movie so I still feel like I wasted my time. 

The worst thing is, it was a bad movie that didn’t learn any lessons from the multitude of movies it stole from, the most obvious one being irøn man. But honestly, you could list the films that this movie blatantly stole from and you wouldn’t be finished until I was done writing this little mini essay.

So the worst thing is, the visuals that critics have been raving about, aren’t good. “Visuals” is a very broad term, it has to do with the entire visual aesthetic of the film, and the film’s use of visual grammar (angles, lighting, direction, composition, blocking). The film switching between being entirely drab and boring to look at, to intense neon colors, with no in-between. The visual effects are good, which is what critics are actually talking about. They look fake as shit most of the time but there was an attempt to make them look interesting and that is commendable. 

All dialogue is filmed the same, and often time a character will just talk, and talk, and talkand talk andtalktandtalk and it goes on forever, and it’s just one static single of the actor doing nothing expressive, doing nothing interesting; just TALKING. And those instances could have benefitted greatly from the “good visuals” where the reality could have been shifting behind the characters as they spoke, giving some visual interest to the scene. But no. No movement; no movement of the background, the character, the camera; just a litany of five minute long singles.

The story is bland. Not even “ho-hum” as critics have said, ho-hum is how you describe the story of a dramatic film where it’s only interesting if you’re interested. This story was boring beyond description. Nine out of ten character motivations amount to “because reasons” and, as expected, there’s never any real tension. The threat is vague for most of the film. The “villain” is treated like a threat before he’s done anything. Most of this movie relies on character conflict and dramatic beats that are repetitive and contradictory. Where other Marvel films would go back and forth with character development between movies, this one does it within one movie. Groundbreaking. 

The one word I used to describe C¶vil War was “waste”. It was a waste of time, a waste of characters, a waste of a final act of a trilogy; an overall waste of a film. The one word I would use to describe this film is “irredeemable”. Just like the protagonist, who makes no effort to make up for his life of being an asshole and just decides he’s a better man, this film just decided it was worthy of our time without doing anything to make that so. Irredeemable protagonist, irredeemable story, an overall irredeemable film.

Thank you for reading.

INFP/INFJ Relationship

requested by sunhasrisen

INFP/INFJ share no cognitive functions, but often can appear very similar to each other on the surface level.
The main difference is how they interact with the world - one is in an organized way, the other in a chaotic way.

I believe any relationship can work if the people care enough about making it work.

The INFJ/INFP relationship would seem very sweet and affectionate. The INFJ would be very affected by the mood of their INFP partner, due to the INFJ’s Fe as compared to the INFP’s Fi. Both of them have big dreams, and they’ll want to take part in each other’s dreams. They both understand the other’s need for space, and can respect that. They’re both emotional, so the relationship could get a little too dramatic at times. Main conflicts would probably be the INFP wanting to be more laid back and getting frustrated with the INFJ’s planning, and the INFJ being frustrated by how the INFP can sometimes be unreliable.

But in the end, they’d be sweet and love deep intellectual conversations with each other. They’d really enjoy finding a kindred spirit.

Series 3 is now airing on BBC First. Cillian Murphy talks about the series with Pretoria News:

At the end of series two, we all thought Tommy was a goner and we start series three two years later. What I like about television is that when you come back to a new series, you can create a gap where the story continues that the audience isn’t privy to. In series three, we see him and the family on an upward spiral. Tommy and the family are now very wealthy, with big houses and fancy cars, so materially they are doing very well. Emotionally, however, that is another matter.

And with him about to get married, he is forced to make some big decisions. I think the gangster part of his life is still the most important. In the first couple of episodes, the contrast between his personal life and the business clashes, which makes for a dramatically interesting conflict. I think having a semblance of family life helps Tommy in many ways, in terms of making the Shelbys more cohesive. It creates a communal environment for the family and there is a newly formed support network later in the story involving Polly and Ada. There is a big junction between family life, criminal life, violence and Tommy’s ambition and it’s a tricky one for him to negotiate this time around.

What is great about Steve’s writing is that having played him for a while, you think you know the character of Tommy, but you can never predict what Steve is going to do with him. It is so exciting to get the scripts, as they always astonish me and he pulls out a few shockers in this series. I also think by the time you get to a third series, you need to be quite bold because the audience are so invested in the characters, they feel like friends to them. It is important that you move on with the characters and take leaps so that the audience feels that they are going on a journey with them. I feel that Steve has really nailed that in this series.

Weddings are usually intensely boring affairs, except to the bride and groom, but Steve has managed to create an opening episode (which is a wedding day), that is riveting. There are so many layers of drama going on and right from the getgo it’s a really stunning piece of writing. On the one hand, it is supposed to be the union of these two people who love each other, and then on the other, there is the business of gangsters, violence and familial tension going on. I found it really compelling and I hope it will be equally engaging for the audience.”

For somebody who doesn’t believe in religion and is completely godless, Tommy is an incredibly superstitious man. I think people who have that belief in superstition don’t really use it when things are going well; it becomes something to blame or a way to justify something that has gone wrong. In this series, things go wrong quite quickly and Tommy uses the gypsy superstition as a means of getting himself out of a situation.

Tommy and Polly’s relationship is a fascinating one and it keeps growing and evolving from series to series. They represent a number of roles within the family. They are brother and sister, but can act like husband and wife, and mother and father to the family, yet they are none of those things and all of those things all at the same time. Each series Polly seems to go through different phases. Series three is about her growing independence and being upwardly mobile, and perhaps even having relationships. However, it seems that any time somebody moves away from the role that Tommy has designated for him or her, he finds it very difficult to deal with.