even if you don't like this story plot

  • Friend: Why don't you like Teen Wolf anymore?
  • Me: inconsistent writing, multiple new characters with zero characterization added every season, underutilization of characters who actually have a backstory, seemingly important story lines that are all of sudden forgotten, poor or no plot building, unexplained story developments, the baiting of relationships that are never going to happen, lack of emotional connection to characters, overuse of slo-mo for scenes that aren't even dramatic, forced relationships, beloved characters disappearing (some without any reason given), the use of the writing philosophy 'It's okay if it doesn't make sense - we'll just say it's because it's supernatural.'

anonymous asked:

Hi! Quick question: how do you make your OCs feel so natural? Not the characters themselves but their presence, idk it just seems like (even in a lot of tv shows) that new characters seem forced, and their reasons for existing don't seem right. How do you get around this?

One thing I focused on for SoaD was making sure everyone served the plot. Dr. Kerza, Shannon, Nicki, etc, all exist because they need to be there for the story to move forward. The GIW needed a leading antagonist who would act as a foil to Agent L. Danny needed a nurturing relationship with no strings attached (Shannon), and someone more abrasive who wouldn’t let him stagnate in self-pity (Nicki).

If you go back and look, you’ll find that every OC scene involves the main characters (Danny and Maddie) in some way. The OCs are either talking to them or talking/thinking about them. 

We don’t have Kerza talking to Agent L about the quality of the cafeteria coffee, or Shannon and Nicki having a conversation about Patrick’s family. Even though these scenes could have happened and would be perfectly natural and in-character, they would have distracted from the main story.

A lot of writing advice will tell you to think of every side character as their own protagonist, but I find this to be misleading. They do need to have their own agency and goals and personalities, but never let their stories crowd out your own.

jaydeastone  asked:

How would you suggest writing deeply damaged characters without making them too "Mary Sue" or weak? Tragedy and tragic back stories are pretty common in my personal writing, but I think I put too much into it, even if it's only briefly mentioned. I feel like if tragedy or mental illness is a main plot related device in the storytelling, people become disconnected, write off the character, or don't understand because it's not something they might be able to relate to. Do you have any advice?

Hey there! 

This is a fragile subject in some  ways but it’s one every writer faces, but the answer is simpler than it seems. When writing “damaged” characters, you have to make sure that your character is more than their tragedy.

A character can absolutely have a tragic back story that contributes to who they have become. Our experiences helps shape who we are, and it is the same for characters. Mental illness can absolutely also be a part of your character and a compelling arc. Their arc can also be mainly about their mental illness or tragedy.

Just make sure that’s not all they are.

If their illness is their only or even their most prominent trait, then they are probably not a strong character. People can have many traits, and experiences, trauma, illness, etc, are just one of these traits. Your character can be funny, friendly, a great mechanic, and oh yes, also have PTSD. And also their parents died. Tragically.

When a character is well-rounded, readers will almost always find something they relate too. Sure, it might not be the PTSD or the orphan part, but that’s okay. It doesn’t have to be.

(Character development: (x)(x)

If you’re worried that your character really is all just tragedy, look at their scenes. Is every scene that focuses on them about their tragedy? If so, they might be a weak character. Or, try something of a “mental illness bechdel test”*: when other people talk about/to this character, is it ever about something other than their tragedy or something related? Be picky about this. 

*Bechdel Test: (x)

Now about writing the actual character: When writing a character that has faced a lot of struggles and may have a mental illness in general or because of their experiences, diagnose them. Even if your story takes place in a world where PTSD or borderline personality, etc. isn’t really a known thing, figure out for yourself what it is that this character has and do research on its treatment, symptoms, and so on in order to write it more accurately. 

In Summary: Be aware of what you are writing, be aware of your character’s role and position, and always be sure that their tragedy is not their only trait. 

I hope this helped! Thank you for asking! Sorry it took so long to get back to you!

Best of luck! Keep writing! You’ve got this!

~Penemue

Who To Fight - Choices Stories You Play Edition - Part II
  • For Part I: http://hwuariana-writer-movie-star.tumblr.com/post/154360456508/who-to-fight-choices-stories-you-play-edition
  • ______________________________________________________________
  • Professor Vasquez: He's already dead. You can't fight him, anymore...
  • Zig: This dude's already a badass and you wanna fight him? You're gonna be left with scars and bruises. Or worse, lying on the ground, not moving at all.
  • Natasha: -NOT ME. ITS THAT MEMBER OF GUTTER KITTENS.- FIGHT THIS BITCH.
  • Rachel: Same as Natasha.
  • Amara: She's on your side and also why would you wanna fight her?
  • Arjun: Poor Arjun being beaten up by you. He doesn't do anything wrong.
  • Brandon: First of all, WHY WOULD YOU WANT TO FIGHT THIS CINNAMON ROLL? Second, ZACK WILL FIGHT YOU IF YOU WANT TO FIGHT BRANDON.
  • Yasmin Udoka: You better fight her. She's already sexual harrasing James.
  • Cassandra Leigh: Don't you dare to fight this precious cinnamon roll. She's already being held hostage by John Tull and Hayley Rose and she needs to be protected. Don't fight her, please.
  • Ryan Summers: Again, this guy didn't do anything wrong to you. There's no reason to fight him. Unless, if you're the antagonist/hero in the movie that you're starring alongside him and he's the hero/antagonist.
  • Alyssa Griffin: She'll call her lawyers if you wanna fight her.
  • Capt. Dana Beckham: You dare to fight with a superior of the Los Angeles Police Department? You're gonna be thrown into jail for sure.
  • Officer Rebecca McKenzie: Don't fight with a freaking police officer. You'll end up in jail. You can't run from your crimes.
  • Severin Cale: You're gonna lose if you're not careful with him "playing dirty", but sure fight him.
  • Prince Tevan Drammir: He'll fight you if you wanna fight him.
  • Adder: Queen of daggers, bad idea.
  • Kailani Keawe: She and her brother Noa will have their combo move and you had no chance on winning.
  • Noa Keawe: Same as Kailani.
  • Anu Rhuka: This fire master would probably burn you to death. No kidding.
  • Hex: FIGHT HER. (bruh this was before she has a sudden change of heart) Ok, maybe bad idea.
  • Leon Stirling: Heh, he'll beat you up first. Now that he's dead...
  • Gabriel Amarne: He's dead...
  • The Mechateur from The Foundry: Bad idea. *cues the "You have died." screen*
  • The Bear recruited from Aurelia: The Bear will eat you before you could even fight it. *cues the "You have died." screen*
  • Baby Kraken: MAMA KRAKEN'S SO READY TO KILL YOU.
  • Mama Kraken: Like I said above for the Baby Kraken.
  • Empress Azura: FIGHT HER FOR KILLING LEON BUT YOU NEED TO BE STRONGER THAN HER.
  • Party Twin: Why do you want to fight with your own sister? There's no sibling rivalry in your family. Unless, there's a cookie left... maybe?
  • Smart Twin: Same as Party Twin.
  • The Brother: He's your own brother... he will protect you for those people who wants to fight you. Unless when it comes down to "only one left" piece of food... maybe?
  • Elena Sanchez: Elena is just a precious cinnamon roll that there's no reason to fight with her. Unless you mess with her, she looks like she can break your bones.
  • Blake Yasuda: You're gonna get fired from Nomade. Lmao.
  • Carter: There's nothing to fight with him. Why bother?
  • Evil Aunt: She's trying to fail you and your siblings for the inheritance. GO FIGHT HER.
  • Claire Pierce: FIGHT THIS BITCH.
  • William Sloan, Rich Businessman: He's a sweetheart. Why would you want to fight him? He has lawyers too.
  • Prince Leo of Cordonia, RoE: No comment, honestly.
  • The Bartender: Um... he used to be in the military so I guess he knows how to fight so...
  • Audrey: There's completely no reason to fight with her.
  • Paolo: Fight him for being a fricking arse.
  • Blaire Hall: Um...
  • Diego Ortiz Soto: You'll regret this for the rest of your lives. Don't fight him, please. If you still want to fight him, -1000000 friendship points with Diego.
  • Jake McKenzie: Hahahahahaha... ha... ha... sure, if you DARE, Princess/Boy Scout.
  • Quinn Kelly: DON'T FIGHT THIS PRECIOUS CINNAMON ROLL. If you do, -1000000 friendship points with Quinn.
  • Sean Gayle: Wait you really want to fight this quarterback? Here's a story, Sean has hard abs and looks like he can crush your trachea. RIP you. Cause of death is asphyxiation because Sean crushed your trachea.
  • Michelle Nguyen: You fight her, you get -1000000 friendship points with Michelle.
  • Craig Hsiao: If you win, Craig will praise you. If Craig wins, you have to do his betting.
  • Raj Bhandarkar: Again, why would you want to do it so? -1000000 friendship points with Raj.
  • Zahra Namazi: Heh. No big deal for her. *smirks like Zahra*
  • Aleister Rourke II: He's up for a challenge.
  • Grace Hall: -1000000 friendship points with Grace and Aleister. Also, Aleister will fight you if you dare to fight Grace.
  • Estela Montoya: You and her are gonna fight. A probability of 1/2 for you to win and another 1/2 for Estela to win. Dare to do it?
  • Lila: Woah, if you get on her bad side, she'll probably electrocute you with her traps.
  • The Watchers: You HAD to.
  • Sabertooth: Same as the Watchers.
  • Giant Crabs: Same as the Watchers and Sabertooth.
  • Everett A. Rourke I: Ok but fight him because he's the one who trapped y'all in La Huerta but then again, he's hibernating in a pod so...
  • Mark Collins: I seriously don't know dude. Maybe you guys fight in a game of Scrabble or something. No physical strength involve.
  • Sereena: You wanna fight her? She also wants to fight you. *plays Wild West fight scenario music*
  • Brooke: But... why? Poor Brooke.
  • C. Coleman: Did Cole did anything wrong to you? Right, he was drunk and casually said that Mark's in love with Dani. Uh...
  • Horatio Santos: Why do you wanna fight this cinnamon roll? Horatio didn't do anything wrong to you. How dare you? Did I mention that he's really jacked up?
  • TJ: FIGHT THIS DOUCHEBAG.
  • Ben: Poor Ben.
  • Leah: Poor Leah.
  • Martin: FIGHT HIM AND TJ.
  • Felix: Maybe you guys challenge each other in a spicy food eating contest.
  • Isabel: Isabel looks like she can break your bones.
  • Eleanor Waverley: Um, she's dead. (in my game)
  • Simon Waverley: He's dead and if he was alive, you still can't fight him because he's a precious cinnamon roll that needs to be protected at all costs.
  • Clarissa Waverley: Same as Simon.
  • Thomas Waverley: Same as his siblings.
  • Victor: Victor's been nothing but a love interest/best friend to you and being in a fight with him is just... not right.
  • Rose Waverley: She's dead but if she was alive, FIGHT HER FOR WHAT SHE DID TO HER CHILDREN.
  • Hana: She just came here to have a good time and honestly feeling so attacked right now. No, don't fight her.
  • Olivia: Or Zenobia Nevrakis? Jk, she's a descendant. Fight her I guess?
  • Drake: *casually has Hotline Bling in my head* I dunno. Some of y'all still dislike/hate him and some of y'all had a change of heart. Ok let me tell you what, you and him should race down the snowy hills, which you guys did.
  • Prince Liam of Cordonia, from TRR: I don't think there's even a reason to fight with him...
  • Maxwell: There's no reason for you to fight him, unless PB will cause a plot twist to his character like I've seen there's a "Maxwell is evil" theory. As long as he's still the guy who loves cronuts, please do not fight him.

anonymous asked:

I'd like to ask, what do you think about stories where everything goes well? Like, the story/plot progresses, there are minor problems, but other than that everything goes well? Im afirad that my story might be getting boring because of lack of conflict/action. Right now it's two characters in my story falling for eachother with A taking care of B while B is sick. I don't really have any conflict so maybe I need some, or is it even neccessary? ~Sapphire Anon

Sometimes, there is nothing worse then unnecessary conflict. 

First of all, there is nothing wrong with things going well. That’s what happens sometimes. Not every story in life is some epic journey. The conflict doesn’t always have to be some life threatening battle or running for their lives from some awful monster. No, sometimes the conflict is entirely in side ourselves. Not every obstacle we face in life is physical, in fact, I would say that most of the time, our biggest obstacle is yourself. 

You want conflict for your story? Have your characters ask themselves the following: 

1. Why am I in love? 

2.What about them do I love?

3.What about them do I hate?

4. Do they love me back?

5.Whats the best case scenario if I confess my love?

6. Whats the worse case scenario if I confess my love?

7.Whats the best case scenario if I dont confess?

8. Whats the worse case scenario for if I dont confess? 

9. What could possibly happen if we were together? Complicate things or make them better? 

10. What do I have to gain, and what do I have to lose? 

You dont need big physical attractions for a love story. Love on it’s own is as scary and complicated as you need it to be. What your writing, is usually referred to as a ‘Slice of Life’ kind of story. There are many people out there who like that kind of story. Many prefer actual life stories to that of wild fantasy.If that’s your Genre, then that’s fine, that’s great. Write it, because I guarantee the story you are writing is the kind of story someone is looking for. 


I hope this helps you, and if you ever need anything else, don’t be afraid to ask! 

baroque-mirrors  asked:

re: your reply on Hannah's blog, GOOD POINTS. I've had such tunnel vision about the proposal that i've barely started thinking about the overall narrative & direction of the show from here. I guess for some reason I was thinking that if the setting changed then the overall story would kind of reset as well, but I think you're right - they've been carrying the plot over from season to season lately and it makes sense that even though the characters get moved somewhere else the same story points -

stay relevant. And you don’t just go all-in on a story about prison brutality & public visibility and then just drop it, lmao. So yeah, I think you’re right about the significance of all those details moving forward… I feel like I need to rewatch the season right way to fully appreciate everything that happened, I haven’t felt that since s2 so that’s pretty exciting!

I mean like… it still COULD… reset & everything. because I just genuinely would not put it past them after season three. since everything about that season is just ALWAYS going to prove that they’re more than capable of imploding everything in order to start over with a forced & false restart. but… I want to believe so badly that they have an endgame here, & that they’re not going to implode everything once again to stretch the story out in an unending cycle of building up & tearing down until they literally cannot suck anymore life out of this show & these characters. just… they have SUCH a good opportunity here to take the story in a bigger direction while ALSO starting to wrap it up in a really neat & concrete way, like PLEASE don’t fuck this up???

yeah, I’m clinging desperately to the hope that a story this big CAN’T just like… fade away. & that the youtube channel/fame & the viral video & all the family members who were thought not to care showing up & the parallels to Bayley & Poussey with that other kid/Piscatella & the ENTIRE GODDAMN MAIN CAST all being in that basement… it all has to mean something. & LIKE GOD. IMAGINE THIS KICK STARTING SOME SORT OF REFORM THAT SPANS THE NEXT TWO SEASONS, ENDING WITH PIPER GETTING OUT & LIKE “HEY GUESS WHAT, AS SOMEONE WHO WAS IN THE TRENCHES OF ALL THIS, I’M GOING TO WRITE A BOOK ABOUT WHY WE NEED TO KEEP PUSHING.” LIKE PLEASE WHAT A GOOD WAY TO TIE THE STORY UP BY COMING BACK TO THE REALISM OF IT ALL. PLEASE DON’T FUCK THIS UP GODDAMMIT.

anonymous asked:

Summoning animals have a weird place in Naruto land. What do they get out of the arrangement? They get ripped from their homes to fight and die for nothing. They live in completely different worlds so what happens there shouldn't be a concern for them. Nothing forces them to fight for their summoner yet they chose to. They don't belong to a village unless they were raised/live there so they can end up fighting their own friends. Being able to talk isn't even a common trait for ninja animals.

You know this is a great question. The reason I think this is a particularly great topic to bring up in relation to all the other “what’s wrong with Naruto land” questions is that the plot holes required to have summoning animals is what I consider a good and justified use of willful suspension of disbelief.

For any story, but especially a shonen fantasy story like Naruto, there’s going to be times when what TV Tropes calls the “Rule of Cool” justifies something that would otherwise be absurd. Why do ninjas call out their attacks, which will alert the enemy to what’s happening? Because it’s cooler that way. Why do ninja make do the hand jive to cast spells, sorry, jutsu? Because it’s cooler that way. Why do all the Akatsuki have snazzy rings and nail polish and incredibly eye-catching garments? Because it’s cooler that way!

Why does Kakashi have a bunch of doggos in matching outfits and Guy has a smart-mouthed perpetually done with everything turtle and the lovely and hot-tempered Tsunade and Sakura have a giant polite gastropod and human bouncy ball Naruto have frogs that force him to eat grubs instead of ramen?

Originally posted by smlyz

Originally posted by itachiandsasuke

Hell yes it’s cooler that way!

Readers/viewers are, generally, willing to suspend disbelief in order for cool/funny/awesome/amazing shit to happen, and I am of that number. What’s the downside for summons? I might think about it idly, and I would support fanon or even canon trying to make it more believable, but honestly I am 100% willing to suspend my disbelief.

Note to all content creators: I am not, and never will be, willing to suspend my disbelief or overlook plot holes in order for you to stomp on my favourite characters and/or their hopes and dreams. That doesn’t mean you can’t stomp on them–sometimes it hurts so good–but you gotta do that shit fairly.

I am willing to ignore logic if that means that I get to see sarcastic puppers with henohenomoji vests.

Originally posted by kitteninspaghetti

Everything is worth this.

I am not willing to ignore logic so that Tenten’s business is failing yet we’re told Konoha is prosperous and everything is fine. The only reason why someone would suspend disbelief willingly for that is if they thought Tenten being miserable watching her dreams turn into dust was so gosh heckin’ hilarious that it excused the plot hole.

Hell no. I don’t want to see Tenten alone, worrying about bankruptcy and seeing nobody caring about her priceless artifacts. I want Tenten to be happy. So don’t make her miserable without an actual reason that makes sense. Because I will not suspend disbelief for that.

(I deliberately didn’t use Snakebert and his countless related plot holes as the example this time. THE FRUIT IS HANGING SO LOW. YET I RESISTED.)

anonymous asked:

Hi, do you have any tips on writing a realistic transition from two characters hating each other to loving each other? I don't want it to take up too much of the story but don't want it to seem rushed and I'm struggling :( Thanks!

Are they main characters? Because that sounds like a main plot thread to me, and a rather interesting one at that. There’s nothing wrong with taking time to develop this sort of relationship, because it isn’t something that’s going to happen quickly by any means (even over the course of several stories). Things to consider:

  1. Why do they hate each other? It is something petty? Is it irredeemable? Does it go against the beliefs/moral code of one or more of the characters involved? How do the characters feel about hating the other for that reason? 
  2. Think about what would have to happen for them to reconcile. Is such a thing realistic based on their development?
  3. What do they have in common? Do they have any chemistry? 
  4. What motivates the characters?
  5. What could bring them together? Is it an idea? An event? An outside force?
  6. Do they have a past history? How long have they known each other?

The thing with writing this kind of relationship is you need a reason for them to get together, to see eye to eye, to find some common ground they didn’t realize they had before. If you can do those things, then you can likely make it work. Do not be afraid to draw out the development of that relationship, because if you’re taking the time to bring the characters from hating each other to loving each other, then it seems like it should be more in focus, and therefore worthy of the attention.

Hope that helps.

-Morgan 

anonymous asked:

People that dont write don't always understand where a writer is coming from. A writer should be able to write whatever they want without being beat down and made to feel like crap. I've received negative comments before telling me how to write my stories or getting the "Let's just pretend you did that to advance the plot." If writers dont write for themselves as well as their fans, then why do they write at all? We must stay true to ourselves before we even think about others.

Yes exactly!!
100% my thoughts on the subject!

Reblog if you still have faith in Ohtaka and believe in her ability to finish this story well.

I’m starting to think I’m the only one here admittedly.

anonymous asked:

I'm a sucker for good pure hurt/comfort so this plot line seems perfect

k but I’m pretty sure there are hurt/comfort story lines they could have done that don’t involve magnus being treated like shit and alec almost executing his boyfriend

  • Me: *sees Ragnarok rumors all over dash*
  • Me: *sticks head in sand like an ostrich*
  • Me: Rumors? What rumors? Boy, it sure is a shame we haven't heard anything about Thor 3 yet. Ah well, that way it'll be a surprise.

anonymous asked:

What do you think the Miyuki and narumiya battery would have been like

Miyuki and Mei’s battery would just be unstoppable.

I do think Miyuki knows how Mei thinks and works around and vice versa. Also they have this equal respect on each other as players and they both look forward with each other’s plays. 

Even not being a battery together, those two had already showed signs that they both knew each other well. Like how Mei knows Miyuki’s not in his usual condition while batting against Yakushi. And how Mei hit Nori’s pitch which had them the game at the last Summer tournament? What if he kinda predicts Miyuki would ask for that pitch, and it’s not just pure luck and such. What if. 

And that time when Miyuki got upset/mad about Mei shaking off Itsuki’s lead that cost them a game? I think those are sort of signs that they both have this idea of how to play with each other. That with those, they’d be both unstoppable because they knew, oh they both knew how each minds would go and what is the best play they could execute. 

Imagine Miyuki enjoying Mei’s pitches because it’s perfect. It has the power and speed and the control is flawless. He’s enjoying the variety of the pitches and he enjoys making the batters looking terrified and perplexed and troubled.

Imagine Mei grinning at Miyuki’s play calls. It’d be complex yet simple because he can do it and at the same time it’s troubling to do it with the risks and such but he has faith in his catcher’s calls and he just pitches because this is Kazuya making the calls. ‘nuff said.

With Mei’s variety of perfected pitches and Miyuki’s crazy plays and such, really, they’d be unstoppable. It’s kinda overwhelming for me but i do want to see this someday or somehow.

I do hope one day t-sensei would give us a back story of such about these two. really. like if they’ve been together in a team, if they had form a battery in the past, if they’ve faced each other many other times before the actual plot right now, we need them to be honest. or i need them. haha. it’s really intriguing. it makes me excited and hopeful. ugh. 

carpe-somnum  asked:

At what point should you start rereading/proof-reading/editing? I feel like if I don't do it often enough while writing I'll lose track of where the story is going, but when I do I feel discouraged from continuing

From the depths of my pantser’s heart, I would encourage you to find some form of outlining that works for you. You don’t even have to do the old Roman Numeral-Capital Letter-Arabic numeral-lowercase letter format, unless you like that sort of thing. Not all plots are going to be that linear, anyway.

But you do need a road map of some sort to keep you on track for your first draft. I have personally seen brilliant writers run themselves off the rails because they let their inner critic rule and therefore ruin the story. Their great beginnings die in the second chapter, or the second act. My own inner critic picks on my natural inclination to chaos, and the only way to shut her up is to outline and plot. [And then remember where I put the outline and plot notes. Ugh.] 

Of course, we have thoughts and resources for you in our outlining and plotting tags. Programs and apps like Scrivener, for writing, or Trello, a productivity app and my latest obsession, can help you with organizing your work and your notes. 

And I would encourage you to check out this discussion of different types of outlining techniques from my favorite chaotic good wizard, Chuck Wendig. And for a bonus, Chuck’s great 25 Things You Should Know About Outlining

anonymous asked:

When I was young I'd spend hrs writing but now that I'm older (17) its harder. Like I have so many ideas but when I write I don't finish it (if I even write it on paper) I really want to be an author but I'm not sure how to fix this. Any advice?

Part of being a writer (and eventually an author), is disciplining yourself to finish the stories you start. If you’re getting distracted by other ideas, write them down in a “plot bunny” journal and learn to ignore them until you’re ready to start a new project. If you’re getting distracted by other things, you have to learn how to avoid those things when you want to write. This is all just part of being a writer. :)

Here are some other posts that might help you:

Advice for Teen Writers 
Getting Better at Writing
How to Perfect Your Writing
Creating the Perfect Writing Space
Finding the Time to Write
What to Do When Your Story Stalls
Moving Forward When You’ve Lost Interest (In Your Story)
Finding Inspiration When You’re Stuck for an Idea
Take a “Vacation” to Re-Charge Your Creativity
How to Get Excited About Your Story Again
Beating Writer’s Block
Frustrated with Writing Quality
Staying Motivated
Too Stressed to Write
Experiencing Enough
Shushing Your Inner Editor During the First Draft

Good luck and keep at it! :)

————————————————————————————————
Have a writing question? I’d love to hear from you, but please be sure to read my ask rules and master list first or your question may go unanswered. :)

anonymous asked:

What is 'manpain'? I've seen it around and I don't really understand it. It's usually used for when a male character is sad over something, which I understand is annoying when its at a female character that barely had any development... but does that mean I can't have any depressed male characters? :/ or male characters that lost wives/mothers/female companions/allies? I have a character whose wife died in childbirth and was left w/ the baby. I'm sorry if this is dumb but I really don't get it.

“Manpain” as a term is used primarily to describe situations like you described, where a little developed female character (sometimes a child) is killed off/otherwise hurt. The biggest problem comes when this character’s only value is what they’re worth to the male character. 

You can absolutely have a male character who suffers from depression, or even a male character who has lost a female companion/ally/etc. But her struggle, her death, etc,. is her story, regardless of how it plays into his. Essentially, the tragedy that takes place has to be more than a plot device. Consider the differences in these two scenarios:

In story 1, a character’s wife and daughter are killed prior to the start of the story. The man discovers that she was killed by a god who desired her after she rejected him. He goes on a vengeance quest to kill that god. 

In story 2, a character’s wife dies prior to the beginning of the story. He discovers that she died while in the midst of an affair with a friend of his, and has to deal with his mixed feelings of loss after the death of his wife as well as his anger and hurt that she cheated on him, as well as understanding that part of the reason that she cheated was because he was in prison.

Both are existing plots (though altered in my summary). I think you can see the difference between story 1 and story 2 just by seeing how the death is interwoven into the text, and by seeing that the female character in 2 has agency that the character in 1 doesn’t.

People are claiming UKS is fucking racist, and people are hating on Tina Fey. People just love to complain, and when a group of people hate a celebrity so much, they will jump at the chance to board the band wagon and trash talk them to make themselves feel better. People have to realise that Fey didn’t write every single episode. Just because she executive produces doesn’t mean she wrote every single word of every single script. There are 2 executive producers, and a group of writers, yet people only throw hate at Fey because they don’t like her, and because she’s the most well known of the production team. Get fucked, y'all. Seriously. Plenty of shows have been even more racist, but everyone’s hating on Fey because she’s a feminist. People with small minds clearly shouldn’t be watching a comedy like this, because they fail to see what the show is trying to do. They’re not making fun of racist stereotypes as the joke, the joke is that shows always have stereotypical characters of colour or Asian decent and that’s what they’re making fun of. Its got nothing to do with the race itself, they’re bringing up the fact that this sort of shit is going on, and it’s ridiculous, so they make fun of it. It’s all an element of surprise, because most shows have the same staple story lines, but Fey and Carlock go beyond that, and write plots that you would never expect. They’re going where the average sit com doesn’t dare to go. Stop hating on Fey. She’s done more for women than fucking Lena Dunham, who never cops this shit, even when she blatantly admits in her book that she pretty much molested her sister. Don’t watch a comedy if you can’t understand the humor, because the show clearly isn’t for you. It’s a comedy that makes you think. It’s not so straight forward like The Big Bang Theory or Two And A Half Men, it’s a comedy that brings up social issues, and makes you think and realise that shit like that exists, but they manage to add humor to it. Tina is not racist. She is far from it. Her comedy is so misunderstood, and clearly shouldn’t be watched by people with low brain capacity.

    cassie was pissed now.

    this gengar was a monster. she’d seen what he did, she knew the
    stories. only difference was, she was no weakling. and she would
    not take punishment sitting down. especially when he had a track
    record of destruction.

    “and what makes you think you have any right?”

        [ @twistedshades​ ]

two-bit-prophet  asked:

Hello! I hope this isn't bothersome, but I'm currently planning a story (for a game), and I'm lost. I have two different ideas... each will change the story and some characters' roles a LOT, and even remove some characters. How should I choose? For a 2D game, story's important. I want the ending to be plot-twisty and reveal-y, but IDK how to pace it. Should I slowly reveal things? I don't want to baby my audience, nor plot bomb early and make the ending anti-climatic. (okay to publish)

Hello there, writerly friend~ ♥︎

You pose a very interesting question! Storytelling in video-games is actually a lot more complicated than storytelling in books, since you have to consider gameplay (unless you just take all of the gameplay out of the game and make something like Dear Esther, but thankfully that is not the core of your question c;). No, I have nothing against Dear Esther please put that rock down.

Now, here’s the deal. My advice for your situation is actually pretty straight forward. The reality is that I can’t tell you what option is the best— because there is no such thing. Each story is different. You need to go with your gut feeling, but also follow on the story that seems the most fun to write. Simple as that. I have said this a million times and I will say it again. If you don’t have fun writing this story, the readers will not have fun either.

So, which is best? The one that you think is the most fun to tell.

Also, don’t worry about your audience. There are successful games on all ends of the spectrum. It’s not what you do, but how you do it that is important. You can babysit your reader and still keep them engaged, just like you can write a very distanced story and still keep them interested.

Now, since you are writing for a game, there are a few more pointers I want to give you. These come from my (limited) experience with game design, along with my communications with a lot of game developers, and (of course) a lifetime of being a gamer c;

GAMEPLAY COMES FIRST. Story is important, but it will not make up for a game that plays badly. That being said, your story cannot exist on a different level as the gameplay. They have to be intertwined. They are not two different animals, they are two sides of the same coin. Consider the way Bastion & Transistor work, and how the story is directly connected to the way the game is played (e.g. in Transistor the abilities you gain are actually people who have been digitized, each with their own background stories). Have I played a game for the story even though I hated the gameplay? Yeah, basically every Suda 51 game ever made. I played Killer 7 and No More Heroes because I wanted to see how the stories ended. I didn’t enjoy the gameplay on either game— but I kept going because I WANTED to know. I was so immersed in the story that I just HAD to find out where it all was headed. Which reminds me…

PAYOFF, DON’T FORGET THE PAYOFF. Those of you who know me in real life know very well how much I despise the game Braid. I powered through that game much like Killer 7, because I wanted to see where the story was going. The final level of Braid is a GAME DESIGN MASTERPIECE. I love it. I wanted to see what came after it. And it was a fucking disappointment. No questions were answered. Nothing was ever clarified. The ending does not explain anything of what you were doing or how it all worked. To make it all worse the writer of the game admitted that the ending was ‘open to interpretation’ which I am not even sure what that is supposed to mean… because there was no ending whatsoever. What is there to interpret? This is the thing that game developers tend to screw up most of the time. There needs to be some closure at the end of the game. If you want to leave it open to a sequel then do that— but PLEASE, give your player SOMETHING for the hours that they spent waiting for an answer.

ATTACHMENT IS KING & QUEEN OF STORYTELLING. If you ever played The Walking Dead Tell-Tale game, then you already know what I am talking about. If you want your player to care (at all) about what is going on, then you have to give them a reason to care. Why do these characters matter? Why should I care that they have a mission? Ask yourself these questions. Caring about a character (and thus being attached to them) is one of the most powerful things you can do as a writer c;

I hope this helps! I love talking about game design (did you know that I have actually designed a couple of pen-and-paper RPGs, along with a couple card games? maybe when I have the time I will re-release them c;). Thank you so much for sending your question, it was a blast~ ♥︎

anonymous asked:

Does Ishida even have any feelings.....I don't know anymore after this chapter.

You know, to be able to make us feel like this, I have to admit that he’s a amazing story teller. It’s hard to make a story like this, to make the readers feel intense emotions and got immersed into the plot as deep as we are now.

We all know he has already planned everything from the start. He knew the risk of making a story like this (maybe that’s the reason why he hide his identity? He said he wants to live in peace.. afterall…), but he executed it anyway.

Some of us might think that he’s cruel and heartless, to kill off our beloved characters that we already related to. But you know Anon, actually we have to thank him for the wild ride he pulled us in. I think lot of us wouldn’t be at where we are now if Tokyo Ghoul doesn’t have a plot as crazy as it is. We might mourn when we lost our favorite characters and be upset at him, but this is his story, the whole plot is his, not ours. So please don’t be mad at him. Just thank him for this emotional journey he created for us. Maybe when TG had ended, we all will close the book, takes a deep breath, and sigh. “What an intense experience.”