koa-lotus  asked:

Well, today my dog ran away and I had to chase her barefoot and with a piece of chicken in my hand. She got into someone's backyard but ran back to me as soon as she smelled the chicken. That little hoe. She's after a dog that walks near my house everyday. She's in love so her judgement is clouded. Poor thang.

dang a lang that chicken wang thang


The question I get the most is how I write characters that feel like real people. 

Generally when I’m designing a human being, I deconstruct them into 7 major categories:

1. Primary Drive
2. Fear: Major and Secondary
3. Physical Desires
4. Style of self expression
5. How they express affection
6. What controls them (what they are weak for)
7. What part of them will change.

1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it.

2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4.

3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.

4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially? 

5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?

6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for.  What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of. 

7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot. 

That’s it.

But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?

If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?

How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?

Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.

They start to breathe.

Captain Steve Rogers, Lovecraftian Horror

Title: The Miskatonic Project
Rating: PG-13 for horror themes, death
Summary: Abraham Erskine may have invented something new with the Serum – or maybe he re-created something very old. Something…Elder.
Notes: I should be working on like three other fanfics but I had a TERRIBLE DREAM this afternoon and anyway this only took about half an hour to write.


Steve came out of the Vita-Ray machine…different. 

Of course he looked different – taller, thickly muscled, skin gleaming. But it wasn’t the change in his appearance so much as the…sensation people felt around him. Howard claimed not to feel it, and Erskine died before he could weigh in. Peggy felt it, but not in the way others did. To her, he seemed otherworldly, but like an angel or a religious vision – comforting under a layer of unreality. She even liked the strange black pupils he’d developed, so big and dark you could hardly see the whites of his eyes at all. 

Others, however…. 

She didn’t see him pull the Hydra agent out of the submarine after Erskine’s assassination. Only three people did – a cab driver, a little boy, and the boy’s mother. The cab driver wouldn’t say a word, and the boy’s mother stuttered and stammered so badly they finally gave up. The little boy just said, “Well, he got him,” and looked admiringly at Steve. 

Steve wasn’t wet, but the submarine lay on the deck of the pier, and the man next to it was dead, a rictus of horror on his face. 

(There is a readmore below! Read more!)

Keep reading

OTP Idea #768

Person A, the resident punk of the school and Person B, the ultimate goody two shoes get paired together for a class project. Person B reluctantly goes along with the pairing, thinking A won’t do much work. Person A however is head over heels for Person B, and takes every chance they can to work up to A’s standards.

Went to Walmart this afternoon, and did some shopping. After getting my makeup I headed to the men’s department to look for swim trunks. Could not find them. I finally found a sales associate, and asked them to help me find a swimsuit.

They looked me dead in the eye and said “trunks or bathing suit?” And honestly I was so excited because they just- gsave me the option. No question or anything, just “which would you like help finding?” And when I said trunks they took me to an older gentlemen because they didn’t know, and he pointed us in the right direction and said “if you can’t find any you like, come back here and we’ll see what we got” and lajdhalhs that was an experience I won’t be forgetting anytime soon

anonymous asked:

how do you know a story is good?


This is really a subjective question. Some people like tons of description, whereas others like things straight and hard-boiled; some love plot twists, while others hate them. A technically good story is basically made up of good characterization and a plot made up of exposition or setting, a conflict or initiating event, rising action, a climax, falling action, and a resolution, like this:

I’ll define those points for you:

Setting/Exposition: the very first part of your story, in which you introduce to your audience the place/time in which your story takes place, and the characters who make your story happen.

Conflict/Initiating Event: the first plot development of your story, in which you introduce the main conflict – the problem that drives the entire novel.

Rising Action: the time in which tensions between your antagonist(s) and protagonist(s) brew, and in which the stakes rise from what they originally were. During this time one or more subplots should probably pop up and then be resolved (for more help with subplots, check out this ask I answered).

Climax: the final meeting between your antagonist(s) and protagonist(s), in which your main problem is finally confronted and one side or the other becomes victorious (unless your book is part of a series, in which case the victory at the end of your climax will be partial, meaning that neither side is completely defeated).

Falling Action: the aftermath of the climax, in which the results of the climax are seen and all plot points not sufficiently solved are taken care of (unless your book is part of a series, in which case it’s acceptable to leave certain plot points to be solved later, in another book).

Resolution: the end of the story. Keep in mind that any good ending to a story isn’t only an ending – it’s also a beginning. Life is never problem-free, so your story’s ending shouldn’t mean your characters’ lives are problem-free; at the end of your story, their lives should be changing – sort of transitioning, if that makes sense.

As for good characterization, this ask and this post should help.

Also, if you’re first draft isn’t necessarily good, that’s okay – it can be fixed in the rewrite! A good story is made up of tons of hours of work, so don’t expect it to be perfect after the first draft.

I hope this helps! If you need anything else, please feel free to ask. - @authors-haven


ok so @thefandomambassador has a fuck ton of really good stories and their recent one Transcendence had me writhing on the floor because dang i sure do love me some good soft genyatta and this scene was perfect so i had to draw it out and so i did

bonus doodle:

zen’s sweet bathrobe bc personally that was my favorite outfit

“When he tightened his fist, it caught. His arm was torn violently to the side, enough to nearly wrench it from his socket. Ritsu yelped,

But the noise Teruki made was worse.

It was something wet, rasping, forced from his lungs. The blur solidified. Teruki stood, his knees just a bit bent, his hands raised and digging at his neck, forcing their way beneath the tie cinched tight at his throat.”

Took some creative liberties from the fanfic A Breath of Trust by @phantomrose96!