shows that should be revived:
•next to normal
•sunday in the park with george
•little shop of horrors
•a gentleman’s guide to love and murder (it’s early but still)
•west side story
•heathers (and finally be on broadway!)
•into the woods
shows that should not be revived:
•C A T S
•literally any andrew lloyd webber show
Do 1A have sleepovers in the dorms? If yes who asks the existential questions in the middle of the night? I who's the cuddle master? And who snores the loudest?
Kyouka: Yeah, Kirishima and Ashido tend to plan sleepovers for the whole class. Unfortunately, the four of us here tend to have trouble sleeping. I’m pretty sensitive to noise, Tokoyami takes time to fall asleep comfortably. Shouji didn’t tell us his reason, but I think he has nightmares. And Kaminari… he’s always the last to fall asleep. Not sure how he comes up with the stuff he says, but as he is both talkative and snores the loudest, it isn’t easier to sleep. Tokoyami is awfully bothered by this. Well, at least it’s pretty comfortable when Shouji covers us all in a blanket.
(//listen anon, I’ve talked with a friend about class a-1′s sleepovers, you came to the right place I love talking about the kids having fun)
So I think I mentioned a while back that I’m writing a “how to write horror” guide. Here are some of the topics I plan to cover. Hit me up with your questions or suggestions for others – I’ll be putting together an outline and knocking out guides in the near future!
What makes things scary; universal fears; mining your own fears for material; the basic differences between written fiction and horror movies.
Creating a Monster
How to turn real-life anxieties into “monsters” (from ghosts to killers to actual beasts).
Pacing and Suspense
How to build suspense; horror’s unique plot structure; understanding and exploiting the element of surprise.
How to effectively squick out and horrify audiences, if you’re into that kind of thing.
Harvesting Your Fears and Turning Them Into Monsters
So we talked recently about how horror story monsters are never just monsters. Building upon that, I wanted to give some more practical advice on how to put that knowledge to use when it comes to writing your own horror stories. In fact, I wanted to tie together all of my “creating a monster” advice into an actionable how-to guide that could walk you through the steps. Are you excited?
Okay, so you’ve seen a few scary movies and enjoyed them, and now you’re looking to expand your horror prowess. Maybe you’ve been reading/listening to a lot of creepypasta, and you feel like you’re ready to take the plunge. Or maybe you just have a feeling that you’d like horror, but have no idea where to start.
I’ve been a huge fan of all things creepy and scary for years. I was just reading an article called, “Horror Gems You Haven’t Seen Yet” and realized that I actually had seen almost every film on the list, so I guess that makes me an expert. So, my new baby horror fans, allow me to introduce you to the genre.
Baritones, like their female counterpart, the mezzos, come in all shapes and sizes. They are common for leading men, villains and character parts. There are even a few ingenues or at least roles for young men in the baritone range. Because it is a range shared by many singers, there are many subtypes of baritone roles. Villains and leading men in heavier pieces are frequently dramatic baritones, whereas character types are comic baritones and younger characters or characters in lighter shows are lyric baritones. Because it is the most common male vocal register, the voice can also have an “everyman” implication and such roles are frequently baritones.
But all of that is putting the cart before the horse. Because you can’t write a truly horrifying tale until you know what you’re actually writing about. And, news flash: Horror stories are never just about the things that go bump in the night.
* Throughout my How to Write Horror guides/advice, I’ll be using the term “monster” pretty loosely to mean “the force of evil or danger” in the story. In other words, the horror villain/antagonist. This antagonist is not always a monster in the usual sense - it can be essentially anything, from killer fog to rampaging cultists - but for ease of discussion, monster is the word we’ll used.
So, that caveat aside, let’s talk about making monsters!
[I have Celiac Disease, which means that I have a severe gluten allergy (so I can’t have anything with wheat or barley in it) and minor allergies to corn and rice. Because of this,
ALL of my recipes are grain-free, and most of them are paleo-friendly.]
My full post on all locations in which you can find Pumpkin Charms. For those who want to find out the locations for yourselves, don’t worry I’ve got you covered! :) Click below to see all the pumpkin charms I’ve found throughout the game.
killer men - badass men (and murderers) of musical theatre
everybody’s got the right - assassins // forbidden fruit - the apple tree // poison in my pocket - a gentleman’s guide to love and murder // don’t be the bunny - urinetown // if i could smell her cunt - silence! the musical // dentist! - little shop of horrors // kick your ass - the toxic avenger // you belong to me - murder ballad // you’ll go away with me - see what i wanna see // raise a little hell - bonnie and clyde // epiphany - sweeney todd: the demon barber of fleet street // the music of the night - the phantom of the opera // suppertime - little shop of horrors // meant to be yours - heathers: the musical // rock star - bloody bloody andrew jackson
We treat the desire to be on Broadway as a competition - as if only a select pool are even allowed to say that’s what they wish for. This makes us lose sight of the truth, that we all have that chance within us, and that we aren’t competition to one another, but peers as the next generation of Broadway performers.