A few months ago, my oldest son, Charlie, came out to me as a homosexual.
He sat his mother and I down in the living room and confessed everything to us; about how he had always felt attraction towards men, for his entire life. He even told us that he had a boyfriend who he wanted to introduce us to. Justine and I had always had our suspicions about Charlie, but we were still shocked by our son’s revelation.
Suffice to say, Charlie is no longer a son of mine.
You see, every now and again, teenagers in our town get unnatural urges. We try to correct these impure desires early- teach kids right from wrong. If you don’t nip these thoughts in the bud while they’re still young, they’ll manifest as behaviour in adolescence. We pull offending children up and tell them, again and again, from morning worship to Sunday school.
“Your ungodly impulses are a choice” we lecture. “You can choose Heaven or you can choose Hell. Which will it be?” For many youth, the threat of damnation is enough to set them on the right path. But there are those who cling to their perversions, convincing themselves that their lifestyle choice is the correct one.
If only we had beat it out of them. Maybe that could have saved Charlie.
I’ll never understand what compels teens to commit such awful sin. Some say that it’s the media, corrupting the minds of the youth. Others think that it’s just the primal evil of humanity, inevitably seeping through. All I know for sure is that these teenagers go about defiling the Lord, and our town, remorselessly.
There are probably those out there who would call us intolerant. That’s fine by us. We believe that there are some transgressions that simply shouldn’t be tolerated, under any circumstances.
And we will never tolerate abduction, torture and murder.
No, I don’t have a gay son. I don’t have a gay son, because those twisted f*cking bastards killed him.
if theres more musicals you listen to, please add them so i can listen!!! (this can include on/off broadway, disney, and movies!)
• Les Misérables
• Sweeney Todd
• Little Shop of Horrors
• Into the Woods
• The Addams Family
• A Very Potter Musical/Sequel
• Ani: A Parody Musical
• Holy Musical B@man!
• Avenue Q
• [title of show]
• Dr. Horrible’s Sing-Along Blog
• Dear Evan Hansen
• The Book of Mormon
• The Lion King
• Nightmare Before Christmas
• Corpse Bride
• La La Land
• Charlie and the Chocolate Factory
• Beauty and the Beast
Hi! I'm a budding author and need your advice. I've always wanted to write an amazing mystery/thriller novel (they're my favorite!) but I'm totally at a loss when it comes with revealing information and shocking the reader. I think about really predominant authors in the genre and I just have NO idea how they think of such interesting plot twists and interconnections between characters. Every time I try, my "mystery" is really obvious to figure out. I need to make it more complicated... but how?
I struggle with the exact same problem. I’ve loved mysteries and things that go bump in the night since I was a kid, and I’ve always heard “Write what you love,” but mystery/horror are most definitely not my genres – I suck at writing mysteries, and all my monsters are cheap cardboard funhouse decorations. I’m okay with this, because although I have a tendency to branch into the paranormal or mysterious, I love writing anything (and I mean anything) high-stakes and quick-paced – however, I could improve if I wanted to, and so can you! I think I may be able to give you a couple of tips on how to improve your plot twist game.
You can write small plot twists (e.g. a character switching loyalties) with steady buildup rather than foreshadowing (this post shows you how), but for the big shabangs that make your readers gasp and cover their eyes with their hands, foreshadowing is the way to go. You may want to check out this ask I answered a while ago that deals more extensively with foreshadowing and how to do it correctly – I think you’ll find it a huge help! Foreshadowing is important because it sets the groundwork for your plot twist, so that it doesn’t seem like a hairpin turn in the road of your story, but rather a slow turn off a cliff, after which your reader realizes they should’ve seen it coming all along. (Nor am I the only person who says so – countless authors preach extensive groundwork for a plot twist, and a couple of posts I’m going to link you to do as well.)
2. Read the material you want to write/feel you need to improve on.
Stephen King is good at plot twists (I used his book The Shining as an example in the ask I linked you to, and there’s another big plot twist in The Shining that I didn’t use, but it follows essentially the same formula), so I would recommend reading him (unless you’re easily frightened). Another book I remember as having a good plot twist at the end is Three by Ted Dekker (but I was about twelve at the time, so it may not actually be as good as I remember). If you like mysteries, study up on the legends: Agatha Christie, Ellery Queen, Dean Koontz. I would even recommend Edgar Allen Poe, as his plot twists are quite good (specifically I’m thinking of The Masque of The Red Death). (Really, a lot of horror authors are masters at plot twists by necessity of their genre – mystery and horror are kissing cousins.)
That’s all I have, but I can link you to a couple of other posts that may help you!
“It’s been a year since the horrific events at Freddy Fazbear’s Pizza, and Charlie is just trying to move on. Even with the excitement of a new school and a fresh start, she’s still haunted by nightmares of a masked murderer and four gruesome animatronic puppets. Charlie thinks her ordeal is over, but when a series of bodies are discovered near her school-bearing wounds that are disturbingly familiar-she finds herself drawn back into the world of her father’s frightening creations. Something twisted is hunting Charlie, and this time if it finds her, it’s not letting her go.”
Game Concept: Turn-based military shooter. Four elite soldiers go on a mission to liberate a town taken over by insurgents. But the trick is… none of the levels are actually real.
Every level taking place outside is a memory of their time in the war, each one from a different soldier’s perspective.
Meanwhile every level taking place indoors is actually a made-up experience created in a studio years later.
The soldiers experienced massive trauma during their tour, and massive guilt about what they had to do to the innocents inside the homes while under orders. So one of the four has arranged a simulation of their campaign, so they could rewrite history (so to speak) and wipe their conscience clear by pretending to be heroes and deluding themselves into thinking the recreations are the real deal.
As the game goes on, the illusion slowly fades, until it collapses. The game slowly becomes a twisted psychological horror game. The player slowly gathers hints and clues about what’s really going on, both in the present, and back during the war.
You begin the game shooting terrorists (either memory ones, or actors), and by the time it ends, you’re fighting shadows of regret and grotesque manifestations of the four characters themselves inside twisted memories.