how do i develop characters


(i’m doing their first and last SOLO lines, bc then over half of the firsts are “four jews in a room bitching” and the lasts are “and godchild to the lesbians from next door!”)

F: “Bitching!”
L: “…my friend.”

F: “Bitching!”
L: (alive!) “To Jason’s bar mitzvah!” OR “Thank you.”
(dead!) “There are no answers but what would I do?”

F: “Bitching!”
L: “Vie-eme-low yea-o-leh. Heh-oh-non vi-low. Ah-yis-is-ooh ay-is-ro-ale Ha-ooh low toe vo-o-meem aboh” (got the pronunciation off genius bc i’m not jewish and don’t know any hebrew so sorry!)

F: “Whadda they do for love?”
L: “This is where we take a stand. Welcome to Falsettoland.”

F: “Slavery! SLAVERY!”
L: “And aren’t things lovely?”

F: “Woman internist”
L: “I think perhaps I’m overdressed.”

L: “I think perhaps it doesn’t matter that you are.”

Welcome to the Madness

Alright, to get my thoughts out there to all the anti crap I’ve been receiving, let’s talk about the “Yurio is being sexualized” opinion.

Now going by how the anime is now and how all the characters are developed, I do not think that Yurio was sexualized.

Yurio being 15/16 (lot of controversy over his age) is honestly super rebellious and that is normal for any boy or girl his age. It’s the angsty teen phase.

Like Yurio is called the “Russian Punk” for a reason.

Therefore, I believe that he wasn’t sexualized just for fan service (as antis would say). First of all, VIKTUURI isn’t fan service. It’s canon. So why in the world would they use Yurio as fan service. That just doesn’t make any sense.

Yurio didn’t want to do a normal exhibition skate. He wanted to fucking show up his gay ass parents with his DJ boyfriend because he’s REBELLIOUS AF. I mean, he freaking came up with his own choreography.

It’s not sexualization.

It’s Yurio’s character. That’s how he is.

And believe me, if Kubo intended it to be sexualized then you would fucking know. Yurio would be sliding down the ice in a fucking transparent thong.

So disagree or agree all you want to but that’s how I see it.


Voltron - Sad Machine

As you may or may not have noticed from my main blog, I’m a pretty big fan of Voltron LD, and I wouldn’t miss the opportunity to make a video for the show. I hope you guys enjoy this video as much as i enjoyed working on it!

i have plenty thoughts on lance’s vlog but i’m going to paint my new house today and then the weekend should be hectic with finishing up moving into it. sooo idk when i’ll be able to sit down and type everything up. any posts from me will be from my queue.

“We’re doing somethin’ that’s never been done before! How could that not be dangerous?”

For @newsiestober day 10, my favourite quote! (or one of them, at least) Davey has a lot of amazing lines, and i think this one says a lot about his character :D

  • Mac: Dennis trying to make me actually do my job is homophobic
  • Charlie: ...How?
  • Mac: I'm gay and it's inconveniencing me

anonymous asked:

What kinds of scenes could I include in my story that would involve developing character relationships? I have this problem of having characters seemingly pop into the plot when the scene calls for it, but then they disappear for long periods of time, and these characters SHOULD be seen more often than they are. What can I do to involve my characters more?

Involving Minor Characters More

I will apologize in advance because this post is a bit metaphor heavy, but I think the metaphors really help in explaining the involvement of “minor” characters. So the question here is: How do I develop character relationships when one character only appears sporadically?

DON’T use the characters merely as “coffee breaks” from the main plot. 

If these characters are popping up routinely following major action sequences or plot movements, you might be guilty of doing this. Scenes like this are often seen as “filler” because they act as a reprieve from the intensity of the plot. These scenes are often stretches of dialogue that have no bearing on the main conflict of the story, and may even include bantering and humor. Scenes like this are often forgiven in stories because they serve to develop relationships between characters or even explore subplots or character backstories, but if your character is only popping up in these instances, then their presence starts to become awkward. 

Imagine you worked in an office, and all morning everyone is milling about, working hard, making deadlines. One worker finishes up a task and decides to take a coffee break and hits up the staff lounge. And regardless of when they take this break, every time they go in there, there’s some joker just sitting in a comfy chair, chilling out and waiting for the actual workers to come by and see them. 

This person engages the workers in mindless chatter to give them a break from the mental and sometimes physical strain of their jobs, and then when everyone goes back to work, they’re still just sitting there, waiting. Until someone else finishes up a rough assignment and comes by for a break. This whole setup is a bit odd.

These characters can still be part of the “coffee breaks” of your story, especially if the conversations they have help to define their relationships with others and explore their pasts. But for them to be important characters to your story, they should accompany the main characters back to the office, or at the very least head up to their own floor to do some productive work of their own. Otherwise they shouldn’t even be in the workplace (the story) to begin with.  

DO increase their involvement in the plot

What is the main conflict of your story? If you’re not sure how to answer this question, then work on figuring that out before you worry about how you’ll develop their relationships. They need to have reasons to interact, and if you feel as though you don’t have very many of those reasons as of now, then it’s possible that this disappearing character doesn’t have much stake in your story’s conflict. 

Think about all possible outcomes of your conflict - both the potential happy endings or sad endings, and then ask yourself how these outcomes affect this disappearing character. What is at stake for them? If they have no personal interest in what is going on with the main character, then you’ll want to give them a reason to care. Give them something to lose (or something to win, assuming a positive outcome). 

Think of it this way. If your story’s conflict were a sporting event, your main cast of characters should all be players on at least one of the teams. Your secondary, or minor, characters can be spectators, but they should have something at stake in the game, such as a bet on the outcome, or even just a strong allegiance to one of the teams. If they have a stake, they’re not going to just Google the score later. They’ll want to be there to see what happens, to yell their outrage or cheer their joy. To show their support, or possibly heckle the opposing side in hopes that they’ll screw up. 

Give them a motivation that’s related to all the stuff you’ve got going on in your scenes. If these disappearing characters are absent from many of the scenes, you have to ask why? If they’re not involved, then make them involved. Give them a role, or remove them from the story entirely. 

DO imagine their lives apart from the protagonist.

If you’re struggling to find a role for the character in the conflict, then try thinking about what they’re doing in all that time off screen. Brainstorm their own personal journeys. What are they working towards? What are their obstacles? Thinking about these questions in the context of the world or story universe you’ve created may trigger something that ultimately ties back to the main conflict. 

Thinking about this also creates some depth for your character. Going back to my very first example (our joker in the staff lounge), it’s possible that this joker is actually working while everyone is coming in and out. Maybe they’re tidying up, preparing snacks for everyone, working on projects in a notepad, making phone calls, or fixing a broken microwave or refrigerator. Maybe there’s more to this character, but we never know because they drop everything the moment a worker (or main character) stops by. 

And let’s keep going: imagine that this habit causes their work to suffer, because they’re sacrificing their own needs for the needs of the staff that come by seeking their company. How does that affect them, and can you think of ways to bring it to the forefront? Could the workers notice? Could the disappearing character disappear at a moment the MC relies on them to be there the most? What happens as a result? 

If you consider the character important enough that developing their relationship with an MC is of concern to you, then they should be important enough to work into the main plot in some form or another. 

I hope my lengthy metaphors were helpful! Good luck and happy writing :)



Bc like…..I’ve noticed no one really ever pays attention to what Choro goes through? Besides what I’ve mentioned here, I can go on and list a multitude of other moments he gets bashed on by his brothers or others.  Everyone in this fandom is so focused on Kara, which I love him a lot too don’t get me wrong, and it’s super great he’s grown in s2! But Choro has gone through just as much utter bullshit and has gotten….nothing, he’s treated as one large joke with a single trait of his being the punchline, completely wiping out his other fantastic features,,, I love him a lot and I hate seeing him reduced to just…nothing by the creators and the fandom :<

Quick guide for people who haven’t watched Sailor Moon (I don’t know why I made this)

Usagi Tsukino - Sailor Moon

Originally posted by dyx

Ami Mizuno - Sailor Mercury

Originally posted by hichamkiy

Rei Hino - Sailor Mars
Straight (Possibly bi-curious)

Originally posted by heartcoma

Makoto Kino - Sailor Jupiter
Bi-curious (Mako-chan questions her sexuality in the show, having an entire episode devoted to this. So there’s no solid answer)

Originally posted by sailorjupiterbadass

Minako Aino - Sailor Venus

Originally posted by sailormoonfavorites

Haruka Tenoh - Sailor Uranus
Gay / non-binary

Originally posted by generouslyuranus

Michiru Kaioh - Sailor Neptune

Originally posted by amirnizuno

Setsuna Meioh - Sailor Pluto
Unspecified, in the manga she’s straight

Originally posted by glass-is-always-half-full

Seiya Kou - Sailor Star Fighter
Gay / Genderfluid (lit)

Originally posted by sailor-comet-emily

Sansa (to Bran): You’re the Lord of Winterfell!

Sansa is concerned about her sister Arya showing an insane skill in fighting and her brother being emotionally distant.

Sansa looks after the food stores to prepare for the fight against a supernatural enemy.

Sansa haters: Look, she’s about to betray Jon, she hates her siblings, she’s so powerhungry.

Me: How do I even call this level of misreading a character development?

D@ny: Bend the knee to your rightful Queen

D@ny (after having seen proof that the Long Night was real): I may give my dragons for the fight against the White Walkers, but first bend the knee!

D@ny burns the food supplies of the Reach.

D@ny stans: Look at her, she’s about to save the world, she cares for the Smallfolk, she has endured so much, she deserves the Iron Throne she has a good heart.

Me: How do I even call this level of misreading a character development?

P.S. Just to be clear on two points: I’ve disliked D@ny since book two and I’ve liked Sansa since book two. I began shipping Jonsa in season 6, so one has nothing to do with the other.
And tyranny and absolutism is simply a bad system, even if the tyrant is occasionally benevolent. This has nothing to do with the fact that the tyrant is a woman.

I just love how Lance has not flirted once with Allura within 2 seasons and they are just forming a sibling bond and he’s protective of her and encourages her and I just think that’s beautiful

anonymous asked:

How do I develop my side characters when I am focusing on my main characters? I don't know how to do it. They speak every-now-and-then, but that's all they do and I feel like they are just plot points to push my plot in the right direction.

Hey there! Have you checked out our minor characters tag? You might find some ideas there!

From my experience as both a reader and a writer, I’ve found three groups of minor characters:

-Minors: These are the ones that the story doesn’t revolve around, but they have their own development and stories. Think Luna Lovegood from Harry Potter. She’s not one of the main characters, but you know her history, interests, and she has her own story. These take the most development, as you have to flesh them out a bit.

-Creepers: You’d know them if you saw them! These characters are the ones you recognize by name, although you don’t really learn much about them. A good example is Barliman Butterbur from Lord of the Rings. He’s a bartender, he knows the gossip in the town, but you don’t learn much more about him. And that’s fine-he’s there as a creative way for the readers to get information that they might not get otherwise. For these, a general appearance, the opinion of those around them, and the way they speak are pretty much what you need.

-Fillers: The last kind of background characters are there one minute and gone the next. They’re the ones who fill in the location and give it a bit more depth. They provide one liners, are on-lookers, and set the tone of the scene. Think of the village from Beauty and the Beast. You don’t know the members save the antagonist and his sidekick. But when they start singing “Belle” and “Kill the Beast” they provide validation to the storyline. They don’t need names; just a basic description and perhaps a facial expression (”The large woman sneered and pointed one of her perfectly manicured fingers.”)

If you can divide your background characters into these categories, it’s much easier to decide which ones need your attention and time the most. For those, you should look at each one and ask “Why are you here? Why do I need you?”. Put them through a rigorous job interview. Figure out their strengths, weaknesses, hopes and dreams, etc. What was their family like? Do they love what they’re doing or are they envious of their neighbor? 

If you’re like me and need to write everything down, there are several different character profiles out there that you can use. The most basic one should include:


Although you can customize them to your own needs. If you keep these with you, it’s easy to go back if you forgot whether they were 21 or 22, or if they prefer sushi over steak. 

Secondary characters are important to any story because they push the main characters along. Depending on the type, they should stand out a bit and shine on their own. Make them memorable, but don’t feel like you need to give them as much time and attention as your protagonist and antagonist. 

Hope this helps! Let us know if you have any other questions!



hey urself a mob wife willing to bite a mans ear off to get revenge for ruining ur dinner party

justkeeponsimming  asked:

List 3 facts about your favorite sims couple! Send this to 10 simblrs who have some of the most adorable couples. ✿

This took me so long to answer because 1) I didn’t know what couple I should choose, 2) I didn’t have time and 3) when I had time, I didn’t have the inspiration. Anyways, thank you so much for this!

I might have talked about these things before but eh, let’s bring it up again.

1. Rachel is the one who makes Caleb smile everyday and forget his grumpy, sad side. He often blames himself for things that aren’t his fault (such as not being able to have children, but that’s complicated because ya know, aliens, and ya know, weird alien science ;)). Rachel is always there to remind him that everything is alright and he didn’t do anything wrong. She helps him bring the best out of him.

2. They work together at the local Twinbrook library. Rachel does most of the paperwork, administration and stuff like that (I could give you proper librarianship terms here but I’m too lazy to look up English translations sorry IT’S AFTER MIDNIGHT OKAY). She also is usually in charge of getting events ready. As for Caleb, he does the rest, which includes making sure everything is at its right place, taking care of people borrowing books, buying new books (and then carrying the heavy boxes to the library, yikes)…and so on. The hard work, I guess, though it depends on a point of view. I like to imagine that letting him catalogue books would mean danger for the library. :D (same tbh, by the way side note ronnie if you wanna talk about libraries look up the english terms please, this is horrible) But hey, this works for both of them.

3. Out of all my ships, there’s the biggest age difference between them. 6 years. When they met for the first time, Rachel was 22 and Caleb was 28. (so where the legacy currently is, they know each other for like 18 years? Yeah. Sounds right.)

4. Bonus fact: The book title says “Motherhood Firsts”. It was the most suitable option I had. And also…yeah. Yeah, that thing again. Will I ever stop brining it up? Probably not :D

I do love how the peripheral characters from the movies develop into spectacular characters with rich back-stories and we end up with killer fan art like this piece by @blog-dres13. Would love to know how she got that Sith lightsaber!

698 Days until Episode IX

335 Days until the Han Solo Movie









A tiny mayora for the lovely @skychasingdreamer - Your fluffy fics always make me so happy!

Me: Oh Pidge’s vlog came out- I swear to God if some ignorant fools start insisting that there’re character development in it-!


Me: *Facepalm*