despite being on stage countless times before, they still get nervous 

Legit Tip #162

Having at the very least a basic understanding of psychology is critical to characterization. 

A lot of attempts to “explain away” certain character traits fail miserably because the character’s writers don’t really understand how psychology works. *coughChristianGreycough* 

Naturally, every individual’s past affects them in some way and influences the way they behave and the way they respond to events, situations, and people in the present. However, it’s not as cut-and-dried as people like to think. 

The problem with a character like Christian Grey - besides the fact that he’s gross and abusive - is that his history and the conditioned response to his history really do not make sense. Putting the BDSM aspect of his character aside, do remember that Christian literally says that he likes BDSM because he wants to “punish girls that look like his mother”. 

First of all - ew. Second of all, that’s not really how the human mind works. This approach to psychology (and characterization) is very Freudian at its core and, like most Freudian psychology, you can send it flying straight through the nearest window. 

It’s not that there isn’t some basis for this kind of A + B = C understanding of psychological development. It’s that its a very, very dumbed down, simplistic approach that for obvious reasons rings very, very false in readers. Even if it’s only instinctual, most people know better than that.

A much better approach when considering how events from a character’s past would affect their reactions/personality/etc., in the present is to think about the patterns that developed in their life because of it, the habits that they developed because of it, and ultimately the way this character has learned to respond to certain stimuli. 

For example - 

Let’s say we have a character named Clarissa. Clarissa was raised in a single parent home with her father and her older sister. Her father was a caring, loving man, but was forced to work a lot, and because of that was rarely home. Her sister was verbally abusive and blamed Clarissa for a lot of the problems their family had - a lack of money, a lack of stability, and even the death of their mother. 

Clarissa learns several things from these interactions:

  • When people become angry at her, she largely places the blame on herself. She also learns to expect people to become angry at her.
  • She learns patterns of avoidance on realizing that staying out of her sister’s way is the best way to avoid the verbal abuse. 
  • She develops a pattern of thinking in which she fears causing trouble for other people, which leads her to avoid asking for help. 
  • She doesn’t dislike authority figures (like her father) but largely considers them unreliable sources of aid. 

However, if instead of avoiding her sister Clarissa had developed a more confrontational attitude and learned that, being the younger sibling, her father would take her side in these situations, the outcome could have been different. She may have instead learned that:

  • Confrontation is a way to get what you want out of a given situation. 
  • Playing the victim is a way to turn opinion in her favor.
  • Authority figures can be manipulated into giving you assistance. 

Clarissa #1 ends up being a very introverted, self-effacing individual. Clarissa #2 learns to play the “victim” to get what she wants. And Clarissa #3, who went to her father about the problem and had him step in to solve the issue between herself and her sister, learns to solve problems through open, honest dialogue. But how boring is that? (In fiction, anyway). 

Think a little more critically about what your characters actually learned because of their past. You’re not just connecting the dots between past and present. When you develop a character’s personality, you’re weaving a tapestry based on the accumulation of everything they’ve been through and everything they’ve learned. 

Use them with care, and use them with respect as to the transformations they can achieve, and you have an extraordinary research tool. Go banging about with a psychedelic drug for a Saturday night turn-on, and you can get into a really bad place, psychologically. Know what you’re using, decide just why you’re using it, and you can have a rich experience. They’re not addictive, and they’re certainly not escapist, either, but they’re exceptionally valuable tools for understanding the human mind, and how it works.
—  Alexander Shulgin, Pihkal: A Chemical Love Story

You know a movie will hit the cultural zeitgeist when the day after you’ve seen it, not only are you and your friends still talking about it, but your conversation looks something like this:

S: So, who do you think is at the control of my mind?

Me: Anger. Most definitely anger.

A: That’s messed up. But true.

S: Funny, haha, Dollins. Who do you think is at his controls?

G: That’s easy. Disgust. All the way.

INSIDE OUT is going to prompt conversations like these around the country over the next few weeks. This movie is so remarkable in how it literalizes the workings of the human mind that people are going to get a major kick taking this clever film and using it to analyze their friends and themselves. After all, after G announced that Disgust is my dominant emotion, I spent a good amount of time reflecting to determine how true that is.

Sadly, it’s very true. I am a critic, after all.

In a social media world in which people take daily Buzzfeed personality tests (Which member of One Direction are you?), the anthropomorphic emotions of INSIDE OUT are due to be Disney/Pixar’s next big sensation. Cue the cuddly toys, character t-shirts, mouse ears at Disneyland, and Happy Meal toys. These little guys – Joy, Sadness, Anger, Fear, and Disgust – are primed to be big stars this summer and hereafter. And the biggest reason why is because INSIDE OUT is one of 2015’s most beautiful films.

I don’t gush about certain movies very often, but my eyes were gushing tears as I watched Pixar’s latest masterpiece (yes, I dropped the “M” word). INSIDE OUT touched that deep, emotional spot in my mind and played me like a fiddle for 90 minutes. It is so emotionally resonant that instead of 3-D glasses, theater ushers should be handing out travel-sized packs of Kleenex. At about two-thirds of the way through the film, I could have used a tissue; my hand was already soggy.

INSIDE OUT is the first film I’ve seen that effectively gets me to relate to the experiences of an 11-year old girl. This girl is named Riley. She lives in Minnesota with her family, where she has great friends, wonderful parents, and is a stud on her little league hockey team. We meet Riley on the day of her birth, when her first emotion appears at the sight of her parents. That emotion is Joy, played with effervescent spirit by Amy Poehler. Joy becomes Riley’s defining emotion, and as more emotions are felt, also voiced by the perfect actors (Lewis Black as Anger couldn’t have been more inspired had he written the part for himself), Joy becomes their de facto leader. Her mission is to keep Riley happy. All of Riley’s memories are filtered through Joy’s free-spirited touch, and sent on their merry way to be filed in Riley’s long term memory. Meanwhile, each of Riley’s core memories become the foundation for the islands that represent the dominant characteristics of her personality – her goofiness, love for her family, connection with friends, passion for hockey, etc. Under Joy’s care, Riley seems to be the most well-adjusted youngster in the world.

Complication arises in the form of life itself. Riley’s dad finds business opportunities in San Francisco, so the family has to relocate, which turns Riley’s world upside down. Try as Joy and the other emotions might to put a positive spin on Riley’s life changing experience, it is Sadness who comes to the forefront, causing all sort of problems. She touches a memory and it begins to be filtered through her melancholy lens. Joy works to get rid of Sadness, but in the effort, winds up also getting separated from the control room, leaving Fear, Anger, and Disgust behind to take care of the business of guiding Riley. Joy and Sadness then have to embark on a great journey to get back to Riley’s control room before true disaster can strike.

INSIDE OUT manages to take the ideas of Psych 101 and make them completely understandable to the average joe. Riley’s memories are stored in tiny globes that get filed in giant shelves in her brain. Workers examine her memories to determine which are often used versus those that are no longer unnecessary. Sometimes those workers like to play jokes, and shoot memories of crappy commercial jingles up to control to torment Riley with a little earworm. There is a section of Riley’s brain that handles the processing of abstract thought, an Imagination land, and even a movie studio that produces the dreams she has at night during REM sleep. I can already imagine some kids out there watching this movie and plotting future careers in psychology.

But the power of this film isn’t just in how clever it is. That’s an added bonus. What makes INSIDE OUT a masterpiece is what often distinguishes Pixar from their CGI-animation rivals: the focus on true empathy for their characters (and, by relation, the whole of humanity). Allowing us access to the workings of Riley’s brain forces us to feel for her predicament. Other films might cause us to judge her, or suggest that she’s overreacting. Isn’t that what we often tell children who have a deep emotional reaction to the things that happen to them? Seeing her fight to stay positive when everything seems to be falling apart around her is devastating to watch.

Pete Docter, the director (also behind MONSTER’S INC. and UP), doesn’t just want us to see the world through Riley’s eyes. He also wants us to see the world from other characters, too. The closing credits shows us the inner workings inside the brains of all the major characters, and it isn’t just hysterical, but also revelatory. This is what caused my family and I to question who was behind the control panel in each of our heads. Empathy is one of the greatest things you can teach a person, and INSIDE OUT may be one of the greatest lessons ever provided by the cinema.

  • What people expect psychology students to learn:how the human mind works
  • What psychology students actually learn:Under circumstance A in setting B, controlling for C and D, people in group E in generally, compared to group F and G, but not H, are more likely to chose outcome I over J. This was highly significant, p < .01. However, more randomized controlled studies are needed for verification.
  • Me:Now, that isn't true because [insert well-structured argument including canon quotes and scientifically proved facts about how the human mind works]
  • Me:I
  • Me:Did you even read what I just wrote
PSA: Hinata does not stutter because she has a speaking problem she stutters on the first syllable out of hesitation (and how to fix it)

please s-s-stop writing h-h-her stuttering e- e- e- every single syllable even when she’s h-h-having a good time it gets tiresome to read.

and any other character (your OC or published)

i love speaking impediments when used in the right place at the right time, it gives insight on the inner workings of the character, but when a character who only hesitates when talking to a particular person please don’t make it the defining trait.

understand how the human mind works, read more about speaking hardships, try to talk to someone who has it and if they allow you to ask about it, ask them why they think it’s hard for them to speak, when it happens, what words are especially difficult and what they can do to make it go away? (it changed my perspective when i did, you should do it if you can, and be respectful and understanding about it as it is often a big insecurity to the individual)

you’d be surprised at how much information and understanding you’ll get just by trying to understand someone, you might even make use of this knowledge in your real life, imagine that!

anyway, I’m not saying you shouldn’t make dialogue with a stuttering character, but here’s a few ideas on how to make it more readable if you really want to give her a speaking problem.

(which i understand some readers/writers relate to on a personal level)

  • you can write the emphasized stutter in two or three phrases in the whole scene, that’s it, any more and it becomes overkill. it also needs to be justified, is she scared? embarrassed? did something exciting just happen?
  • change up the way you write it. “h-hello.” is good here and there, but not all the time. sometimes words are just hard to get out “but i thought the ssstable was off limits!”
  • repeat the word in way that shows she is hesitant about saying what she is about to say, maybe the person she’s talking to doesn’t show interest and she’s rethinking her desire to continue the conversation. “Oh well i thought- I thought we could have lunch or something, that’s all.”
  • stop the sentence and start anew, we all do it. “but if you read here- well i mean, it’s not that obvious but that’s what i get from reading the whole contract.”
  • mix it up. “D-don’t yell at me! oh gosh, all that screaming went sstraight to my head! whew! oh no, now my stomach is- i don’t feel too well, ugh i need to sit down.”

thank you and i hope we learned a new thing to day be nice to your characters but also put them through the wringer u feel me

closed  rp-


Evil Morty pushes his  two body guards  aside.  “You stay here…  I dont  need you when I  go to this  Rick government..” He points  out.  

Even  if  he  knew very well he was slowly  going  crazy.. He wouldnt  admit it  to  them.  Surely  the  alien  guard  cant understand  how the human mind works. He takes  breath as he  opens a portal to the government of ricks.

I don’t understand why so many are vehemently against murderers being described as “mentally ill”. Mental illness isn’t cut-and-dried simple; we know less about the human mind and how it works than any other part of our body. If you suffer clinical depression and are offended by the idea of the “mentally ill murderer”, you have to remember that your depression isn nothing like another’s paranoid schizophrenia, or psychosis. Hell, if you suffer from any disorder, odds are there’s someone else out there having a worse time than you are. That doesn’t mean what you’re going through isn’t real, but it does mean that your experience isn’t the only truth.

Truthfully, I’d like to think that basic human nature keeps murder from ever being appropriate. We’ve evolved to function as a society, and a society can’t work if it’s alright to fly off the handle and shoot everybody. That’s why taking another person’s life is illegal. That’s why the death penalty has so many opponents, why every war has its protestors.

To take a life requires a total disregard for anyone else’s pain but your own. It’s selfish and narcissistic. Impaired empathetic response is thought to be responsible for this. Impaired empathetic response also happens to be a sign of one of many mental illnesses. Impaired empathetic response is also found in deeply rooted racism.

Calling a murder mentally ill does not in any way excuse, lessen, or undo their horrible crimes. But, it does suggest that murder and violence are not the human default, if there were to be such a thing. I’d like to live in a world where that is the case.

Here’s an interesting read that goes a little deeper into this whole idea.

anonymous asked:

So g_d post a photo on his ig. It was a photo that kry_tal used as her dp and now they are dating lol. Seriously sometimes I wonder how human mind works.

If it was related with two same sex idols, people would say they’re only friends, with no chance of being in a relationship because idols can’t be gay. It’s interesting how human logic works sometimes.

anonymous asked:

What was the real motivation for Bedelia to become a psychiatrist?

[She was curious about the human mind and how it works. She spends a lot of time observing, being a psychiatrist allows her to do so and she has a better insight. This is also why she followed Hannibal in Europe, she was curious and could have an unique insight in his life and behaviour. So while the want to help people was a bit present, it’s mostly her interest in the human mind that made her choose this career. A quite selfish choice all things considered.]

miss-weeaboo73  asked:

May I have a ship please, I'm a bisexual girl. I have thick, chin length dark brown hair with big dark brown eyes, I also wear rounded wire framed glass and I'm a Virgo. I'm 5'3, and I think a lot about the human mind and how people work which can lead me to be very worry and stress a lot of the time. I'm kind of mysterious, preferring logic over all. And I'm very sarcastic too! I like to help people with their problems, I'm shy and quiet most of the time.

I ship you with Ryuji Suguro

He totally gets how it feels to have the weight of the world on your shoulders due to stress, and he’d want to make you feel better if at all possible. While he may not be the most romantic person in the world, he does have a big heart when it comes to people he really cares about, and wouldn’t hesitate in trying to aid you. Massages, distracting topics, anything for you. He greatly admires your sense of logic, and finds it hard to keep from smirking when he hearts a sarcastic comment leave your lips.