Hello! How would you write a dialogue in which a character is freaking out about something? I generally have them word vomit but I don't really like that style. If its too much could you show me an example as well?
You could definitely word vomit – especially if your character is hysterical – but that’s not the only way to do it by any means. I know a few other ways.
1. Calmly. This is strange, considering your character is freaking out, but the freak-out is internal – they’re shutting themselves off due to shock. In this case, they would be quiet, sane, and even if what they’re saying is illogical, it would probably sound reasonable.
“I was right there when she shot him. He dropped like a sack of flour. I figured he was gone as soon as the bullet hit his chest. So now I’ve decided I’m gonna go after her. Right now. And I’m gonna kill her.” “What? You can’t do that!” “Sure I can. She killed him, so I kill her. It’s called justice.” “But- With just your bare hands?” “The way I feel right now, my bare hands are more than enough.”
Notice how the character who just watched their friend die in front of them isn’t yelling, isn’t stuttering, isn’t getting angry or crying – they’re perfectly calm, almost to the point of complete emotional shutdown.
2. Angrily. Some people get angry when they lose control and freak out – it scares them, and the fear manifests itself as anger. This type particularly happens when they’re upset about something and other characters aren’t taking it seriously or are shrugging off their concerns.
“No! It’s happening tonight! We don’t have time to think, or weigh things, we need to fucking leave! Now!” “We can’t. You know that, and you’d remember that, if you were thinking straight-” “I am thinking straight! It’s you who’s fucked in the head. I don’t give a damn what you think we can and can’t do, we need to clear out of here, right this second.”
As you can see, this character is freaking out – their concerns may or may not have a firm foundation, but obviously they are concerned, and that concern is manifesting itself as fury.
3. By stuttering. For some people, it’s hard to talk when they panic, because their minds race forward ahead of their mouths and they get tongue-tied. I typically see/use this with more anxious characters, or with characters who aren’t typically good at speaking anyways (in other words, who are uncomfortable talking).
There are a couple of different ways to stutter: a. Repeat the beginning of each word.
“I tr-tried to s-save him, but he wuh-wouldn’t l-let me … he knew it was g-going to happen. It’s my f-fault!”
(However, keep in mind that this kind of stuttering is more as if your character is crying and trying to talk through sobs and hiccups. Please use it sparingly – it can get old fast.)
b. Repeat words.
“No. No, I don’t know what’s going on, Ricky. Ricky, why would I have any idea? Don’t fucking look at me like that, Ricky. Don’t look at me like I’m lying.”
c. Insert filler sounds: “ah”, “uh”, “um”, and/or curse words.
“I, uh, I- fuck. I, ummm, I think maybe, ah, maybe we should leave?”
For more on stuttering – it can be hard to peg correctly – check out this post.
I hope this helps! If you need anything else, please feel free to ask. - @authors-haven
Recently reading the latest chapters I thought “Bum is way cuter than I remember” and looking back the evolution of koogis art is pretty surprising (though not unexpected as you do get better as you draw). I really like what her style has become, though I think the old style is really good too. It sets the vibe of a creepy stalker and a popular guy and it worked really well for the beginning.
One of my favourite things about Killjoys is how they constantly subvert expectations, but specifically fictional expectations. Like for example, hot muscly guy gets left in charge of a group of cloistered-away girls, and you think, oh god, here we go with the cooing and the “oh look a Man” and the flirting and the swaggering. But what happens? We come back a short while later to find that he has learned all of their names and taken on the role of mother hen, telling them to stop crying and put on their shoes.
Or character A has a secret and lies to character B about it and you think, oh god, here we go, this is gonna be angst and drama for at least five episodes and then another three once she finds out about it. But wait, no, he tells her of his own volition by the end of the episode and she’s already forgiven him for it because she gets it and she’s not going to waste time on being dramatic about it.
Or oh hey look we found out something new and weird about this character but, y’know, we already know he’s kind of weird, this is like the third weird thing about him, so let’s skip the freaking out and move straight on to how we can use it.
Like it’s sci-fi, and it’s ridiculous in some ways, but when it comes to the characters and their motivations and interactions it’s like someone looked at the common fictional tropes and went “hang on, REAL people don’t all behave like this”. I LOVE that. I think it’s honestly the #1 thing that takes it from “enjoyable sci-fi action with banter” to “favourite sci-fi show of all time” for me.
one thing that bugs me on jtv? the complete lack of acknowledgement of what petra’s been through. petra is an abuse survivor. the one constant presence in her life is a mother who amongst other things has threatened her, belittled her, constantly gaslights her, all for her own selfish gains. struggles through post-partum depression. discovers she has a twin- who could have become the family petra so desperately needs who drugs her, assumes her identity and tries to screw her over. watches her husband who she really does love fall in love with another woman whilst said woman is carrying the child she wanted so much. not to mention being kidnapped, suffering a late term miscarriage and feeling inferior to jane. and like? there is barely any mention of petra’s past. the only thing they bring up are her mistakes- which yes are a lot, and yes she has done some terrible things, but geez. please let petra go to therapy!!!!! please let petra be happy!!!!!!
Oh, well thank you so much! I’m super glad you’re interested! Since I haven’t done a recent master post of them all, here’s a new one! I’ll be sure to put all their tags in, so you can check them out. Thanks again!
why does it matter so much that Clint wasn't deaf in the MCU??? Like it's not super important to his character? I don't know why you're all worked up about this because it literally doesn't even really matter??? if the first anon was annoyed by your always writing sign language into your fics they have a right to be??? the things you write aren't just yours you have to respe ct your audience
*sighs heavily* So okay here’s the thing. It actually does matter that Clint wasn’t deaf. It really really really really matters. And you know why it really matters? Because for YEARS I have been super self-conscious about being Hard of Hearing, to the point that I didn’t tell people. I’d just pretend to know what people were saying even if I didn’t (believe me, I didn’t). If I had, at an earlier age, seen a deaf superhero asking his colleagues to speak up, to face him so he could read their lips, wearing hearing aids– god I would’ve been so much less embarrassed about doing those things too.
I think about the kids I see at my work in the grocery store and at Lush, kids with hearing aids, whose hands fumble over signs, and I feel this pang in my chest for them. Not because they’re “pitiful”, but because there are people who don’t realize what kind of community they’re going to grow up in. People who don’t care about the way the world works for them, for us. They don’t know they could be superheroes. Because people like Joss Whedon take that away from them without blinking.
Representation really matters. Especially when it comes to some sort of disability or shift in the perspective of what is “normal”. The same way you wouldn’t write a fic in which Matt Murdock wasn’t blind, you shouldn’t film a movie in which Clint Barton isn’t deaf. Because that is part of who he is. And by writing a script in which his deafness isn’t recognized sends a very clear message to the deaf/hoh community, which is: “people like you could never be superheroes” and even worse, “representing your community is not worth the effort”.
Secondly, I need you to read this very clearly: I will never ever write a fic in which Clint Barton is hearing, or a fic in which he does not utilize ASL. If that “bothers” my audience, or they feel disrespected by this fact, they are very kindly directed to this website and may follow the directions as follows.
Hi okay let’s talk about how important Thomas Hamilton is.
As a gay man, it’s incredibly meaningful to see a character on-screen that is gay and without shame, especially in a time where being gay was literally a crime. Thomas being gay is an important part of his character, but none of his development is centered around him struggling with it. His character is built around him being kind and motivated. The viewer gets to know him as a good man, and him falling in love doesn’t change anything. The struggles he’s gone through aren’t dismissed, they’re addressed in the fact that he has a wife, and in his eventual imprisonment and enslavement, but they aren’t all he goes through. His wife knows who he is, and their relationship is built on a solid friendship. Him falling in love doesn’t involve any sneaking. Thomas and James are happy, and Miranda is happy for them. And in the end, he is reunited with his soulmate despite all the horrors he’s gone through.
Thomas is allowed to fall in love on-screen, and gets a happy ending. There’s no unnecessary side plots about his suffering, no monologues about how hard it is to be gay, just a man who knows who he is, accepts himself and is allowed to love. Again, all in a time period where it being gay was criminalized, which is also mentioned on screen. The writers acknowledge the struggles that gay people went through but refused to let Thomas and James’ love be defined by them (even though it’s Thomas’ ‘death’ that drives the whole plot of the story).
And even though he goes through hell because of his love for James, in the end he is still a gay man, unashamed of his love.
Seeing a man like that go through hell and come out the other end still able to smile, and still in love with his husband after TEN YEARS of suffering is so important. I know that the idea of a gay man without shame in that time seems unrealistic, but as a person still in an environment where homophobia is a massive part of life, it’s so meaningful to see a man in a place where the conditions are even worse than where I am fall in love and get a happy ending. It gives me so much hope to see a badass like Thomas Hamilton reunited with his husband. It gives me hope that what I go through will lead to a happy ending as well, even though my family is full of violent LGBT-phobic pricks too.
Basically Thomas Hamilton is an incredible man and an incredible character and if you don’t think so you’re wrong.
I’m not going to say much about this, but of course I’m disappointed in the adventure zone graphic novel.
Everybody seems to practically worship the mcelroys, and while I do enjoy their content, we need to remember that they’re still straight white men, and they’re going to fuck up, intentionally or not. This was one of those times.
All I’m saying is, please don’t act like your faves are flawless and never problematic, or you’re going to end up incredibly disappointed.
hey broegan :) can you tell me about mj? i feel like i don't know much about her! what's she like? why is she your favourite?
oh gosh i don’t even know where to begin.
mary jane watson is such a lovely character. she’s intricate and complex and great. she started off as this party girl and you just think she’s shallow and doesn’t really care about anything but herself.
then it turns out she actually has an extremely abusive home life/father, so she puts on this party girl facade to hide from that. she doesn’t want to let anybody in, she just wants to have fun to forget about it. (after the death of gwen stacy, it changed her and peter a lot, and they both grew up).
she wants to be a star in any possible way. she has huge hopes n dreams and is determined and confident.
she is a huge feminist (which is pretty big back in the 60s).
she is honestly the most supportive girlfriend in the entire world.
and she is incredibly bad ass and has saved peter’s ass countless times and isn’t the damsel everyone for some reason thinks she is?
and this video perfectly sums up not only her being the best love interest for peter parker, but for them being the best love story in comics, period.
I pride myself in claiming I don't have the hots for Fenrir - not even yours, because he (the character in general) disgusts me so much - but I think he's one of your strongest cosplays and I think he might be the furthest from who you seem to be ooc (for those like me who don't really know you), which is why I find the acting so awesome. Not that I enjoy your marauders any less, I love especially your wolfstar very much, but Fenrir leaves me very in awe of your acting skills.
(( OOC: I can definitely (gratefully) say that Fenrir is, by far, the furthest away from who I am as a person. *dies* He’s absolutely disgusting… and terrible… and disgusting and terrible, in every sense… which is why he’s so damn fun to play. XD Gotta love some good villainy.
And thank you! :D I really appreciate the compliment. I try really hard. hehe. ))
They spent so long trying to get Oswald back, they traded Al Michaels to get him back, and now that they’ve had him back for several years they’re just… not doing anything with him? 3 video games, a few second-long cameos, a mention in Walt Before Mickey, some park merchandise, and a couple of meet-and-greets at select parks? Why spend so much time and energy trying to get a character back if you’re barely going to use him for anything?
Like, I get Oswald isn’t a household name the way Mickey is, but he’s still important to Disney history (and Disney in general, let’s be honest) and he’s not going to become popular unless they start doing stuff with him. They’ve made Horace Horsecollar a character in Roadster Racers (which I’m thrilled about, even though I don’t watch it) why not include Oswald as well? Or make more Mickey Mouse movies and have Oswald make an appearance. Heck, they could probably adapt the plotlines of the Epic Mickey games into a movie! Even if it’s direct-to-DVD like most Mickey films, more people would probably have easier access to it than the video games.
I get I’m just sort of screaming into the void; if Disney doesn’t want to do anything with Oswald, they’re not going to do anything with him, but it’s just kinda heartbreaking to see a character with such a history and such a loyal fanbase be shunned by the company to the point where even the studio’s own content creators have to fight to have him included in anything. I don’t want Oswald around just to sell merch, I want Oswald to actually be part of the Disney family.