Hi! I want to tell you that your blog is awesome and I enjoy reading your analyses a lot! Recently I saw a post about Child L that he associates touches with violence and he acted strange when Aizawa touched him on the shoulder. However, he didn't have problem when Light touched him (manga chapter 38, 45). Also, I realised L didn't have physical contact with other people but Light (chap38&39, where L put his hand on Light's shoulder) What's your thought on this? Thank you and have a nice day!
Thank you very much for your kind words and my apologies about the late response!
I’m actually in agreement with you that L’s “odd reaction” to being touched by Aizawa has more to do with the context of that scene. Assuming I’m not missing anything (which I very well may be)… this is the scene in question, right?
And in the very next panel we see L shaking as he clutches his legs close to him.
So the full context of that chain of events is that up until that moment, L had been very confident that he would be perfectly safe as long as he kept his real name veiled in secrecy, which was the sole reason he came out of hiding and challenged Light, his principal suspect, in a head on confrontation.
The second Kira, however, completely destroys L’s assummptions by murdering Ukita knowing only his appearance. Because of how clearly the Second Kira was going to be aligned with the first Kira, L understands that he’s made a horrific assumption in thinking his actions up until then had been relatively low risk. If you ask me, this scene is most directly an indication of L’s fear of dying rather than anything else. Essentially, L had every intent of beating Kira and up until that moment felt as though he had good control over the case. But because he’s realizing that his strategy of going on the offensive and showing his face was actually a misstep that could lead to his demise, he’s having a pretty understandable freak out. I don’t think there’s a deeper explanation than that, personally.
Ugh. I'm starting to think that S in tomorrow's previews are for Callie and Aaron. I'm sure The Fosters is looking to create some groundbreaking theme by having a love scene between a straight character and someone who is trans. Which in and of itself is a fantastic thing to do don't get me wrong. But no one is invested in the character. If you're going to do that make sure you're audience is invested or else you're just doing it to be edgy. 🙄🙄
I could have warned you about that. The problem is that Aaron has always been an opportunistic jerk. Even in the sneak, he invites Callie to go home with him, even while assuming that Callie and AJ are still together. He has no respect. So, he’s been a yes guy to Callie all along. I think Cole would have been the better choice, even if the actor wasn’t that great.
I’m really hoping that either Drew gets caught up in his
shadiness and gets fired OR gets overwhelmed with running the school and
just quits or whatever gets him put out on his ass because Lena
deserves to run it ! It’s long overdue & I JUST WANT HER TO BE
HAPPIER THAN HAPPY
Yeah, the only thing I want to hear about Monte is that she’s working to help Lena become prinicipal. Otherwise, shove it.
Why do you think they refer to Anchor Beach as ABCC now? They used to always call it Anchor Beach until 4b.
I don’t know. It makes me wonder if there was a real Anchor Beach school that threatened to sue them.
I’m currently watching Forty & the shade that Dana is
throwing at Stuart is crazy 😂 But I can’t understand where it’s coming
from since he told her about the IRS trouble after the party & not
before they came there . What do you think ?
Um, she thought he was cheating on her. Did you see that part?
Are you still uploading your fic.
Please tell me the fic is coming out this weekend I had a horrible week and I need some Stef and Lena loving
It’s coming. And that’s all I can tell you. But it’s finally starting to flow, so there’s that.
I love that we know so much about Stef and Lena I mean they
sometimes cook together, they get dressed and get ready for bed
together. The little details are important and make them more real
It’s every dinner together, every scene where they get ready for bed. Every little thing makes them be the best couple on tv.
I love angry Lena it’s so sexy. How Stef doesn’t drag her to bed I will never know
I think Stef is learning. I am still hoping for some of that in season 5.
Hey Kareena!! I've been noticing a lot of my mutuals reblogging and talking about into the badlands. So I got interested and watched the trailer. But it looks so bloody?? Like I am pretty sensetive when it comes to fights and stuff and I was wondering how bad is it (I don't really have a problem with Shadowhunters)? Is there other things that can make you really unconformable? And maybe something short about the plot? Thanks!!
Hey, Alicia, I’ll say upfront if you don’t like blood, it is very bloody - but in an aesthetically pleasing way? The fights are all beautifully choreographed martial arts and because it’s melee/swords there is blood, to me it looks pretty rather than gross. It depends on how much you don’t like blood in scenes, I guess.
I don’t think there’s anything else that should make you uncomfortable, (i’m tired though so shout at me in replies/asks if I have forgotten anything important).
The plot: basically it follows Sunny, who is the lead fighter (clipper) for a local baron. It’s a post-apocalyptic world, but it’s not grim like walking dead, but about Sunny and his life in this setting.
While working for his baron, Sunny rescues a kid, MK. The Widow (a rival baron) also wants MK. They find out why when they realise that MK has special powers…
Sunny and MK are both asian, Sunny’s love interest is a black woman and season 2 has added lgbt character(s). I’ve reblogged a lot of posts some of which should give you an idea of the style of the show and perhaps how bloody it is.
So how do you interpret the press release and how do you feel about Snow and Regina taking her out to forget about Hook disappearing? I personally don't have a problem with that statement itself, it's what might happen at the girl's night and that statement in the promo. Are they going to bash him? Encourage her not to give up? We know from that guy who plays the bartender and from Jen's pictures that night they shot for about 12 hours. That's a lot of scenes at this bar it sounds like.
Can I start off by saying I am just endlessly amused at the idea of a girl’s night out drowning Emma’s sorrows in a bar what I’m assuming is a day(maybe 2) after the fight? I mean seriously. It’s like they haven’t looked around in the last 5 years.
The first couple of weeks after a breakup are on the couch in the living room (someone else’s if your house has too many memories), dressed in sweats, messy hair, no makeup, wearing out every food delivery guy in town, drinking the adult beverage of your choice like you’re getting paid to do it and sobbing your way through every romcom on Netflix.
Let’s hit the bar and get you back out there doesn’t come til week 2 or 3.
But since I’m assuming the “bartender” is part of Gideon’s nefarious scheme I get why they had to use the bar setting. It would be harder for him to get close to her as a pizza delivery guy.
I see Regina and Snow trying to be supportive of Emma but I don’t see them trashing Killian. At all. Again, it’s not the story they’re telling and have been telling over multiple seasons. The “bartender” and whatever happens with him is a plot device to move the story forward. Not an explosive to stop it in its tracks.
And you can’t really tell anything from the length of the shoot. There could be a million reasons for that. It may end up being just minutes (if that) if screen time.
Honestly–I have ZERO worries about Emma and the “bartender”. Deep breaths.
There is something really off when game devs have no problems making steamy sexy straight and lesbian sex scenes but keep toning down and censoring gay scenes and giving them way less sexual content, making their romances shorter and giving m/m fewer romance options. There is a word for that, and I don´t even have to say it out loud. We all know what´s up.
Its his freshman year and Bitty is walking around campus on his Taddy Tour™ with John Johnson, Ollie, Wicks, and some other guys on the team that Bitty doesn’t know. They are coming to the end of the tour and are walking down the frat row where all the sports teams have their respective houses. They walk past the volleyball house and the soccer house with no problem, but things get louder once they reach the football house.
There are a bunch of hulking men gathered on the front lawn tossing a ball back and fourth. One, with short black hair and a very broad chest catches the ball, turns to the group and shouts,
“Hey hockey jerkoffs! look out!”
He throws the ball, and it cuts through the air with Wick’s head as its target. It would have hit him straight on the nose too, if Bitty hadn’t caught it, snatching it from air as easily as anything.
“You better keep this! you clearly need the practice!” Bitty threw the ball back to him in a perfect spiral, and when the offending player caught it, he was knocked to the ground with the force of it.
Everyone was gapping at the mountainous man on the ground. A different player with shaggy brown hair called out in disbelief, “You just took out the school’s tight end!”
Bitty shrugged, unbothered, “I hope he’s second string.”
All of the guys on the Taddy Tour™ starting whooping at the chirp, and the group moved onward toward the Haus, leaving a pack of slack jawed football players in their wake. The shaggy haired one offered a hand to the man on the ground.
“You good Brandon?” He asked, hoisting the other player to his feet.
“Yeah dude, nothing hurt but my pride.” Brandon rubbed at the back of his neck sheepishly, “Who was that guy?”
Shaggy hair shrugged, “One of the new Hockey recruits I guess.”
There are few things as soul-crushing in the writing process (at least to me) than getting a bunch of characters in a room with the intention of something happening, then the characters proceed to stand around and stare at each other.
Or worse, look at you like this.
My characters didn’t know why they were there. I didn’t know why they were there either. I had no clue what they were supposed to be doing, so I’d start throwing random instructions at them: “Fight, characters! You guys should fight now! Maybe fighting will make this event have a purpose!” Which inevitably resulted in characters going through the motions of battle for no apparent reason, like they had all lost their minds.
What was the problem? I didn’t know how to write a scene. I didn’t know what a scene was. I had a vague definition that it was something about changing scenery, or just “something happening”.
It’s not. And once I learned what a scene was, my characters got to stop pummeling each other, while wishing they could pummel me.
So what is a scene?
The definition of a scene is kind of like the definition of a story. Story is change, a massive change in the life of your main character. A scene is change too, but much smaller, and part of that huge story change. You couldn’t have the BIG change without these tiny changes. Thus, a scene is not switching scenery. It’s not flipping to a new Character’s POV. It’s one segment of change, which triggers the next change, which triggers the next, which gradually build into sequences, which build into Acts, which build into story.
So what goes into a scene? How does it work?
1. Alternating Charges
If a scene opens positive, it will turn negative by the end. If it opens negative, it will end positive. Simple.
2. Character Goals
Everybody in a scene wants something. If they don’t want anything, they shouldn’t be in the scene. And these characters, with their often opposing goals, are going to employ different tactics on each other to get what they want. Which creates …
3. Escalating Conflict
Conflict is created when one character wants one thing and another wants something else, right? So the characters in the scene are each pushing for something different, each new tactic increasing in determination. And what are these actions called?
The beats of a scene are exchanges of action and reaction. One character does something, another character reacts. All exchanges (beats) are pushing the scene onward, building tension and conflict, until finally …
5. Turns & Revelations
The scene turns. The positive has changed to negative. Something has been discovered. The story has spun in a new direction.
6. Connection to Story Objective
Every scene must be connected to the BIG goal of the story, the main character is taking small actions to reach that big goal. If it isn’t obviously connected to this big plot, it won’t make sense. Your reader won’t know why the heck they’re reading the scene. Which brings us to …
7. Logic & Necessity
Every scene must be necessary. It must be able to be linked with the previous scene. “Because that happened in the previous scene, THIS must happen in this scene.”
So! To see how that all works, let’s break down a scene from Tangled. (Because I used it in the last post to map out how a premise works, and my little writer heart can’t resist symmetry.)
Rapunzel’s Goal: Rise up against her mother – finally.
Gothel’s Goal: Regain control.
Escalating Conflict: They’re fighting over who controls Rapunzel, and this battle causes them to go from “mother and daughter” to “enemies”. The conflict builds nicely in this scene, causing the story turn.
Connection to Story Objective: Throughout the movie, the big thing Rapunzel wants is freedom, she wants her life to begin, she wants to have a new dream. This is the moment she figures out how to do that; it’s not escaping the tower, it’s escaping Gothel’s control over her.
So! Here’s the scene.
“Rapunzel? Rapunzel, what’s going on up there?”
Ignores her. Still processing the tremendous implications of this revelation.
“Are you alright?"
"I’m the lost princess.” (Dumbfounded. Almost whispering it to herself.)
“Oh, please speak up Rapunzel! You know how I hate the mumbling.” (Bullying.)
“I am the lost princess! Aren’t I?” (Fighting back. She will not be bullied anymore.)
Gothel stares, stunned. She’s rendered temporarily speechless, because her secret’s been revealed finally, and her victim is actually fighting against her.
“Did I mumble, Mother? Or should I even call you that?” (Accusing. Drawing herself up taller. Looking down on Gothel and glaring. She’s seeing her clearly for the first time in her life.)
After a pause, thinking up a tactic. “Oh, Rapunzel, do you even hear yourself? How could you ask such a ridiculous question?” (Laughs. Ridicules. Attempts to make her feel childish, dumb, worthy of being mocked. Tactics which have always worked. She even begins to hug her.)
Rapunzel pushes her. “It was you! It was all you!” (Still accusing and angry, but pain is beginning to show. It’s almost like she’s giving her a chance to explain herself.)
“Everything I did was to protect you.” (And Gothel doesn’t say anything redeeming. She’s holier than thou, regal, bestowing kindness on an ungrateful, stupid child. Trying to control through guilt.)
Rapunzel rams her out of the way.
“Rapunzel!” (Shouting. Now trying anger.)
“I’ve spent my entire life hiding from people who would use me for my power …” (Leaves her.)
"Rapunzel!” (Still trying the anger angle.)
“But I should have been hiding from you.” (Throwing the truth at her.)
“Where will you go? He won’t be there for you.” (She’s tried everything else. It’s time to attack her heart.)
“What did you do to him?” (Fear)
“That criminal is to be hanged for his crimes.” (She’s keeping up the disapproving mother act, but striking her right where it will hurt her most.)
“No.” (She’s stopped. Shrinking in on herself. Staring, horrified. And Gothel thinks she’s won.)
“Now, now. It’s alright. Listen to me. All of this is as it should be.” She goes to pat Rapunzel’s head, a gesture symbolic of her superiority, her physical, mental, and emotional control over her victim.
Rapunzel grabs Gothel’s wrist. “No! You were wrong about the world. And you were wrong about me! And I will never let you use my hair again!"
Gothel wrenches free, stumbling backwards in shock and anger, breaking the mirror in the process.
"You want me to be the bad guy? Fine. Now I’m the bad guy.” (Well, now emotional control is over. It’s time to start stabbing Rapunzel’s boyfriend.)
This action has no reaction, interestingly. It leaves us hanging, a cliffhanger created with only beats.
Closing Charge: Negative. She’s now a full-fledged villain, the motherly persona shed, and she’s determined to get what she wants whatever the cost.
Turn: It changed from positive to negative, and now we’ve got a Flynn-stabbing witch to deal with.
Revelation: She’s always been evil. She has always been the bad guy. The motherly act was just that, an act.
Logic & Necessity: This scene fits with the previous scene, and the one that follows.
Though I’ve seen these concepts in many books, the place I first learned about it (and the best resource for scene design in my opinion) is the book Story by Robert McKee. It’s helped me countless times, is one of my favorite books on storytelling, and I highly recommend it if you write anything.
I realize that these definitions were a little vague, so I’ll be explaining things more thoroughly in subsequent posts.
As a math teacher in training, I can’t get over just how important this scene is.
Most people have a difficulty with learning math, not due to a lack of intelligence, but because they are under a negative mindset, that they feel helpless when faced with a math problem. These people are fully capable of tackling such problems, they just don’t believe they can.
Math teachers are not heartless beings who criticize you for any mistake you make. Our job is to help you, to improve your understanding of the subject. What we’d like to see is that you’re willing to put in some serious effort.
This is why I was so proud of Star at the end of this episode. She realized that if she wanted to save her timeline, she had to be willing to put in some work to solving the problem. Sure she got the answer wrong, but she tried and at the end of the day, that’s what we want students to be able to do. We can then take it from there.
Allura: For this mission, we’ll need someone to infiltrate the central hub by hiding in plain sight. Unfortunately, our faces are now common knowledge. I myself need to stay in the Castle to continue negotiations, so we sadly cannot shapeshift our way out of this problem.
Hunk: Ugh. I hate it when Plan S doesn’t work.
Allura: We must find a way into this hub. Does anybody have any idea how?
Coran: Princess… I think I may be able to do it.
Allura: Coran, are you sure? Your face is also exceedingly well-known… what kind of disguise would you even use?
Coran: The simplest one there is, of course! You want me to hide in plain sight, correct? Then there’s only one way to do this.
Lance: (cautiously weighs the razor in his hand) Coran… are you sure?
Coran, clutching onto his seat with a white-knuckled grip, tears in his eyes: Yes. Just, make it quick, please. For all our sakes.
Lance: (flips on electric razor’s switch) Godspeed, my friend.
Coran: (closes his eyes as the razor leers over his face)
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sorry for shooting you that time. I’m really sorry.” Wow, Mary, thanks so much
for FINALLY SAYING THAT. THANK YOU. But the rest of this scene I was just like,
“OF COURSE. OF COURSE MARY IS GOING TO TAKE THE BULLET AND JOHN IS GOING TO
BLAME SHERLOCK FOR IT AND WE’RE GOING TO HAVE TO DEAL WITH THAT. I KNEW THAT
WAS GOING TO HAPPEN.” Mary actually literally shot and tried to kill Sherlock,
nobody ever seemed to blame her for it. But Sherlock *gets shot at* by someone
else, and oh, yeah, the resulting death suddenly becomes his fault. Ugh, Mary.
EVEN IN DEATH YOU ARE CAUSING ME PROBLEMS, MARY.