i might make more of these with other characters if people like it!!

It is such an Izuku thing to do which makes me angry. Like half the point of the Sports Festival Arc was to say ‘self-sacrifice and self-destruction are not the way, they only hurt you and others in the end’. All Might is walking proof of that lesson. I’d thought Izuku had finally, finally, learned that lesson.

But in another way it’s fascinating because people are complex and the characters in BNHA are very well-rounded. Izuku has been prone to hurting himself for others since literally day one. The boy was belittled and abused his whole life and, as an author I admire once said “He’s willing to use his body as a tool to achieve the safety of others and while his own safety remains much lower priority.” It’s such an Izuku trait and, even though he’s verbalized on several occasions that he’s going to try to focus more on his own well-being, these are extenuating circumstances. Or at least that’s what he probably tells himself.

Because there’s always going to be moments where 'X person needs me' or 'Oh it’s okay because this is an important mission’. And like, I get you gotta go full out sometimes but that fact that Izuku can still justify wrecking his body like that tells me that he hasn’t really taken that lesson to heart. Because people don’t change overnight. Izuku can’t unlearn his self-destructive need to help others at the cost of his own health after a couple of months. It’s been reinforced over and over again but, when it comes down to it, it’s one thing to know a thing is bad and another to stop doing it entirely.

So Izuku, like most humans, reverts back to previous lines of thought in moments of crisis. And you’re right, I’m sure some of the heroes will praise Izuku for his Plus Ultra behavior because that’s that way superhero society is set up right now. But you know what I want? badly? I want all those heroes to praise him, but I want All Might to properly scold him.

We saw Toshinori briefly chastise Izuku after Kamino Ward but it wasn’t serious. This time I want our 7 foot sunflower, who made a career how out of throwing himself in harms way for his feelings, to put his foot down. Because hindsight is 20/20 and he knows what will happen if Izuku continues down that path. Izuku is brilliant, his analytical mind is his best feature, All Might needs to smack that boy and tell him to use it. Izuku keeps defaulting to 'it’s okay to break myself in the name of peace’, All Might needs to make it perfectly clear that Izuku needs to eradicate that style of thought. Because if Izuku keeps thinking that’s an option, one day he’s going to find himself just like his hero: half dead and unable to help anyone.

imjustafuckinggirl  asked:

So, I don't know how to write pain like! What words do I use? how do I describe it! I really need some help here!

No problem! And sorry about not answering sooner, I was on vacation. To make it up to you, I’ve made one of my trademark Long Posts about it.


TIPS ON HOW TO WRITE PAIN (FOR BOTH ORIGINAL CONTENT WRITERS AND FANFICTION WRITERS)

When I first started writing, about eight years ago, I had the same issue as @imjustafuckinggirl.

How are you supposed to write about pain you’ve never experienced before???

The characters in my book suffer through all sorts of terrible shit, and in no way am I writing from experience, which is marginally easier to do than write about something that has never happened to you.

However, with time, I managed to gather up a few strategies on how to write pain.

1. Don’t Write Paragraphs About It

I know, it’s tempting. You want to convey to the reader just how much pain the character is in, and you think that the pain will be emphasized the more you write about it.

This, however, is a lie.

As a reader, when I’m reading a book or fanfiction where, whenever the writer uses agonizingly long paragraphs to describe when a character is hurt, I skip it.

Entirely.

It’s boring and, quite frankly, unnecessary, especially during a fight or huge battle, which are supposed to be fast-paced.

When it comes to writing about pain, it really is about quality and not quantity.

In my own writing, I stick to short, quick paragraphs, some of them which are barely a line long. This gives it a faster pace and sort of parallels with the scattered, spread out thoughts of the character as they suffer.

2. Describe it Right

Many times, usually in fanfiction, writers over-exaggerate certain injuries.

This partially has to do with the fact that they’ve never experienced that injury before and are just thinking about what it might feel like.

As a girl with two brothers and who often participated in rough play-fights, I can assure you that getting punched is not as painful as you think it is.

(However, it does depend on the area, as well as how hard the punch is, on top of the fact that you have to take into account whether or not the punch broke bones)

I’m reading a high school AU where a character gets punched by a bully (Idk where they got punched it wasn’t stated) and the author is describing it like they’d been shot.

It was to the point where I was like Did the bully have brass knuckles or something????

It was very clear that this author had never been punched before.

When describing the pain of an injury or the injury itself, you have to take into account:

- What object was used to harm the character

- Where the injury is

- How long the character has had the injury

- (For blades) How deep the cut is

- (For blunt force trauma) How hard the hit was

- Whether or not the wound triggers other things (Ex: Concussion, vomiting, dizziness, infection, internal/external bleeding).

There’s also the fact that when some authors described wounds caused by blades such as knives, daggers, and swords, they never take into account the anatomy of a person and which places cause the most blood flow.

Obviously, a cut on your cheek will have less of a blood flow than a cut on your wrist, depending on what the blade hits, and I hope that everyone consults a diagram of veins, capillaries, arteries, etc. when they’re describing blood flow from a certain place.

There’s also the fact that you have to take into account where the blood is coming from. Veins? Arteries?

The blood from arteries will be a brighter red, like vermilion, than the blood from veins, which is the dark crimson everyone likes to talk about.

Not all places gush bright red blood, people!

3. DIFFERENT INJURIES HAVE DIFFERENT KINDS OF PAIN

Here, let me explain.

A punch feels different from a slap.

A broken arm feels different from getting stabbed.

A fall feels different from a dog bite.

I’ll give you a list of all the kinds of things that can be described for the three most common kinds of injuries that happen in stories:

Punch/Blunt Force Trauma

How it feels:

- Aching

- Numbness (In the later stages)

- A single spike of pain before it fades into an ache

- Throbbing

Effects:

- Vomiting (If the character is punched in the gut)

- Swelling

- Bruising

- Broken bones

- Unconsciousness (Blow to the head)

- Dizziness (Blow to the head)

- Concussion (Also a blow to the head)

- Internal bleeding

- Death (In the case of concussions and internal bleeding and broken bones- ribs can pierce lungs)

Stab Wound/Cut

How it feels:

- Stinging (only shallow wounds have just stinging)

- Burning

- With stab wounds, I feel like describing the effects of it make it more powerfully felt by the reader

Effects:

- Bleeding (Consult chart of the circulatory system beforehand for the amount of blood flow that should be described and what color the blood should be)

- Dizziness (Heavy blood loss)

- Unconsciousness

- Infection (if left unattended)

- Death

Gunshot

How it feels:

- Depends on the caliber bullet, from how far away they were shot (point-blank range is nothing like being shot from a distance), and in what place. Do careful research and then make your decision.

Effects:

- Bleeding (Consult chart of the circulatory system beforehand for the amount of blood flow that should be described and what color the blood should be. Also take into effect the above variables for blood flow as well.)

- Dizziness (Heavy blood loss)

- Infection (if left unattended)

- Death

Some things that a character may do while they’re injured:

- Heavy/Harsh/Ragged breathing

- Panting

- Making noises of pain

  • gasping
  • grunting
  • hissing
  • groaning
  • whimpering
  • yelping (when the injury is inflicted)
  • screaming
  • shrieking
  • wailing

- Crying/ Weeping/Sobbing/Etc.

- Clenching their teeth

- Unable to speak

- Pressing their hands against a stab wound/cut to try and stem the bleeding

- Eyesight going out of whack (vision blurring and tilting, the room spinning, black spots consuming sight)

- Eyes rolling up into their head

- Trembling/shaking

- Ears riniging (from gunshot)


HOPE THIS HELPED!

THIS MIGHT BE A REACH BUT I THINK I’M ONTO SOMETHING HERE.

OKAY OKAY SO LISTEN 
There’s a lot of discorse about the new season and that’s understandable BUT I want you guys to look at something with me for a second. 

 I wanna talk about Keith and Lance. We all know Keith’s going through a lot, the blade of marmora is convincing him his own life matters less than the mission, that if he died it would just be for the greater good of the cause. So he’s pulling away, trying to make it so that Voltron doesn’t need him so that he could be… disposable. 

So Keith talks to Shiro and tries to get him to go back to being the black paladin. And *cough cough* fake *cough* Shiro tells him to buckle the heck up and stop whining and just be the black paladin. He doesn’t see, in that moment just what Keith is trying to do. So he gets mad. 

This is a face of pure dissapointment in Shiro. And Keith sees it. He really sees it, and feels it too. But he doesnt know what to do about it.

He’s the lone wolf, right? He doesn’t know how to function in a team properly. In the B.O.M he’s much more independant. Yes, he gets orders and people he goes on with missions but if you really watch most of those missions involve very little teamwork. 

So Keith is pulling away, but at the same time he’s getting the rejection from everyone in the team that’s pushing him away. When he shows up late in the begining of episode one Hunk, Pidge and Lance are super pissed at him, right? 

Right? 

No, go back and look at Lance. He’s not angry. He’s worried. 

Yeah, he says “Are you even taking this seriously?” But think about it. Keith is someone who throws himself into missions. He takes everything he does seriously and he puts a 100% of himself into what he does. He doesn’t half ass things, and it pays off. He gets results. 

Lance is used to seeing Keith do well. At the Garrison he was top of the class, when he was still with Voltron he usually spent his free time training. And now, all of a sudden he’s late to missions, falling behind while he’s the leader. 

Not only that but remember this scene? 

 Again,everyone looks super pissed right? No look at Lance. 

And remember the dialogue? 

Allura:You keep saying you’re sorry but your actions say otherwise. Do you realise that your actions put the entire team in jeoprady? 
Lance: And not Just the team but the refugees too. 

and again, look at his face as he says it. 

He’s not angry. He’s confused there. Think about it. What did Keith tell Pidge when she tried to leave? That other people’s lives were at stake if she left. Keith cares about the people he’s out there protecting. Lance understands that this is not how Keith normally is. 

We know that they got closer in season 3 with Lance opening up to Keith and all and you might even call them friends. Sure he’s not as close as (the real) Shiro is to Keith, but he’s close enough to see Keith isn’t himself. 

But what if… what if Keith did open up. 

I get that this might be somewhat of a reach BUT if you watch Keith’s vlog, it’s very likely he wasn’t alone when he filmed it (he looks like he’s talking to someone off camera. but also tells them to get them out of there. Not only that but the camera turns off and from how emotional he got and the way he was walking its unlikely he turned it off and if you watch Allura’s vlog, she definitely gets closer to turn it off). Now my first thought would be that seeming it’s tech related it would be likely that Pidge would be with him. 

But it doesn’t seem like something that Pidge would be into. Sitting and making vlogs with the paladins. Not her style. 

Okay so maybe Coran? He was the first to upload a vlog, and the camera might be some castle gear? Sounds reasonable enough. But why only be there for Keith’s vlog? Allura was definitely alone during her’s. Also, I dont see them having the kind of bond where Keith would say any of that to Coran. No offense Space unc, we love you. 

OKAY so not Coran or Pidge… so maybe Allura? 

No, the bond isn’t strong enough. As someone who is pretty similar to Keith in defense mechanisms, I don’t see him trusting her to a point where he’s this open with her especially after what happened the last time he opened up about his Galra identity. 

(We all know where I’m going with this, but for argument’s sake; I will keep going. Feel free to skip ahead.) 

Okay so Hunk maybe? He has the tech know-how and stood up for Keith during the whole Galra thing. Even if he did tease him a little… Okay but even then they haven’t really had much bonding since then. I suppose it’s possible if Keith was feeling particularly vulnerable and whatever. But… Would Hunk really bother Keith to make a vlog? and would Keith ask Hunk to help with a vlog? 

It doesn’t really seem in character. Yes, they’re closer but still… not close enough. 

So that leaves Shiro and Lance. First, lets look at why I don’t think it’s Shiro. 

As we know Shiro is someone Keith looks up to. He’s always extremely respectful towards him and it shows in his facial expressions and way of speaking. 

but then look at this; 

Thats not a face Keith would make at Shiro.

You know who he does make faces like that at? 

L A N C E 

So lets think about this. Does Lance have the tech know how? Well he’s always stealing Pidge’s shit so I’mma go ahead and say, yeah to that one. Allura seems equally technically inclined as Lance, so seeming she has no trouble with it that makes sense. 

And even if Keith didn’t ask Lance to help him with his vlog, you know what does seem Lance like? Suggesting Keith makes a vlog. 

So lets asume here, for a moment that Lance knows about Keith’s abandonment issues. That would explain why he looks so worried in the screenshot from before, right? He knows Keith is feeling rejected by his team and he knows that Keith’s behaviour has changed since he started working more with the blade. 

But while they got closer in season 3, and Lance has a better understanding of Keith now, I also think Keith was eager to put some distance between them after that outburst. So he starts working with the blade a lot, right? Meaning Lance hardly sees him. 

So they take a few steps back in their friendship.

And then Kolivan calls Keith to a mission that they all know will be dangerous and look at Lance’s face. 

Yes, you could read it as Lance not wanting his spotlight gone BUT remember that Lance isn’t as shallow as he seems at first glance. He’s not the loverboy he pretends to be and few realise it, but he masks a lot of his emotions. 

Yes, Lance thrives on attention. But do you really think that he would prioritise a show over a mission that could give them a great boost in power? No, this isn’t about the show, this goes deeper. He’s worried. He’s worried about Keith. 

He doesn’t want him to go. He needs him around. But he cant tell him that. Especially not in front of everyone. 

So what does Lance do? 

He makes a stupid argument, its not much, but it’s all he’s got. “We can’t razzle dazzle the crowd with four lions.” 
We need you, I need you. Thats what he’s trying to say. 

And Keith refuses. 

So Lance has that same expression. He’s looking at Shiro in dissbelief this time because he can’t believe he’s letting him go. 

So what we’ve established thus far is the following; 

-Lance definitely feels closer to Keith than he used to. 
-Lance was probably there during Keith’s vlog.
-Lance isn’t as straight forward as people think he is. 
-There’s probably some distance between them right now. 
-Lance has noticed Keith’s change in behaviour. 

So with all that in mind, do you really think Lance doesn’t see that Keith is in a bad place. He knows something is up. He can feel Keith pulling and he’s trying to tell him that they need him around but he doesn’t know how to say it. And then… then Keith tells them he’s leaving. 

yeah, everyone looks sad, but look at Lance. He looks deep in thought. What do you think he’s thinking? He just realised he lost Keith. And he gets it. Suddenly it all makes sense. Keith more or less reforced the bond between Black and Shiro and he was acting strange, showing up late. This is what’s been up with Keith and Lance finally figure out that this whole time, he was losing Keith. 

But he gives it one last try. 

Who am I going to make fun of? 

It’s so much more than a playfull jab. Think about it. Really think about it. 

“Who am I going to make fun of?”

Who am I gonna talk to? 

Don’t go. 

Everything You Need to Know About Writing Successfully - in Ten Minutes

by Stephen King
(reprinted in Sylvia K. Burack, ed. The Writer’s Handbook. Boston, MA: Writer, Inc., 1988: 3-9)

I. The First Introduction

THAT’S RIGHT. I know it sounds like an ad for some sleazy writers’ school, but I really am going to tell you everything you need to pursue a successful and financially rewarding career writing fiction, and I really am going to do it in ten minutes, which is exactly how long it took me to learn.  It will actually take you twenty minutes or so to read this essay, however, because I have to tell you a story, and then I have to write a second introduction.  But these, I argue, should not count in the ten minutes.



II. The Story, or, How Stephen King Learned to Write

When I was a sophomore in high school, I did a sophomoric thing which got me in a pot of fairly hot water, as sophomoric didoes often do.  I wrote and published a small satiric newspaper called The Village Vomit.  In this little paper I lampooned a number of teachers at Lisbon (Maine) High School, where I was under instruction.  These were not very gentle lampoons; they ranged from the scatological to the downright cruel

Eventually, a copy of this little newspaper found its way into the hands of a faculty member, and since I had been unwise enough to put my name on it (a fault, some critics argue, of which I have still not been entirely cured), I was brought into the office. The sophisticated satirist had by that time reverted to what he really was: a fourteen-year-old kid who was shaking in his boots and wondering if he was going to get a suspension … what we called “a three-day vacation” in those dim days of 1964.

I wasn’t suspended. I was forced to make a number of apologies - they were warranted, but they still tasted like dog-dirt in my mouth - and spent a week in detention hall. And the guidance counselor arranged what he no doubt thought of as a more constructive channel for my talents. This was a job - contingent upon the editor’s approval - writing sports for the Lisbon Enterprise, a twelve-page weekly of the sort with which any small-town resident will be familiar. This editor was the man who taught me everything I know about writing in ten minutes. His name was John Gould - not the famed New England humorist or the novelist who wrote The Greenleaf Fires, but a relative of both, I believe.

He told me he needed a sports writer and we could “try each other out” if I wanted.

I told him I knew more about advanced algebra than I did sports.

Gould nodded and said, “You’ll learn.”

I said I would at least try to learn. Gould gave me a huge roll of yellow paper and promised me a wage of 1/2¢ per word. The first two pieces I wrote had to do with a high school basketball game in which a member of my school team broke the Lisbon High scoring record. One of these pieces was straight reportage. The second was a feature article.

I brought them to Gould the day after the game, so he’d have them for the paper, which came out Fridays. He read the straight piece, made two minor corrections, and spiked it. Then he started in on the feature piece with a large black pen and taught me all I ever needed to know about my craft. I wish I still had the piece - it deserves to be framed, editorial corrections and all - but I can remember pretty well how it looked when he had finished with it. Here’s an example:

(note: this is before the edit marks indicated on King’s original copy)

Last night, in the well-loved gymnasium of Lisbon High School, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom, known as “Bullet” Bob for both his size and accuracy, scored thirty-seven points. He did it with grace and speed … and he did it with an odd courtesy as well, committing only two personal fouls in his knight-like quest for a record which has eluded Lisbon thinclads since 1953….

(after edit marks)

Last night, in the Lisbon High School gymnasium, partisans and Jay Hills fans alike were stunned by an athletic performance unequaled in school history: Bob Ransom scored thirty-seven points. He did it with grace and speed … and he did it with an odd courtesy as well, committing only two personal fouls in his quest for a record which has eluded Lisbon’s basketball team since 1953….

When Gould finished marking up my copy in the manner I have indicated above, he looked up and must have seen something on my face. I think he must have thought it was horror, but it was not: it was revelation.

“I only took out the bad parts, you know,” he said. “Most of it’s pretty good.”

“I know,” I said, meaning both things: yes, most of it was good, and yes, he had only taken out the bad parts. “I won’t do it again.”

“If that’s true,” he said, “you’ll never have to work again. You can do this for a living.” Then he threw back his head and laughed.

And he was right; I am doing this for a living, and as long as I can keep on, I don’t expect ever to have to work again.



III. The Second Introduction

All of what follows has been said before. If you are interested enough in writing to be a purchaser of this magazine, you will have either heard or read all (or almost all) of it before. Thousands of writing courses are taught across the United States each year; seminars are convened; guest lecturers talk, then answer questions, then drink as many gin and tonics as their expense-fees will allow, and it all boils down to what follows.

I am going to tell you these things again because often people will only listen - really listen - to someone who makes a lot of money doing the thing he’s talking about. This is sad but true. And I told you the story above not to make myself sound like a character out of a Horatio Alger novel but to make a point: I saw, I listened, and I learned. Until that day in John Gould’s little office, I had been writing first drafts of stories which might run 2,500 words. The second drafts were apt to run 3,300 words. Following that day, my 2,500-word first drafts became 2,200-word second drafts. And two years after that, I sold the first one.

So here it is, with all the bark stripped off. It’ll take ten minutes to read, and you can apply it right away…if you listen.



IV. Everything You Need to Know About Writing Successfully

1.  BE TALENTED
This, of course, is the killer.  What is talent?  I can hear someone shouting, and here we are, ready to get into a discussion right up there with “what is the meaning of life?” for weighty pronouncements and total uselessness.  For the purposes of the beginning writer, talent may as well be defined as eventual success - publication and money.  If you wrote something for which someone sent you a check, if you cashed the check and it didn’t bounce, and if you then paid the light bill with the money, I consider you talented.

Now some of you are really hollering.  Some of you are calling me one crass money-fixated creep.  And some of you are calling me bad names.  Are you calling Harold Robbins talented?  someone in one of the Great English Departments of America is screeching.  V.C. Andrews?  Theodore Dreiser?  Or what about you, you dyslexic moron?

Nonsense.  Worse than nonsense, off the subject.  We’re not talking about good or bad here.  I’m interested in telling you how to get your stuff published, not in critical judgments of who’s good or bad.  As a rule the critical judgments come after the check’s been spent, anyway.  I have my own opinions, but most times I keep them to myself.  People who are published steadily and are paid for what they are writing may be either saints or trollops, but they are clearly reaching a great many someones who want what they have.  Ergo, they are communicating.  Ergo, they are talented.  The biggest part of writing successfully is being talented, and in the context of marketing, the only bad writer is one who doesn’t get paid.  If you’re not talented, you won’t succeed.  And if you’re not succeeding, you should know when to quit.

When is that?  I don’t know.  It’s different for each writer.  Not after six rejection slips, certainly, nor after sixty.  But after six hundred?  Maybe.  After six thousand?  My friend, after six thousand pinks, it’s time you tried painting or computer programming.

Further, almost every aspiring writer knows when he is getting warmer - you start getting little jotted notes on your rejection slips, or personal letters…maybe a commiserating phone call.  It’s lonely out there in the cold, but there are encouraging voices…unless there is nothing in your words which warrants encouragement.  I think you owe it to yourself to skip as much of the self-illusion as possible.  If your eyes are open, you’ll know which way to go…or when to turn back.

2.  BE NEAT
Type.  Double-space.  Use a nice heavy white paper, never that erasable onion-skin stuff.  If you’ve marked up your manuscript a lot, do another draft.

3.  BE SELF-CRITICAL
If you haven’t marked up your manuscript a lot, you did a lazy job.  Only God gets things right the first time.  Don’t be a slob.

4.  REMOVE EVERY EXTRANEOUS WORD
You want to get up on a soapbox and preach?  Fine.  Get one and try your local park.  You want to write for money?  Get to the point.  And if you remove all the excess garbage and discover you can’t find the point, tear up what you wrote and start all over again…or try something new.

5.  NEVER LOOK AT A REFERENCE BOOK WHILE DOING A FIRST DRAFT You want to write a story?  Fine.  Put away your dictionary, your encyclopedias, your World Almanac, and your thesaurus.  Better yet, throw your thesaurus into the wastebasket.  The only things creepier than a thesaurus are those little paperbacks college students too lazy to read the assigned novels buy around exam time.  Any word you have to hunt for in a thesaurus is the wrong word.  There are no exceptions to this rule.  You think you might have misspelled a word?  O.K., so here is your choice: either look it up in the dictionary, thereby making sure you have it right - and breaking your train of thought and the writer’s trance in the bargain - or just spell it phonetically and correct it later.  Why not?  Did you think it was going to go somewhere?  And if you need to know the largest city in Brazil and you find you don’t have it in your head, why not write in Miami, or Cleveland?  You can check it…but laterWhen you sit down to write, write.  Don’t do anything else except go to the bathroom, and only do that if it absolutely cannot be put off.

6.  KNOW THE MARKETS
Only a dimwit would send a story about giant vampire bats surrounding a high school to McCall’s.  Only a dimwit would send a tender story about a mother and daughter making up their differences on Christmas Eve to Playboy…but people do it all the time.  I’m not exaggerating; I have seen such stories in the slush piles of the actual magazines.  If you write a good story, why send it out in an ignorant fashion?  Would you send your kid out in a snowstorm dressed in Bermuda shorts and a tank top?  If you like science fiction, read the magazines.  If you want to write confession stories, read the magazines.  And so on.  It isn’t just a matter of knowing what’s right for the present story; you can begin to catch on, after awhile, to overall rhythms, editorial likes and dislikes, a magazine’s entire slant.  Sometimes your reading can influence the next story, and create a sale.

7.  WRITE TO ENTERTAIN
Does this mean you can’t write “serious fiction”?  It does not.  Somewhere along the line pernicious critics have invested the American reading and writing public with the idea that entertaining fiction and serious ideas do not overlap.  This would have surprised Charles Dickens, not to mention Jane Austen, John Steinbeck, William Faulkner, Bernard Malamud, and hundreds of others.  But your serious ideas must always serve your story, not the other way around.  I repeat: if you want to preach, get a soapbox.

8.  ASK YOURSELF FREQUENTLY, AM I HAVING FUN?”
The answer needn’t always be yes.  But if it’s always no, it’s time for a new project or a new career.

9.  HOW TO EVALUATE CRITICISM
Show your piece to a number of people - ten, let us say.  Listen carefully to what they tell you.  Smile and nod a lot.  Then review what was said very carefully.  If your critics are all telling you the same thing about some facet of your story - a plot twist that doesn’t work, a character who rings false, stilted narrative, or half a dozen other possibles - change that facet.  It doesn’t matter if you really liked that twist of that character; if a lot of people are telling you something is wrong with you piece, it is.  If seven or eight of them are hitting on that same thing, I’d still suggest changing it.  But if everyone - or even most everyone - is criticizing something different, you can safely disregard what all of them say.

10.  OBSERVE ALL RULES FOR PROPER SUBMISSION
Return postage, self-addressed envelope, all of that.

11.  AN AGENT?  FORGET IT.  FOR NOW
Agents get 10% of monies earned by their clients.  10% of nothing is nothing.  Agents also have to pay the rent.  Beginning writers do not contribute to that or any other necessity of life.  Flog your stories around yourself.  If you’ve done a novel, send around query letters to publishers, one by one, and follow up with sample chapters and/or the manuscript complete.  And remember Stephen King’s First Rule of Writers and Agents, learned by bitter personal experience: You don’t need one until you’re making enough for someone to steal…and if you’re making that much, you’ll be able to take your pick of good agents.

12.  IF IT’S BAD, KILL IT
When it comes to people, mercy killing is against the law.  When it comes to fiction, it is the law.



That’s everything you need to know.  And if you listened, you can write everything and anything you want.  Now I believe I will wish you a pleasant day and sign off.

My ten minutes are up.

The Dos and Don’ts of Beginning a Novel:  An Illustrated Guide

I’ve had a lot of asks lately for how to begin a book (or how not to), so here’s a post on my general rules of thumb for story openers and first chapters!  

Please note, these are incredibly broad generalizations;  if you think an opener is right for you, and your beta readers like it, there’s a good chance it’s A-OK.  When it comes to writing, one size does not fit all.  (Also note that this is for serious writers who are interested in improving their craft and/or professional publication, so kindly refrain from the obligatory handful of comments saying “umm, screw this, write however you want!!”)

So without further ado, let’s jump into it!

Don’t: 

1.  Open with a dream. 

“Just when Mary Sue was sure she’d disappear down the gullet of the monstrous, winged pig, she woke up bathed in sweat in her own bedroom.”

What?  So that entire winged pig confrontation took place in a dream and amounts to nothing?  I feel so cheated! 

Okay, not too many people open their novels with monstrous swine, but you get the idea:  false openings of any kind tend to make the reader feel as though you’ve wasted their time, and don’t usually jump into more meaty action of the story quickly enough.  It makes your opening feel lethargic and can leave your audience yawning.

Speaking of… 

2.  Open with a character waking up.  

This feels familiar to most of us, but unless your character is waking up to a zombie attack or an alien invasion, it’s generally a pretty easy recipe to get your story to drag.

No one picks a book to hear how your character brushes their teeth in the morning or what they’d like to have for dinner.  As a general rule of thumb, we read to explore things we wouldn’t otherwise get to experience.  And cussing out the alarm clock is not one of them.  

Granted, there are exceptions if your writing is exceptionally engaging, but in most cases it just sets a slow pace that will bore you and your reader to death and probably cause you to lose interest in your book within the first ten pages.  

3.  Bombard with exposition.  

Literary characters aren’t DeviantArt OCs.  And the best way to convey a character is not, in my experience, to devote the first ten pages to describing their physical appearance, personality, and backstory.  Develop your characters, and make sure their fully fleshed out – my tips on how to do so here – but you don’t need to dump all that on the reader before they have any reason to care about them.  Let the reader get to know the character gradually, learn about them, and fall in love with them as they would a person:  a little bit at a time.   

This is iffy when world building is involved, but even then it works best when the delivery feels organic and in tune with the book’s overall tone.  Think the opening of the Hobbit or Good Omens.

4.  Take yourself too seriously.

Your opener (and your novel in general) doesn’t need to be intellectually pretentious, nor is intellectual pretense the hallmark of good literature.  Good literature is, generally speaking, engaging, well-written, and enjoyable.  That’s it.  

So don’t concern yourself with creating a poetic masterpiece of an opening line/first chapter.  Just make one that’s – you guessed it – engaging, well-written, and enjoyable. 

5.  Be unintentionally hilarious.

Utilizing humor in your opening line is awesome, but check yourself to make sure your readers aren’t laughing for all the wrong reasons (this is another reason why betas are important.)  

These examples of the worst opening lines in published literature will show you what I mean – and possibly serve as a pleasant confidence booster as well: 

“As the dark and mysterious stranger approached, Angela bit her lip anxiously, hoping with every nerve, cell, and fiber of her being that this would be the one man who would understand – who would take her away from all this – and who would not just squeeze her boob and make a loud honking noise, as all the others had.”

– Ali Kawashima

“She sipped her latte gracefully, unaware of the milk foam droplets building on her mustache, which was not the peachy-fine baby fuzz that Nordic girls might have, but a really dense, dark, hirsute lip-lining row of fur common to southern Mediterranean ladies nearing menopause, and winked at the obviously charmed Spaniard at the next table.”

– Jeanne Villa

“As I gardened, gazing towards the autumnal sky, I longed to run my finger through the trail of mucus left by a single speckled slug – innocuously thrusting past my rhododendrons – and in feeling that warm slime, be swept back to planet Alderon, back into the tentacles of the alien who loved me.”

– Mary E. Patrick

“Before they met, his heart was a frozen block of ice, scarred by the skate blades of broken relationships, then she came along and like a beautiful Zamboni flooded his heart with warmth, scraped away the ugly slushy bits, and dumped them in the empty parking lot of his soul.”

– Howie McClennon

If these can get published, so can you.

Do:

1.  You know that one really interesting scene you’re itching to write?  Start with that.

Momentum is an important thing in storytelling.  If you set a fast, infectious beat, you and your reader will be itching to dance along with it.  

Similarly, slow, drowsy openers tend to lead to slow, drowsy stories that will put you both to sleep.

I see a lot of posts joking about “that awkward moment when you sit down to write but don’t know how to get to that one scene you actually wanted to write about.”  Write that scene!  If it’s at all possible, start off with it.  If not, there are still ways you can build your story around the scenes you actually want to write.

Keep in mind:  if you’re bored, your reader will almost certainly be bored as well.  So write what you want to write.  Write what makes you excited.  Don’t hold off until later, when it “really gets good.”  Odds are, the reader will not wait around that long, and you’re way more likely to become disillusioned with your story and quit.  If a scene is dragging, cut it out.  Burn bridges, find a way around.  Live, dammit. 

2.  Engage the reader.

There are several ways to go about this.  You can use wit and levity, you can present a question, and you can immerse the reader into the world you’ve created.  Just remember to do so with subtlety, and don’t try too hard;  believe me, it shows.  

Here are some of my personal favorite examples of engaging opening lines: 

“In the beginning, the universe was created. This has made a lot of people very angry and been widely regarded as a bad move." 

– Douglas Adams, the Restaurant at the End of the Universe.

"It was the day my grandmother exploded.”

– Iain Banks, Crow Road.

“A white Pomeranian named Fluffy flew out of the a fifth-floor window in Panna, which was a grand-new building with the painter’s scaffolding still around it. Fluffy screamed.”

– Vikram Chandra, Sacred Games.

See what I’m saying?  They pull you in and do not let go.

3.  Introduce us to a main character (but do it right.)

“Shadow had done three years in prison. He was big enough and looked don’t-fuck-with-me enough that his biggest problem was killing time. So he kept himself in shape, and taught himself coin tricks, and thought a lot about how much he loved his wife.”

– Neil Gaiman, American Gods.

This is one of my favorite literary openings of all time, because right off the bat we know almost everything we need to know about Shadow’s character (i.e. that he’s rugged, pragmatic, and loving.)   

Also note that it doesn’t tell us everything about Shadow:  it presents questions that make us want to read more.  How did Shadow get into prison?  When will he get out?  Will he reunite with his wife?  There’s also more details about Shadow slowly sprinkled in throughout the book, about his past, personality, and physical appearance.  This makes him feel more real and rounded as a character, and doesn’t pull the reader out of the story.

Obviously, I’m not saying you should rip off American Gods.  You don’t even need to include a hooker eating a guy with her cooch if you don’t want to.  

But this, and other successful openers, will give you just enough information about the main character to get the story started;  rarely any good comes from infodumping, and allowing your reader to get to know your character gradually will make them feel more real.   

4.  Learn from the greats.

My list of my favorite opening lines (and why I love them) is right here.

5.  Keep moving.  

The toughest part of being a writer is that it’s a rare and glorious occasion when you’re actually satisfied with something you write.  And to add another layer of complication, what you like best probably won’t be what your readers will like best. 

If you refuse to keep moving until you have the perfect first chapter, you will never write anything beyond your first chapter.  

Set a plan, and stick to it:  having a daily/weekly word or page goal can be extremely helpful, especially when you’re starting out.  Plotting is a lifesaver (some of my favorite posts on how to do so here, here, and here.)

Keep writing, keep moving, and rewrite later.  If you stay in one place for too long, you’ll never keep going. 

Best of luck, and happy writing.  <3

“That Was All You”: A Black Paladin Lance Meta

Alternatively Titled: Local Girl Digs Heels In So Hard She’s Laying on the Ground. “This Is My Home Now,” She Says.

Listen. Listen. No, I don’t know when to quit. Yes, I have a midterm tomorrow and am procrastinating. Shut up.

Now, since this is going to be long as hell (because I really don’t know when to quit), here’s a quick summary of my argument: 1. we’re building up to a leadership arc with Lance, 2. the pilot of the Black Lion depends not just on Black but on the team, and 3. Keith and Red still have a connection.

Blah blah blah, general disclaimer, I am probably could be wrong, lesgo:

Season 4 episode 6 sees the introduction of a new galra super weapon – a planet rigged to explode and take the whole solar system out with it. Right after destroying the galra stronghold on said planet, the team is suddenly surrounded by giant spire things and have no idea what they are.

And it’s Lance that makes the right call. He’s the one that not only says “hey let’s leave,” but also “and here’s how we’re going to do it.” He looks at this situation, sees a need to distance them from it immediately, and knows exactly who to delegate the task to. 

Keep reading

anonymous asked:

Hey! Can I ask where this " Jeremy Shada said we don't need to worry about lgbt representation, we will be happy" comes from? Is there like a video or a tweet that proves that? Bc I never saw evidence and honestly I am concerned that this is just sb messing with our hopes. Also, isn't it possible that the lgbt representation has nothing to do with lance? Maybe it is sb else. Idk. I hate getting my hopes up ._.

it’s from this post! i doubt the OP is messing with us lol also it’s 100% something to do with lance, my good dude……… BECAUSE……

this is official art by lauren montgomery. i have said this before and i’ll say it again, but pidge’s sign has to do with her arc, her gender reveal. keith’s sign has to do with his arc, his galra heritage reveal. this was posted before s2 aired and it clearly foreshadows galra keith. not coincidences. lance’s sign definitely has to do with him and his arc, his sexuality reveal. lauren would not make keith’s sign and pidge’s sign related to them and then make lance’s sign have nothing to do with him. this stuff is all planned from the start. she’s also the one who said this:

[on expressions] “if we know that a character is feeling something about that- that moment- especially if we know there’s something coming up down the line that maybe hasn’t been revealed, but it would make that character feel a certain way- we try to insert in there a nod to it.”

which is important to remember while watching the show but also when looking at this art because a lot can be taken from their expressions. keith, pidge, and lance look much more unsure and nervous and they’re holding their signs with both of their hands, indicating that HEY this is my sign, it has something to do with me and i’m anxious about it. hunk, allura, and shiro appear to be showing support. shiro and hunk especially look very confident. allura has both of her hands on the sign but her arm is around pidge, like a hug. allura’s the one who tried to coax pidge into telling her her gender. shiro easily could’ve been put with pidge since he was very supportive of her but allura has her own connection to the gender sign (and shiro’s put with lance for a reason). she’s a princess but she is not your “typical princess.” here’s a comment someone left on my klance masterpost about this and i completely agree:

I think Allura has one more reason for holding a gender sign with Pidge, and that is because she challenges the gender stereotypes. She’s not your typical little princess who needs to be protected by all means. She’s a tough young woman that can (and will) kick your ass, and I think that alone is a very powerful message to all the girls that watch this show. It’s a reminder that, no matter what society might claim, they are strong, and they can accomplish anything if they put their mind to it.

hunk has his hand on keith’s shoulder, showing support. he stood by keith after he found out he’s part galra. he was cracking jokes about it and he was there for him. think “belly of the weblum” and all their moments together. also, in “stayin’ alive” when allura thanks hunk for getting the scaultrite, he says, “no problem. you know, keith was there too.” hunk is samoan, so he also has his own connection to the race sign. then, we have shiro holding the LGBT sign with lance, one hand on his shoulder in support. the LGBT rep definitely has to do with lance, you shouldn’t worry. there’s so much backing it up. i think shiro will play some sort of supportive role when it comes to lance’s sexuality and since hunk and allura are connected to the signs they’re holding, shiro may end up being LGBT, too. also, the sign art connects with the paladins of old, as well… which was pointed out to me by @farmlandtensions:

zarkon, a galra, was the original black paladin.
keith, a part galra boy, is the current black paladin.
THE RACE SIGN. 

trigel, the only female paladin on her team, was the original green paladin.
pidge, the only female paladin on her team (before allura became a paladin, obviously) is the current green paladin.
THE GENDER SIGN. 

blaytz, who was shown flirting with a male galra, was the original blue paladin.
lance, a boy who is totally not straight, we grew to know as the blue paladin.
THE LGBT SIGN. 

they make parallels and show similarities between blaytz and lance to show that, yes, they’re comparing them rather than comparing blaytz and allura.

for the 100th time, this stuff isn’t a coincidence. 

the bi flag colors and the gay flag colors have been used in the show on two separate occasions now. first, in s1ep6… an episode with some great klance moments. next, in s3ep3… another episode with some great klance moments. studio mir is animating VLD and they also animated TLOK. the bi flag colors were in the background of the finale of korra. i’ve always theorized that since pidge’s gender arc was in s1 and keith’s race arc was in s2, that lance’s sexuality arc would be in s3. other people think this, too. seeing as how s4 is basically just part 2 of s3, taking the BIG amount of development between keith and lance in s3 into consideration and the fact that lance did not flirt with allura for the entirety of s3, or anyone, actually. i think this will, hopefully, come to fruition in s4 and they will touch on lance’s sexuality. if not, we’ll get it eventually

also, in interviews, they don’t always simply say lance flirts with girls. jeremy shada, especially, does this. in lance’s birthday livestream, he says:

[about lance] “a super like, flirty person that’s hitting on every *hesitates* person that has two legs.”

i’m not kidding btw, he literally hesitates a little before saying person. i don’t have the link to the vid but you can find it easily by googling lance’s birthday livestream. in the famous “lance falling in love” quote, he does this, too:

jeremy would definitely know by now that lance isn’t straight and it’s really obvious that he’s sitting on that information. he’s done this at least one other time that i know of, as well. if lance was straight, this stuff? it would not happen. they would always just say girl/girls.

Details about D.Va to Consider

So I realize that there are some things about Korean culture that people might not think of readily, so I wanted to offer a few fun thoughts and tidbits:

  • To recap, Hana Song aka D.Va is a teen World Starcraft Champion from the port city of Busan, famous for its beaches and Buddhist temples
  • At 19 years old, she is old enough drive, but the legal age is 18, so she wouldn’t have had a license for long. Oh, and personal anecdote: The Korean system makes it so that you can attain your driver’s license in three days if you really wanted to. So, I have a license, but I haven’t touched a car since I got the license… which I got in three days…
    • Also, within Korea, Busan is known for its aggressive taxi drivers / drivers in general, aha. I did a day trip with some friends the other day and it was gorgeous, the beach was stunning, but the bus ride was… a little nervewracking…
  • Being from Busan, D.Va should actually have the Busan dialect, which sounds very different from Seoul dialect. Even if she can switch comfortably between the two, if she was raised with the Busan one, it’s probably going to be her default. Here’s an example of the dialect, and here’s an example of D.Va’s Korean voice actress, who is from Busan herself, doing the inflection.
  • Korea has mandatory military service for its men for about two years, which you can fulfill between the ages of 18 and 25. So, unless Overwatch plans to change the system in their world, D.Va is working in a military with this in place.
  • Dunno what Overwatch is going to do with futuristic Busan, but in Korea, if you’re super famous, you’re going to end up on a lot of pizza, fried chicken, cosmetics, and or air conditioner commercials. Each of those are links, but if you want an example of how excessive Korea can get about one person, look at this Kim Yuna compilation. That’s not even all of them - just some of the ones from the year 2016. If D.Va is recognized as a national hero and an idol simultaneously, I wouldn’t be surprised by this kind of treatment.
    • Further, Korean idols are held to a high standard of moral character, as they are expected to be hardworking, positive role models for children and other youths.
    • But seriously, I could write an essay on how celebrity culture / marketing in Korea differs. Heck, I have, for school.

More under the cut since this is getting long:

Keep reading

5

Chap 3 -”Loose ends” a REDDIE fancomic :)

Hi everyone! Here’s a new REDDIE chapter! Chapter 3 and 14 pages out of who knows how many!

Finally Stan’s here :)  hope you all liked it, there will be more of him :)

Well, at the last box you might noticed that Richie asked Bev for a cigarette or a “joint”, that’s basically cause I read this amazingly funny and well done Head Canon post from : @spookerlymarsh and I just loved it and they gave me green light to adapt it to this comic even though they’re not like the biggest REDDIE fan, but was cool enough to lend me their idea. So, all the credit to them (I’m using this pronoun since I don’t know how they like to be addressed) Hope you all and the author like it when I get it done :)

Also, I need to mention this fic by @justme133  that I read just when I finished to work on the first 4 pages and there was a coincidence of ideas that I couldn’t believe XD Amazing fic,I’m loving it!!

Also @trashmouthrichietozier ‘s fics are my drug too!!

ANOTHER SIDE NOTE:

I’ve been noticing that the REDDIE and STENBROUGH shippers are being critized because of their “obssesion” with the “white-skinny” gay couples… Can we please stop this madness?? Haven’t we had enough “shame on this, shame on that” bullshit already?? like… if they like to enjoy them and only them, what’s the harm on that to you? If you’d like to see more ships from the other characters then go look where there’s more content of them or create one of your own, but PLEASE STOP WITH THE “SHAME ON YOU” thing. That’s not constructive. Instead of being judgy and going around making people feel bad for their preferences and their kinks and fetishes, why don’t create yourself that thing you want to see?

All I’d like is to see everyone enjoying something without the shadow of judgment behind their (ours) backs. First the issue was because you liked to ship gay couples and then comes other thing to judge you and then another… Well, as long as they’re not being offensive towards anyone, just let others be. Is that too much to ask?

Please have a very wolderful nice day! Love you all!

Both? As a woman in the hobby, it’s easy enough to see that it’s overwhelmingly male. Although I’d love to see more women and I think the hobby is moving to be more inclusive, that by itself isn’t necessarily a problem. If anything, it’s an opportunity to invite some really cool new people into a hobby I love. (Although sometimes it is annoying to be the only person who looks like you and some women do find that alienating).
 

The real problem comes in in 2 places:

 
 
When women come into the hobby, some of the less socially astute or straight up creepy members of the hobby don’t make them feel welcome. Sometimes this is hitting on them, sometimes it’s treating them with disrespect, sometimes it’s gatekeeping and sometimes its expecting them or their players to fufill gender norms or sexual fantasies (any of the creepy sex stories you see fall into this category). Sometimes women don’t even need to be present for this to happen. I had a coworker who told me he doesn’t allow female characters in his game period (not sure if that includes npcs) because he didn’t trust the guys in his game not to be weird about it. This solution is…problematic…but it was the best response he could think of to the gender problems he saw at his table. I’ve never personally seen this, but I’ve heard plenty of stories of women who had bad experiences or sometimes didn’t even want to try the game because they’ve heard about bad experiences and don’t want to have to deal with that kind of behavior in their downtime. Any games with strangers are especially notorious for this (roll20 groups, less friendly flgs, cons, etc).
 
 

This one I’ve seen more and personally experienced: Defensive guys who don’t think there’s a problem. It seems like any time anyone brings up the fact that D&D is mostly white men, the worse parts of the community come out swinging. It doesn’t matter if it’s a woman talking about how she was interruped, a guy suggesting more female or PoC npcs or (like in this thread) a complaint about creepy behavior, people will pop out of the woodwork to explain to you why this experience wasn’t valid. Which usually means “I don’t see it as a problem, because it doesn’t affect me.” And to some degree, I completely get it. For a lot of us, tabletop is a place where we can relax and be accepted for who we are, and when someone says it’s not, it can feel like an attack. It’s normal to want to defend that. The problem is, the people “attacking” it, are usually other gamers who love the hobby and want to help everyone feel that same sense of acceptance.
 
 

I’ve been playing for almost 7 years now, DMing for 4 or so, and am active here, so I’d say I’m pretty integrated in the community. As a woman, though, whenever gender pops up, I know it’s going to be bad. There are people who are great and are trying to help, but there’s also going to be quite a few loud jerks who want to be sure you know that everything is just fine and you’re an SJW for complaining. I’d guess the experience is similar sometimes for players with a different skin color or queer players. It’s enough, sometimes, to make me feel like I don’t belong in my hobby and might never truly belong.

— 

PennyPriddy comments on RPGs and creepiness

This is from a thread on Reddit about RPGs and creepiness. This woman is responding to another redditor who asked, “might i ask what the gender problem is? that not enough women play, or behavior from guys?”

There is more to her comment, and if you’re interested enough to have read this far, I encourage you to click through and read the rest of it, as well as some of the discussion that it inspired.

Gamers, especially my fellow men: we have a big problem in our hobby, and we need to talk about it. 

Morally Grey But Still Likable?

Writing morally grey characters readers will love.

@coinsanddeadlypoisons asked:

Do you have any tips about writing from the point of view of a manipulative character? I don’t want him to be an asshole but i am afraid the readers would see him as such. 

The large majority of the characters in The Warlord’s Contract are morally grey in one way or another, with one in particular being rather manipulative, and I’ve found that the same basic principles and tricks apply to them all, no matter which negative “asshole” attributes they exhibit.  

1. Why do they do what they do?

Readers will forgive most morally gray actions if they feel the character has a good reason for it. This reason can be anything number of things, often compounded. These include, but are not limited to:

  • The character’s goal is worth the sins they commit in the process.
  • Their past has conditioned them to do what they do.
  • They believe that they (or someone else) will suffer if they don’t.
  • They believe everyone else is already doing the same and they’re evening the playing field.
  • They believe their actions will benefit others in the long run.
  • They’re convinced they’ll be hurt if they don’t do it.

The reason(s) you character has do doing what they do should also make sense within the context of the story itself. Thematically, it should match or mirror other cause and effect situations you’re presenting, and it should fit (and often intertwine) with the character’s backstory and personality.

Keep reading

I will never tire of remembering things I love about Leverage but my fave are these:

  1. Parker and Sophie’s dynamic : It honestly floored me how there was never a stereotypical or negative dynamic between these two. They were always supportive of each other, tried to understand each other, and honestly were a healthy friendship. Finding that without it being made into something outlier or strange is rare sometimes in shows, at least with this consistency.
  2. Alec Hardison and his importance to the team : Even though it was Nate who formed the team, it was Hardison who brought them together with a proper place to be, not just once. He is cool but also emotional when needs come, allowed to be nervous, allowed to have hobbies and be so much more than a ‘typical’ geek, especially a black man playing a tech whiz, could be stereotyped as. Alec is the one who buys a pub and brews his own beer, gets excited over lasers in cooking, complains about things people would do in certain situations like insane stakeouts. He isn’t a crusader, isn’t representative of any mission, and isn’t an ideal. A human character and a great one at it.
  3. Sophie Devereaux and identity issues: Right from the start we are told that Sophie has identity twists. She is not who she shows in terms of her official name or identity. But this doesn’t mean that she doesn’t show her character to her group. She is open about her fears and love but is allowed her secrets. When Nate asks for her name she says he has to earn it, which is such a wonderful moment because it shows the balance in their dynamics. Her name matters to her and her group respects it. Even when he proposes, Nate doesn’t use her real name because that is a secret but he is proposing to her and that is all that matters to both of them. It showed people and secrets and the importance of respecting those.
  4. Parker and romance + intimacy : Again, this is shown right from the first episode. While Eliot and Nate are baffled by her in the beginning, and even Sophie is, the show never once makes us think that Parker is 'abnormal’ for having intimacy or emotional issues. Instead it shows the others learning to communicate with her and building their own ways to connect with her while her growing to understand their communicative styles too. Especially when Hardison and Parker show prospects of dating, Hardison is shown to learn her thought process and he is happy to learn but it’s not seen as something absurd. Parker learns about Hardison’s likes too and they share their likes by being interested and genuinely liking in each other’s company. Parker is an orphan who has been through abusive foster homes and never once does the group call her out badly on it or make her feel uncomfortable for it.
  5. Nate’s alcoholism : The very first shot of the show is Nate getting a drink while a guy comes to offer him a job and manipulates him emotionally using his son’s death. Talk about a brilliant opening setting, because this is his entire history set within the first 5 minutes. Nate is an alcoholic and has deep trauma from his son’s death along with a lot of impulsive guilt inspired reactions. He is the leader of this group of cons. He is called out every single time he screws up but not mockingly about his past but more in frustration about his lack of taking help. There is an entire episode where a con is planned in a rehab centre and it backfires because Nate is shown to have a breakdown when he is withheld from alcohol. His issues are highlighted and he doesn’t get into a serious romantic relationship without understanding that he should work on them. Alcohol is not glorified here and being an alcoholic is not shown as mysterious or hot. He goes to frickin jail because he fails to get things under control and the show doesn’t shy out from that.
  6. Eliot and Cooking: How many times do you find this trope where a Manly Man™ guy loves cooking but still doesn’t get shown to be compromised from his role as a Hitter? Eliot is a guy who hits but he does not have anger issues. He does not seek violence. He does not like guns. He loves cooking and is serious about it. He is the guy who had issues with being a team in the first episode and he is also the guy who would do anything to protect his team. He’s the nurturer of this team who feeds them and is loyal to the core. His cooking has a past too and that rocks because he learnt it from someone he was supposed to target. It is his calming mechanism. This is a Hitter who would make a beautiful dish because he likes it and still beat someone if they hurt others. It’s not one or the other, it’s both.
  7. Maggie, Tara, and every woman who played a supporting cast: Maggie is the ex-wife of Nate who is NEVER shown to be jealous or weird around Sophie. She doesn’t get back together with Nate or regret things but she also deeply cares for him. She is successful, has her own principles, and also helps this group con for revenge when she wanted to. Tara is a Grifter who is brought in when Sophie takes a break. She is thought to be a replacement and everybody hates her at first because they miss Sophie but they grow to respect and like her for WHO SHE IS and not for how she fills Sophie’s role. It’s not a replacement, as they realize. It’s a change and she brings her own dynamic with it. There are so many more like Ana who helped Parker when she had a broken leg, every single female client they had, Peggy who became Parker’s first friend outside the group and was starkly different. This show never made every woman the same because *gasp* they are not.
  8. From hurt the bad to help the good: Usually this concept remains of hurting bad people and Leverage does do that. But the team grows and their motto shifts too. They grow from hurting bad people to helping the good and both go hand in hand for them. It’s not just about removing the problem but also about finding the solution for them.
  9. It’s Personal: The group has one of the best team dynamics I have ever seen and it’s not just because they work well together. It’s also because they work with and for each other too. Each person has had personal cases on the show and even when the team thinks twice on certain things, they respect that personal aspect. The show portrayed the idea of 'I might not think the same way you do or make the same choices but I understand why you make them and I respect you’ with beautiful ideas. Be it Parker with Luka and the orphans in Russia or Eliot and the horse job; the team gives each other the benefit of doubt and trust when needed.
  10. Platonic relationships: I cannot tell you how much I love the platonic relationships of this show. Be it the parents-wards bond of Nate+Sophie and the others or the Eliot-Hardison-Parker dynamic which I know many people see as Ot3 (highly possible); every platonic bond is valuable and no single character is graced higher.
  11. Plot: Last but not the least, the plot. It came a full circle. The show finished its plots and had continuity of arcs. They started because Nate pushed them to find compensation for the past and the show ended with Nate pushing them to find their resource for the future. Every single character came a full circle by the end and we see growth in them.

I honestly wish we had more episodes of this show but I am really happy that we got what we did. To Leverage - the show that told that good is not who you are but what you do and choose.

Season 4 complaints

I’ve seen some people posting about how season 4 just ignored all the development in season 3 and yada yada so I decided to make a post about my view on the most popular complaints.

  • “Shiro’s headache and the whole it must be a clone theory was totally put aside because now he pilots Black again!”


Shiro going back to being the black paladin wasn’t him just saying “well let’s try this again just because” and the black lion going “one time is not enough but TWO times hell yeah u my paladin”

No.

The team was in danger, Keith was away and was constantly showing signs that he would end up leaving the team. Another thing, Shiro had to convince Black to let him pilot it.

My point is: Black would not let the paladins fucking die if it could do something to save them. After letting Shiro (or clone Shiro) pilot it Keith decided he was going to leave and BUM there’s no return now and Shiro (or clone Shiro) had to be the black paladin.

Besides, if the clone builds connections with the team and loves them as much real Shiro it will be 1000000 times more heartbreaking to show real Shiro coming back.

  • “Lance’s and Keith’s relationship development was completely thrown away!”


Those kids are at a war. That’s what they’re doing in space, they’re fighting a war. You guys really think Keith (the guys who’s been fighting with all his strength the whole time, who has put his friends in danger just for the possibility of attacking Lotor, who trains more than anyone) is going to focus more on a crush we are not even sure he really has than on the fight against the Galra?

Voltron is not a show about two boys finding more about themselves and slowly falling in love with each other. Their relationship is a SUBPLOT, let the main plot run its course for God’s sake.

  • “Lance’s character development was ignored and now he’s back to the way he was in season 1!!”


Lance didn’t really open up for the team about his insecurities. He had one good talk with Keith, who left, and that’s it. Lance may be self-centered but he’s not self-centered enough to put his problems above the war they’re fighting. The whole thing about Lance’s character is that he hides his insecurities behind a mask of confidence and jokes.

Moreover, being insecure doesn’t mean being sad all the fucking time. He genuinely enjoyed being an actor and doing performances and flying around so let the boy be happy.

He never stopped being a flirt either.

  • “Lotor’s generals would not turn on him like that!”


We don’t know that. In fact, we know close to nothing about Lotor’s relationship with his generals.

As much as I love the idea of all the characters getting good development I know that’s not really possible. The show is not about Lotor and his generals, is about team voltron.

Besides, we might get some more information in the future, just like how it was done with Zarkon’s backstory.

  • “Keith leaving the team ruined the dynamic season 3 built!”


Firstly, Keith never wanted to be the leader and after the talk he had with Lance it was obvious he would not claim Red back when Shiro came back. Secondly, the Blade kind of represents a family to him in a sense, they’re a connection to his past. With Shiro being back and Red having a good pilot, Keith saw the possibility of helping team Voltron and the Blade at the same time. He took the opportunity.

In season 3, Keith wasn’t the leader because he wanted to, he was the leader because he had to. Now he can do something he really wants to do instead of being stuck in a position he doesn’t consider his own. Be happy for the guy.

  • “Lotor has barely been introduced as a main antagonist and is already having a redemption arc!”


Lotor’s intentions were very different from Zarkon’s intentions. He wasn’t after Voltron like crazy, trying to destroy the Lions or get them for himself. Lotor had a very specific plan and just used his position as the new leader of the Galra empire to to help him with it.

The talk he wants to have is not a “Wow I’m suddenly a good guy”. Lotor’s is an enemy for the Galra now and if wants his plan to succeed he needs allies. My enemy’s enemy is my best friend. Team voltron kind of has a debt to Lotor now that he literally saved everyone so he has an advantage.

Lotor doesn’t want to become a hero, he just wants his plan to work.


That’s it. Might do a part 2 later.

Bojack Horseman and Rick and Morty: The Hardest Nihilistic Show to watch and the easiest Nihilistic Show to watch

Bojack Horseman is such a weird show for me.

It’s like I need to set a time weeks, or years in advance to sit down and watch it. I’ve only watched the show once but it is so philosophical and life changing and depressing and deep, it’s like I have to set out emotional time out of my day to pick a moment to watch it.

I’ve only watched it once and once was enough to change my entire outlook on life and look at my life from a new angle. 

Where as Rick and Morty is a Nihilistic show too, there are way more laugh out loud moments and tends to make fun of Nihilism. The characters can be deep, while being shallow at the same time. They can be very aware they are in a show. Saying things like: “Was he doing a bit?” things I don’t hear in modern english unless I’m hanging with the theater kids.

A thing that Rick and Morty achieves perfectly with it’s humor is the art of Schadenfreude. Or “Taking pleasure/enjoyment/humor from the suffering of others.” Every single deep moment in Rick and Morty is usually accompanied with a sad or intense song, that you can take in as Horribly deep and depressing, while being hilarious at the exact same time. 

I will take an example from Season One. 

Kind of a spoiler, but this happens very early in season one. It’s like the halfway point of season one, just to establish this show doesn’t fuck around.

The jist of it, is that Rick and Morty ruined the world so badly, that they went to a different universe. A different reality where they died around this time. Accompanied by sad music is Morty coming to grips that everything around him isn’t real and it’s an entirely new reality. Leaving behind a damaged and broken world. And he has to bury his own corpse. So every event in the previous episodes are reconnected or might of not happened in this reality. 

What makes this a very emotional intense scene and an extremely funny one is how juxtaposed Morty is to this compared to everyone else around him. Morty is having an existential crisis about everyone he left behind, meanwhile Reality doesn’t care. Rick grabs a drink, Summer Texts on her phone, his mom and dad argue on the cusp of divorce. Nothing changed. Life goes on. 

I remember the first time I saw this scene when it aired on TV, it blew my mind, while also making me laugh at the same time.

That’s because the show makes it clear Reality doesn’t care about Morty’s extensional crisis. You can take pleasure in his suffering while making it tragic and realistic but funny at the same time. 

And a majority of every emotional scene in Rick and Morty is like this.

There is a moment in season 2 where one character attempts suicide, and while it’s framed in a serious manner, it is also hilarious. It’s not that the show makes fun of suicidal people. (like a tasteless joke in some other adult shows) The inner turmoil is shown and portrayed very seriously. What makes the scene funny, is while the character lies still and alone all night after his failed suicide attempt, the Pathetic Father character Jerry, comes into the foreground, with his weed wacker. A trivial thing he was complaining about the whole episode. Without noticing the character’s pain. “Life goes on. Nobody cares.” Which is seriously sad and funny at the same time.

As I said  Schadenfreude. “Nobody cares. Might as well laugh about it” 

Bojack Horseman has it’s share of funny moments too, it’s writing style in similar format to the Simpsons and typical satire. 

But the comedic moments are usually far away from it’s serious moments.

They have their moments of  Schadenfreude as well. Such as small #relatable moments that make me laughing my ass off due to the delivery. Cause I’m sure many can relate to procrastinating and being lazy as hell on a project or having friends kick your pathetic ass to actually do something.

But when the show wants to get deep, the humor stays far away from the realism. 

There are also suicide attempts in this show as well. And while Rick and Morty can take a look in the mirror and laugh at itself. Like “Nobody cares, might as well laugh about it” This show seems to say: “Life is horrible, we are horrible people, if we don’t take power within ourselves to change. nobody cares. Deal with it.”

Which it a heartbreaking but raw realistic message.

Which is why I only watched the show once and am postpoing watching the newest season as long as I can.

The show is raw, it doesn’t hold back and every deep emotional moment has no comic relief moment to recover.

It lets you breathe in the heavy atmosphere and deal with every screw up the main character commits. 

It’s like if an adult cartoon character had real world negative consequences for his horrible behavior. Friends abandon him, forgiveness is optional, and people die because of a direct result of the main character.

A lot of the problems with myself and with my generation as a whole is that we tend to dissolve blame for things that we are directly at fault for. I know we tend to point fingers at the Baby Boomer generation or society a lot, but pointing fingers doesn’t really help things get better. If you just want to whine and not inspire change. You have to look deep inside yourself and find the will to change.

Something that both shows preach.

“The thing about repairing, maintaining and cleaning is, it’s not an adventure. There’s no way to do it so wrong you might die. It’s just…. work. And the truth of the matter is that, some of us are okay with going to work, and well, some of us rather die. Each of us gets to choose.” 

I love Bojack Horseman and I love Rick and Morty. But one is way more easier to watch then the other. I know a lot of people on tumblr are comparing both shows, but to me, they are equal in greatness, just take a very different approach to the same subject mater. 

I will get to watching Season 4 of Bojack Horseman some day. But not where I’m at right now. 

I am glad I read a few therapy books before watching bojack horseman and rick and morty so I wasn’t too mindblown by the messages portrayed.

satanslesbianmother  asked:

I am creating a black female character for a story that takes place in an area where...well, she's surrounded by white people who are almost obsessively politically correct, to the point of enforcing "colorblindness." I feel it's important to her character and to authenticity for her to react to her white friends being intimidated around the subject of race, but I don't want to end up writing the white person's "ideal black response" unintentionally. Any pointers?

Black Girl Living in a “Colorblind” Environment

Hey there,

Wooow, that’s like my entire life over here. Yes, I do have some pointers, but they’ll mostly just be my thoughts and experiences. Not everyone will have the same reactions as I do, but I hope this will help.

Internalized Racism

So I’ll just start by saying this is the perfect breeding ground for internalized racism. It is an everyday thing so subtle, so normalized absolutely every time, that the racism is hardly ever recognized for what it is. If your character is somewhat like me or people I know, they will struggle with the urge to not stand out, try to assimilate into the dominant culture or distance themselves from their culture(s) at the expense of their own identity, feeling the need to compensate and deflect stereotypes. They’ll be gaslit left and right, and replying with anything other than silence or agreement will most of the time start discussions or fights. They might at times feel like they’re living a lie, feel out of place and start questioning themselves. There’s more but you get the gist of it.

Reactions to Environment

Now most reactions will come down to: 

1) completely rejecting the white people and their culture,

2) trying to become like the white people and take on their views, 

3) or social withdrawal. 

What they all have in common is A LOT of unease surrounding your roots, your race and expressing your true self. 

Daily Struggles

There will be a lot of tension and anxiety when matters of race surface, even when they don’t end up mentioned or discussed. Feeling like you don’t belong, that you’ll only be accepted as long as you keep your mouth shut about racism.

Feeling unsafe comes to mind. I imagine your character desperately searching for people who might be different, looking for friends of color online, trying to make sense of their experiences by searching online, that sort of thing. If they do try to express themselves it’s because that person gives them the feeling that they just might be a bit more understanding than others and might get into discussions desperately trying for them to understand them. I imagine them not wanting to be seen as a stereotype while not wanting their race/roots/ethnicity pushed aside. High chances they will be passive aggressive about it because they lack any other meaningful way to express themselves. 

Of course there will be Black and brown people who’re content with assimilating into a culture like this. Good for them. But plenty of people also force themselves to believe that in order to survive. 

That’s what most of it comes down to. Surviving an environment that’s hostile towards you while it masquerades as your dear friend. 

~ Mod Alice

Daily Struggles - Racism & Racial Tension

In middle school, I had this friend. I was telling her a story involving someone else when she asked a strangely-worded question. 

“Did she look like you or me?” 

I was all “huh” until she pointed to my arm, my skin.

“Like you…” She said, then pointed to her own arm. “Or like me?”

I instantly fed off of the race-is-scary vibe and just muttered “Oh, like you…”

I grew up in a slightly less intense version of Alice’s environment, and my experience was passive-aggressive racism (micro-aggressions) with both the micro-aggressions and aggressive racism brushed over and kept low key. (That lady moved her purse when you walked by because she thinks you’ll steal it? Nah, she just needed it to warm her lap!)

I rarely felt the heat of racism. It wasn’t as blatant. Still, it happened in pockets.

Daily “racial tension” would be stares in public because seeing a Black person in the supermarket was a marvel. At school and other frequented places, well, they get used to you, so unless you’re the very new kid, it’s not likely she’d be made awkward on the day-to-day for existing (At least not until slavery is discussed and everyone is turning their heads to stare at her..).

Colorblind Environment and Balancing Culture

Alice hit the main points. Some reject the dominant culture, some embrace it (and may even allow and make race jokes at their own expense to cope) and some withdraw completely. I don’t think anyone fits into any neat category. 

Consider that your character may fall on a scale of embracing her situation, and rejecting some aspects. No one person is the same. 

I think background and home life will affect how she copes in this environment. I moved into my super-white town at a pretty young age, prior to that growing up in a culturally-diverse city and had sisters who did as well. We were able to embrace our culture at home among each other and other family even if that openness could not be experienced with most people in the neighborhood. If I’d been older before I moved, I probably wouldn’t have given a damn a bit more, or rejected more of the environment’s culture, but hey. 

Either way, it’s very possible for her to blend and embrace more than one culture. But how one embraces or how much, depends on the person.

Now, embracing different culture depending on the environment and code-switching doesn’t mean you’re at a cultural crisis or both sides cannot co-exist. For example, while I was made awkward about race in one experience, around that same age and time, I brought a bigger celebration of Black History Month to that same school by approaching administration on the severe lack of it. With permission and the help of friends, we made posters and announcements celebrating prominent Black leaders and inventors. That would not have happened if I didn’t have cultural pride being nourished elsewhere.

In Short

With maturity, self-realization, getting away from that environment and/or connecting with a knowledgeable and accepting group of people comes accepting what living in the dominant culture has made you, and hopefully embracing and not losing the culture you might’ve experienced without its influence.

As always, we’d also recommend having appropriate beta-readers take a look at your story for sensitivity and accuracy.

~Mod Colette

P.S. Based on some responses defending colorblindness as a good thing, which it’s not and is in fact racist (!) I would urge you to research the harms of the colorblind approach and learn of the huge disservice it is to People of Color to ignore the beauty that is diversity and in recognizing cultural differences.

PSA: “Seeing color” isn’t the same as “judging color.” 

Won’t dwell on it here. I do want to quote mod Brei from a different ask

Colorblindness is an act of racism by denying to acknowledge differences. I mean, no one ever says “I don’t see gender” so why apply such ignorance to race?

Lighting in The Last Jedi trailer and that scene we are all talking about.

Like many of you that last bit of the trailer had me screaming at the tv. After the initial freak out phase had passed, I began to slowly shift into the what if phase, meaning– are they baiting me? Now there are several theories out there about who Kylo is holding his hand out too. Some say its Leia and not Rey. What if I told you the proof is in the shot itself? 

I am about to give you a quick lesson in lighting, visual storytelling, and cinematography. 

Let’s go back to The Force Awakens as a reference guide. The lighting on Starkiller base bridge you know that scene where he kills his dad? 

Lighting was something they made sure to get right in this scene. Notice how Kylo’s face is half hidden in shadow and the other in light. Signifying his split.

JJ says this  “ And you see the light go away. And now they’re in this darkness. And darkness takes over.”

The play with light was even more apparent when Kylo and Rey face off against the edge of the cliff. 

Now I’m about to throw some cited literary sources about Film and Lighting just so it’s importance is established. 

“In visual storytelling, few elements are as effective and as powerful as light and color. They have the ability to reach the viewers at a purely emotional gut level”(Brown, 2012, p. 8).

Light becomes mood that gives its tone to a film. It calls upon our memory to react to physical phenomena such as cold, rain, fog, sun, or dryness, and come up with psychological equivalents such as annoyance, sadness, mystery, fear, anguish, comfort, joy, gaiety, etc. As these effects produce immediate impressions in viewers, the cinematographer is able to obtain psychological reactions out of mere technical means (Geuens, 2000, p. 153).


Architecture and Film both use perceptual psychology to get people to see spaces in a certain way. Architecture lighting designers skillfully illuminate buildings and rooms with psychological intentions.

Lighting designers think about a psychological response and how behavior is affected by lighting. Some examples are:

1. Visibility of vertical and horizontal junctions aids orientation.

2. People follow the brightest path.

3. Brightness can focus attention.

4. Facing wall luminance is a preference.

5. Lighting can affect body position (Ginthner, accessed April, 2013 p.2).

Just as lighting designers light spaces to stimulate human mood and behavior, Cinematographers light the space inside a movie frame with the intent to persuade a viewer’s perception. The way objects are lit in the frame will focus the viewer’s attention, the amount of shadows cast will limit perception, and changing lights can indicate a change in a character or opportunity (Brown, 2012).

However, unlike film, architecture has had a psychological study on how different light in a physical space effect human arousal, concentration, memory, work productivity, and Mood.

If you take any type of filmmaking class, this is one of the first things you learn. Nothing is a mistake in these films everything is as designed to serve a purpose. 

So let’s dive into the scene in question. 

Originally posted by mine-loves

First of all, let us talk about how these two shots are framed. They are close up only showing the faces of our characters. 

Close up shots typically contain just the face and shoulders of a subject, with a little headroom above. This prevents ‘floating head syndrome’ as the shoulders suggest to the brain that there is a body below! These shots are the most common of all as they can convey a real sense of emotion and help the audience to connect with the subject.

Second, let’s talk about the choice of lighting

They are both in a warm fiery glow. 

You can judge the quality of light in a film scene through the hardness or softness of its shadows. Hard quality light has dark shadows with sharp edges and often feels more raw than soft quality light. Soft lighting, often used in older films, has lighter, diffused shadows and tends to feel more sentimental.

And with advances in film technology, sharp shadows can also be quite romantic. Case in point, this still from the end of the 2005 version of Pride and Prejudice:

Third, let’s talk color 

Color temperature is one of the first things to note when studying the lighting in a romantic scene. Is it orange? Bluish? White? Most often, warm colors add to an inviting, romantic atmosphere. For example, the warm light in the sunset scene in Titanic draws the audience in, unlike the cold, blue lighting later in the movie, after things get dire.

Forth let’s talk context

This is not the same scene with Kylo. Rey is still wearing her resistance clothing. This is the beginning of the film. 

The context matters especially in this scene where Rey is talking about needing someone to show her where she belongs. Is this romantic? The answer is, no. Is it intimate? Yes. The scene can be set up this way without any romantic implications. But it is definitely meant to be intimate. Rey is vulnerable at this moment and is speaking from her heart to Luke. Please show me what to do with myself. 

Now let’s move to Kylo’s scene which is no doubt at the end of the movie (because his scar is healed.) 

Our big bad villain is bathed in nearly the exact same lighting and color as Rey’s shot, even the framing is the same. In no other shot ever has Kylo Ren been depicted in these colors. Not in the teaser and not in TFA. Kylo is always in red or dark. The context of this shot is very very important. He is reaching out palm up as to take someone’s hand. He does this slow and gentle. His face is soft with what I would say a plea. 

Yes, this is a call back to Darth Vader asking Luke to join him on the Darkside in Empire Strikes Back. But if you go back and watch that scene it is intimately framed (remember context matters), but the colors are pale. Lukes’ face is in agony. Vader extends his hand it’s rigid and forced.


Before I get into more examples, I want to point out that yes trailers are meant to give you an idea, and intrigue you but they are also meant to misdirect. 

Trailer Misdirects/Visual Storytelling and Dialogue

The misdirect of this scene is to make you believe Rey might join the dark side with Kylo or at least first glance. General Audience viewers casual fans who do not give it any second deep thought will accept this and move on. However, more dedicated fans will step in and try to dissect the scene by looking at the image and not the overall meaning behind everything we discussed above. The trailer isn’t designed to give anything away. Which leads me to say this is very smart editing on Rian’s behalf. While it doesn’t give us the answer of will, she or won’t she? It provides us with the question that we will inevitably discuss in length until the movie is released. 

 I would also like to point out there is a visual storytelling aspect of this trailer when it comes to the dialogue. 

One example of this not related to the scene in question comes from Poe Dameron.  He states “We have the spark that will ignite the fire to bring the First Order down.” The next scene we get is Finn. It is pretty clear that bit of dialogue was meant for Finn. He will no doubt help bring the FO down as other Stormtroopers defect as he did. Finn is that spark for the rebellion. Now let’s talk about the Rey/Kylo scene. The same thing happens here. Her dialogue coincides with the next shot of Kylo. Also, notice (scroll up if you need to) how their faces are opposite each other Rey is looking slightly to our left while Kylo is looking slightly to the right. Their positions are mirrored which is a recurring theme in the TFA (see the snow fight). This is beautiful visual storytelling. TFA was full of the same imagery lighting and storytelling. I have a post about it HERE

I went through and found scenes that mimic that of what we saw in the trailer, down to color, lighting, and frame.  I also chose male and female characters. Guess what, all of them were romantic. 

I chose this because of the flares in the background and the close-up framing of their faces. Notice yes the color is blue because they are parting (remember CONTEXT). 

Next, we have a scene from Pride and Prejudice, but beyond the romance aspect, I want you to watch the light change of this scene. Elizabeth is bathed in blue until she accepts Darcy, taking his hand. The sunlight beams between them warming the scene.  Skip to 3:10

Here is an oldie but a goody. I chose this due to the color. Now remember this film is old, lighting techniques have come a long way since the 1930s, but their choice of color is important, along with the shadows on their faces. 

Ah, Jon and Dany. This is very romantic (even tho its incest lol) But take a look at the lighting between them also this part is (NSFW) if you are gonna watch till the end. You were warned. 


And now for the grand finale TFA cliff scene. Oh, I chose this little diddy to drive home a point. Kylo and Reys’ faces are framed intimately (which signified they would have a more profound connection later and at that moment they were finding the Force together) But also notice their faces are bathed in mostly pale colors due to it being cold. Yes, the lightsabers flicker red and blue onto them. Yes, that holds meaning as well, the fight between the dark and the light. But the overall pallet is pale frigid colors. Also, the context -- there’s that word again– of this scene is they are enemies fighting. Kylo does want to teach her, but he’s aggressive and forceful, to say the least. It is a stark contrast to what we see in TLJ trailer. Where he is calm relaxed and in warm, inviting lighting. No aggressive posture, no forceful plea.

If you want to contrast another couple, please refer to Pride and Prejudice again. I can’t upload it here, but this is the link. This is where Darcy says he loves Elizabeth, but she rejects him. They have close-ups, but the color and lighting are not intimate. Its pale lighter and blue. All things that are associated with sadness rejection etc. You get the point. 

So in conclusion. It is my opinion based on all information gathered on cinematography, that yes the relationship between Kylo Ren or perhaps Ben Solo at this point has drastically changed. It is no longer one of animosity or hate. Judging by the warm colors, and the soft shadows and above all else the context of the gesture/posture/facial expression of Ben it is romantic or at the very least (for the skeptics) a special relationship– Remember Rey and Ben are similar in Force power according to Luke- this gives them a bridge to each other one that will take them to understanding and COMPASSION. I am not saying they kiss, I am not saying they are a couple at the end of this movie. I am saying that it’s possible that it will move in this direction. They no longer hate each other. How did we get to this point? Well, we have a whole Act 1 and 2 to get through for that answer. 

I will stress that I believe that yes Ben/Kylo is holding his hand out to Rey. And no, it is not out of malice or deception. He is not asking her to join him on the Darkside… He is asking her to go with him and for acceptance. 

I made a follow-up post to this because this was so long! Please click here to see more examples and extra information

Note: this is a continuation of a post // extremely long

101 reasons why Jikook/Kookmin is my ultimate OTP
or 101 times Jikook made my heart flutter (Part 2)

PART 1

51) A jikook compilation wouldn’t be a compilation without THE back hugs.

Hands on waist…

Chin on shoulder…

52) Not long after Jimin tweeted a pic of ramen, Jungkook indirectly replied to him by posting FOUR selcas of him along with a message telling him his ramen looked bland. idk about you but i found this interaction cute.

53) The artistic couple.The muscle pig and manggaetteok drawings that were featured in Snow App. They even drew the chicken drawings on the menu at Isac. I can imagine them sitting and drawing random things together. ㅠㅠ 

54) Jimin posted not one but three videos on Jungkook’s birthday, which means he wished Jungkook three times on SNS and made my head spin thrice.

55) Jimin and Jungkook took photos of each other sleeping.

56) When Jungkook thought there was no camera around when they were rounding the corner so he went up to Jimin and slid his hand around his waist. Little did he know they got caught on camera. I’d like to thank Yoongi’s vj for this awesome footage.

57) The many times Jimin has summoned Jungkook for Armys. In simpler words, Jungkook always tweets something after Jimin, and we all know how seldom he appears on Twitter.

58) “hyung has cute toes” Okay but like who lingers around his friend’s photo shoot and randomly blurts out that he has cute..toes????

59) The look! Jungkook’s expression when he’s feeding Jimin earns him a spot on this list haha. Tbh They’re kinda like eyefucking eo when jimin’s being fed. look at Jimin’s eyes. Apart from that I like how Jungkook fed him.

60) Their interactions the whole ISAC. Masterlist 👣

61)  How can I miss this? Jikook in Japan..this one has a special place in my heart. Back in 2016, it had been just a casual discussion between me and my friends on kakao. Never thought jikook would continue displaying PDA every single time they go to Japan. What’s more when they have very strict no-camera policy during concerts.

62) The amount of heart eyes they shoot at each other.

63) When they had a dinner date in the dorm to promote Mala Hot Chicken. What baffled me was that Jungkook mentioned beforehand he wanted to sleep but he still accompanied Jimin. I’m soft.

64) Jimin has made it very apparent, truly obvious that he likes jungkook. Whether it’s liking him as a dongsaeng, or just someone he’s extremely comfortable with, Jimin always, without failing, reminds us who he dotes on. “Why do I like you so much?” Lately, I’ve been crazy because I like Jungkook so much. I think of this as a start of something beautiful, and I am so glad Jimin didn’t even hesitate in expressing his feelings towards the maknae. I think this might have helped jungkook unwind. Look at jungkook now. That’s some character development right there :)

65) Massage. Quoted line from AHL mentor, Tony Jones “They are very touchy feely and to them, it’s nothing. I’d walk into the room and Suga’s massaging V’s neck or Jimin’s giving Jungkook an intimate back massage..”

66) When Jungkook bent down so he would get closer to Jimin and put the rein-kook headband on Jimin’s head. They’re separated a lot of times during fansigns but somehow they managed to get tgt at the end.

67) When Jungkook blows a kiss, then turns to Jimin whose lips are puckered and does the same to him, using the same fingers he used earlier. Okay I’ve been meaning to say this. Realistically speaking, if you pucker your lips and you put your fingers on them, wouldn’t your saliva stick to your fingers? I’m not trying to imply anything here, just genuinely asking haha.
140529 Ameba Studio

68) When a webtoon artist gave Jimin two dolls, but Jimin decided to give one to Jungkook. She even posted a webtoon of them. To be honest who wouldn’t?

69) *screams to the people in the back* ALL-NIGHTER FRIENDS!!! As written by the man himself, “ALL the time, it’s just the two of us doing something at night. I don’t know what we do”

70) Jungkook scribbling hearts all over Jimin’s birthday drawing. He’s one whipped man.

71) Just other instances Jungkook and Jimin flirting on stage. 

//gif above isn’t mine//

72) When Jimin and Jungkook chose each other when asked “if you were a girl, who would you date?”

73) The shocking fact that Jungkook demanded an apartment from Jimin as a graduation gift. Like, apartment? of all things? What kind of domesticity is this?

74) The way Jungkook takes care of Jimin even though he’s the younger one, and how Jimin is there when he’s the one seeking comfort.

75) I will never forget the Gayo Back hug, ever. I’ve mentioned back hug somewhere above, but this is different.This deserves a point of its own.

76) When Jimin took off one of his rings at the airport and gave it to jungkook.

77) When Jungkook stopped in front of Jimin during his part in For You at Osaka concert, and kind of directed the lyrics for Jimin. Jimin just couldn’t stop smiling afterward :(((
The lyrics are:
It smells like you
The road that I walk on
I plug my earphone to my status
My true feelings lie beyond there

78) When Jimin and Jungkook steered away from the bunch and instead opted for some alone on the cruise. people say you smile the brightest when you’re with someone you love, yes?

79) The fact that Jimin wanted to become napa cabbage after seeing Kook dressed up as a bunny, so he could eat him, albeit choosing to be cheese initially. What even is that statement lol 👣 

80) The morph of their dynamic. I kind of miss their old moments, when Jimin was bolder, more carefree, and Jungkook seemed to be too shy to reciprocate. (on camera). Now they have matured. They have grown up well. A wave of nostalgia sweeps over me. The transition of their relationship is extremely beautiful.

81) When Jimin became Jungkook’s makeup artist for a day, hovering around the set, even drawing a pic of a bird that’s used as a prop later.

82) their size difference might be exaggerated at times, but you really can’t deny that it is cute, even if it’s not much.

83) When Jungkook changed the lyrics in Spring Day to Jimin.                      
Like a small piece // Of Jimin // That floats in the air 

84) When Jungkook showed to the world what a sweet boyfriend he is,making jimin laugh, sitting him on his lap, hugging him on his birthday. Sweet sweet jungkookie.

85) Let’s state the obvious- 21CG choreos!!! i love how they evolved, just like their remarkable, legendary nmd lift.

86) Their sensual dance covers.

87) When Jungkook guides and encourages Jimin during games/missions.

88) The many times Jimin has been spotted wearing Jungkook’s clothes, despite the well-known fact that Jungkook doesn’t share clothes. Newsflash: Jungkook wears Jimin’s too!

89) We know Jungkook knows Jimin like the back of his hand, but that doesn’t mean that Jimin knows any less. I think they spend time together way too much.👣

90) How often the word “JIMIN” trips off Jungkook’s tongue- this what fascinates me the most. At one time he even mistook Jin for Jimin.

91) Jimin’s eagerness to kiss Jungkook for his Coming of Age, being the first one to hold out a hand for a game of Rock Paper Scissors. Bon Voyage season 1

92) When Jimin waited over an hour for Kook to finish filming BTS Flower Boy mini drama, even though he’d finished his part. Jimin couldn’t even stay mad at him for not telling, like how fond is he?


93) The fact that Jungkook is more than comfortable speaking in banmal with Jimin.He once said in Idol Party that he prefers talking in jeondaetmal (polite language) with his hyungs but look at the amount of times he’s dropped the honorific and called Jimin by his name. uhm, let’s talk about treating the other as equals?

94) Jimin and Jungkook, the human embodiment of Piske Usagi.

95) When Jungkook’s bro drew Jungkook as Muzi and Jimin as Con, the inseparable duo on Kakao. Bro knows. 👣

96) In Kkul FM 2016, When Jungkook and Jimin nearly intertwined their fingers . Scoffs bh seemed to think it’s okay to abruptly cut off their scene. What intrigues me most is that they weren’t even looking but their hands still somehow managed to find their way around. Also other instances they hold hands. I love how Jungkook’s slightly bigger hands envelop Jimin’s smaller ones. *Jimin’s pinky tho!*

97) How they’re destined to meet. The fact that they’re both from Busan, have matching moles, Jungkook’s bro named Junghyun and Jimin’s bro named Jihyun..imagine what would’ve happened had Jimin not been the last one to enter Bangtan.

98) When Jimin said he’d be looking at the ocean with Jungkook but Jungkook straight up rejected him and chose to go on a trip with his bro instead. It was quite a strong statement but a moment later Jungkook proved it wrong by reaching out and squeezing Jimin’s hand underneath the table, kinda like a reassurance that it’s all part of a joke. He cares. He truly does.

99) During Jin’s birthday prank at MAMA, these two couldn’t keep their hands off each other. The moment they entered the bathroom, they almost shut everything out-talking to themselves, picking on the cake- until the members gave them the signal to stop w/e they’re doing. Months later Mama kindly revealed another footage, this time consisting of just them, in the bathroom, jungkook right in the middle of buttoning up his jacket, wearing nothing underneath. How was I supposed to sit still?

100) When Jungkook and Jimin take skinship to a whole new level, or simply put, the times Jikook makes us question the real intention behind their acts and excessive skinship.

101) Last but not least, Perhaps my all time favorite moment- When Jungkook was caught observing Jimin’s every move, literally had his eyes only on him.

(Mark 1:17 onward)

I super love this video bc the song chosen matched so well with the situation- like they wanted to reach out but couldn’t so they stayed put, could only observe the other from far…

and that’s it!
thank you, you made it to the bottom of this post! In short, everything about jikook makes me feel content. I had thought of doing more  but despite my brain literally screaming at me “Include this! You forgot this!”, I had to stick to 101. Anyway, I hope this mends your longing hearts. Have a lovely day! Thank you for reading!

Bonus because I have to:

when the members revealed on BTS KKul FM 2017 that Jungkook bought a birthday present only for Jimin. Am I your favorite hyung?

When Jungkook, the youngest in the group, called Jimin who is 2 years older than him a baby. 애기야가자 !

I’m gonna go on a quick rant on feminism/femininity and Disney here.

Originally posted by disneylandwheredreamscometrue

It just riles me up when people seem to get the idea that femininity means a lack of feminism. When people take a look at the girl in the pants and the girl in the ballgown and says the one in pants is more feminist and empowering than the one in the dress. The whole point of one of the many aspects of feminism is that as women we have the right to choose to be and wear whatever we want. A woman in a dress is just as feminist as a woman in a burqa, and they’re both just as feminist as a woman in a suit or a woman in a bikini. And beyond clothing, a woman who’s married and in love is just as feminist as a woman who’s single. Here’s where Disney comes in, no one princess is a better more feminist role model than another. It’s important to have more than one type of role model yes, but just because one girl likes to fight and another girl likes to sew, it doesn’t mean that one is a better role model. All the princesses and other Disney ladies have good values to teach us and our kids in different ways and I’m gonna go through them with you.

Originally posted by badxbaby

Snow White:

For one thing this girl is 14. She is a child and her outlook on the world and her dreams in life shouldn’t be measured up to an adult’s. She’s kind, caring, and yes, she does dream of true love’s kiss. But she’s 14. When I was 14 I was dreaming of the same damn thing. But what we can learn from her is that when you care for everyone, even strangers, you’ll see that kindness returned. When she’s lost in the woods and scared for her life, she still finds the strength to be kind to the animals. In return they show her to the Dwarves’ cottage. She’s sweet and decides to clean up the place and take care of the dwarves out of the kindness of her heart and they return the kindness by giving her a home when she had none. At the end she’s rewarded with the true love’s kiss she wanted. We can even learn from the Evil Queen that vanity is a terrible thing. 

Originally posted by snowwhitecinderellaaurora-blog

Aurora:

The main thing to remember about Aurora is that for one thing, she met Phillip when she was a baby. The other thing is that while the good fairies did love her and take care of her, she grew up isolated and alone. She’s always had these dreams of meeting someone (anyone) else to break that isolation. But in that isolation she’s still strong, kind, and trusting. She loves her adoptive aunts, and for a side character(might make a post about that later) I would still count her as a good role model because of that kindness. 

Originally posted by goldensilverdisney

Cinderella:

Her, I’m definitely going to expand on in another post. But, she’s one of my favorite princess. Ironically, not one of my favorite movies, but she’s an amazing character and I love her. She’s a survivor of child abuse. That’s the very first thing that you need to understand about her. She doesn’t stay happy and content with a grin and bare it attitude, she got mad. She was snarky, and she only found happiness in the little free time she had and in her pets/friends. All she wanted that night was to go to the ball. All she wanted was one night to have fun and get out of the house. She wanted one night where she wouldn’t be berated and yelled at and ordered around. And when she met the prince, she didn’t even know who he was. She didn’t even mind that she would probably never see him again. And at the end she more or less saved herself. She didn’t wait around and sing a song from her tower to get rescued, she asked her friends to get the key and help her out. She was smart enough to pull out the other slipper. There’s nothing wrong with getting help from those around you and there’s no shame in asking for it. There’s nothing un-feminist about getting help, especially when you’re an abuse survivor. And that’s what Cinderella is about. Her fairy godmother coming to help her. Women helping women. 

Originally posted by disneymoviesanywhere

Ariel:

The one big thing that made the Disney renaissance so great is they decided to follow the rules of Broadway musicals. One of the trademarks of this is the “I want” song. That’s the motivation for the main character and it’s the driving force for the plot. 

Ariel wants to live in the human world. That’s her dream. She desperately wants to be a human. Eric was just the straw that broke the camel’s back. Ariel is strong willed and curious. She’s the undersea equivalent of an anthropologist. She’s 16, so of course she’s going to make stupid mistakes, but she gets to live out her dream in the end and become a human. The main point and what makes her a wonderful feminist role model is that she uses that drive and curiosity to pursue her passion. 

Originally posted by mkgaud

Belle:

I’m not sure I have to go into too much detail about her although I will mention, she is not a victim of Stockholm Syndrome. And to be honest how would being an abuse victim make her any less feminist? Anyway, of course she’s smart and loves reading. She loves adventure books and that’s what her “I want” song is about. She wants adventure and she wants someone who understands her and doesn’t think she’s weird for her interest. She’s a good role model not only for her love of reading but also of course for her kindness and seeing the good in people despite their appearance. 

Originally posted by moviewhorexo

Jasmine:

She. Is. Not. A. Prize. To. Be. Won. Moving on,

Kidding. But anyway she’s great because what she values is freedom and love. I feel like a lot of people forget is the line, “when I marry, I want it to be for love”. She wants to make her own choices in all aspects of her life and she decides to leave her life of privilege to pursue that freedom. You can hear and see it sprinkled in all around the movie (and the stage show). She sees herself as a bird in a cage and she’s happiest when she’s free and litteraly flying. And at the end she chooses Aladin. It’s all about her choice. 

Pocahontas:

Originally posted by anightmarefantasmic

So unintentional racism, stereotypes, white savior trope, erasing history, and pairing her with the horrible monster aside for a moment…

Let’s talk about 18 year old Disney Pocahontas as her own character. The main thing that comes to mind when I think of her is strength and bravery. She knows herself and she knows what she loves, and she’ll do anything to protect it. She also cares about the earth and environment. All of those are wonderful traits to have as a role model. 

Originally posted by magical-rasputin

Mulan:

Again, I don’t think I have to go into much detail about why she’s a great feminist role model. She’s usually who everyone thinks of when it comes to great feminist characters.

But what I will say is one thing not a lot of people mention in her great feminist role model-ness is that she doesn’t mind being feminine. She knows the ”perfect porcelain doll” isn’t her, but she doesn’t mind dressing up when she can make it her own. Another thing that I’m surprised get’s as ignored as it does especially since it’s scattered through the whole movie including her very first scene, she’s smart. She’s not a fighter, she’s a strategist. She makes her chores easier for herself. She wins the game of Go on her way to meet the match maker. She figures out how she can protect her dad. She uses the weights to her advantage. She does trigonometry in her head on the fly. She comes up with the distraction and using the fireworks. And the epitome of it all, she uses the symbol of femininity in the movie, her fan, to outsmart Shan Yu and take his sword. 

Originally posted by definite-disnerd

Tiana:

Can you believe I’ve heard people say Tiana isn’t feminist enough? Most people know how hardworking and practical she is, but she also learns a very important lesson that you’ll never be truly happy if you don’t let loose and have fun in reasonable amounts. She’s an amazing role model just as wonderful as everyone else in the line up and her morale is one of my favorites to try and live by. “Fairytales can come true, but you’ve gotta make them happen. It all depends on you.”


Rapunzel, Merida, Anna, Elsa, and Moana:

Honestly I feel like I don’t have to do much defending for these four. Everyone on this site has already pointed out what great feminist role models they are and many people regard them plus Tiana and Mulan as the “best” most feminist princesses. I love them all too, and of course they’re all great feminist role models, I just don’t think there’s much I could add. 

Anyway, I think a /lot/ of other Disney ladies are also wonderful feminist role models but this was supposed to be just the princess lineup. and I might make separate posts for them. But if you’ll notice I didn’t take relationship status, style choices, hobby choices, sexuality headcannons, or appearance into account when talking about what great role models they are because you shouldn’t. Of course women and girls deserve more than just one type of girl to look up to, but one type of girl isn’t any better or worse than another. You can be hyper feminine like Cinderella, Not feminine at all like Merida, or a little bit of both like Mulan. You can be smart like Belle, or naive yet kind like Snow White. All of them are wonderful. 

I’ll go ahead and leave you my favorite Disney feminist hero.

(she’s amazing. google her real quick)

bit of a rant

ya know what im really tired of?

fandoms demanding ships from show creators/crews

are ships.. really so important that you’re gonna just harass the people that gave you this material in the first place. make them hate fandoms in silence and worse make them hate what they create? this is especially irksome when its directed towards a)disney shows and b)shows with heavy plot. im not really directing any of this towards any show in particular mind you, theres far too many fandoms going after this trend to single any out at this point, there are some high contenders though.

more under the cut because this rant ran away from me and became way longer than intended

Keep reading

‘Let the past die. Kill it, if you have to. That’s the only way to become what you were meant to be.’ - (This does not mean what you think it does....)

I haven’t written many original posts recently, but given what has happened today, expect quite a few over the next couple of days.

My first post is about the quote above. I wanted to just let my feelings settle a bit before writing this, but it just happens to be the first thing I noticed.

For those unfamiliar, I wrote a post a couple months ago about Kylo Ren and his motivations. It pretty much sums up what Lucasfilm presented to us in this trailer, as far as where Kylo Ren is, psychologically speaking, at the end of The Force Awakens. I would REALLY recommend reading it in order to understand where I am coming from concerning this post.

http://sakurau121.tumblr.com/post/157962305035/you-know-what-the-really-ironic-thing-is-with-kylo

As many of us suspected, the central theme of ‘The Last Jedi’ seems to be indeed that of finding one’s sense of identity

With the above quote I found myself viewing it in a very different light after watching the trailer a few times.

It’s partially to do with the tone of Kylo’s voice. He’s not angry, not even sad exactly. He almost sounds like he is advising someone. And the language also suggests that, when he talks about ‘what YOU were meant to be’, to me this alludes to the fact that he is either being metaphorical or speaking directly to somebody else.

This is purely my own speculation, but in my mind, he is actually speaking to Rey. This line might have been put in simply for the trailer and doesn’t actually exist in the film, but I think it’s part of a conversation. A conversation while Rey and Kylo are connected through the force? A conversation after Kylo reveals Rey’s past, including what happened to her family? Maybe. These are all possibilities.

But why would I jump to this conclusion? After all, isn’t he simply talking about killing his mother and uncle, after having killed his father?

Originally posted by chatnoirs-baton

Actually, I say no.

And it’s for a very simple, logical reason that has nothing to do with sentimentality (although I, like many of you out there I suspect, did indeed tear up when Kylo’s thumb hovered over that button which, if pushed, would end up killing his mother).

It comes from comparing TFA with this trailer. You have to take into account of what has happened in TFA and how that has changed everyone. I don’t actually think Kylo is repeating himself here, that I believe is misdirect but again I might just be overthinking.

Kylo Ren says in the official trailer for TFA that ‘he will finish what Darth Vader started’.

Originally posted by star-wars-is-life

Throughout Episode VII, Kylo Ren is constantly emulating his grandfather, most likely because he wants to be like him. He cherishes Darth Vader’s crumpled mask like an old relic in a museum and wears his own mask proudly at the beginning of the film.

Now let’s compare that to this trailer. What does he do when he says -

‘Let the past die. Kill it, if you have to. That’s the only way to become what you were meant to be.’ 

What does he do?

Originally posted by boomdafunk

He destroys his mask.

In other words, he destroys his old self. The old self that emulated Darth Vader, that was trying to be like the grandfather and hid behind a mask.

This is incredibly literal as this is what the trailer actually wants you to see. The first interpretation one could logically form. And you see how Kylo Ren is doing a complete u-turn here. He is literally doing the opposite to what he did in the TFA trailer. You miss it perhaps because of the impact of what happens soon after this shot. But this point can be expanded upon, as I did in my previous post above.

Kylo Ren, Ben Solo, whoever he is, is trying to find his sense of identity. But he is no longer satisfied with trying to find it by looking into the past, by looking into his family’s history. This INCLUDES Darth Vader, not just Luke, Leia or Han.

I think he is in fact turning his back on his own lineage. Because he thought it would be enough. He thought that by finding out his grandfather was the powerful Sith Lord Darth Vader, he would be able to answer the question of why he could never find balance within himself.

Instead?

He’s even more lost now than he was before. He knows that the answer no longer lies with Darth Vader.

So how does this connect to his dialogue?

Because this mirrors another character’s trajectory. And I believe he says these words to the said character later in the film, when he realizes his past mistake.

Originally posted by starwarsfilms

Rey.

Why? Because she is still struggling, just as he is, with finding ‘her place in all this’. In other words, finding her sense of identity.

What I think is truly amazing is that somebody else in this sequel trilogy has already said these words before, or at least something to this effect.

Originally posted by bruceewayne

‘The belonging you seek is not behind you, it is ahead.’

Phrased completely differently but when you put that next to -

‘Let the past die. That’s the only way to become what you were meant to be.’

Yes, I know I cut a piece of dialogue out but it’s clear what is happening here, and in fact what is happening throughout this trailer.

Kylo and Rey’s paths are not just similar.

They are one and the same.

This is why people have come away from this trailer questioning whom Snoke is referring to. Because in a way it doesn’t matter. The point Lucasfilm is making here is that ‘Rey and Kylo are two halves-’

And you can finish off the rest of that sentence.

Now back to what I said at the beginning of this post. I think we will find out more of Rey’s past, but my daydreaming self is saying that Kylo warns Rey, just as Maz did, to not let her past completely inform her future. Otherwise, she could end up like him, misguided and lost. When he says ‘kill it if you have to’, this could be on a figurative level or it may allude to Rey’s dark origins (stay turned for that post).

If what he’s saying is basically the same as what Maz recommends to Rey, then what does that say about Kylo? What does that say about the light and dark, if they are essentially saying the same thing? :-)

So what do you guys think? Let me know through comments and reblog and check out for more posts in the coming days. This is such an exciting time to be part of this fandom and I love you all very much! You make the experience a hundred times more moving and fun! I nearly screamed at the end of that trailer and for a minute thought I was genuinely hallucinating. Gobsmacked, speechless, is best way I can describe it.