in what is sure to be a series of terrible edits

Shiro/Matt Fic Recs

Cardboard Castles by Agapostemon   // 35k (series, WIP)

A Very Original Modern AUTM. Mostly Shiro-centric. Lots of fluff (mostly platonic). Lots of mental illness feels. Lots of suffering, but always happy endings.

Keith has BPD. Shiro and Matt have PTSD. Lots of Broganes. A bunch of dorky engineers being dorky. Eventual Klance. Slow burn Shiro/Matt. Like… really, really slow. Like nine years worth of slow.

ok,,, this is like my fave series ever,,, shatt is in it but not a huge part of it (in the last fic it is) but its so goOD 

take my hand, take my whole life too by AlwaysRain // 32.5k (multi-chapter; WIP)

“Matt… can you not remember?”


Shiro can hear his own heartbeat in the long silence that follows. It seems like Matt isn’t going to answer, but then he does- so quietly that Shiro can barely hear his voice rasping with disuse.


“… I don’t know where I am.”


Pure angst and i love it. theres aftermath of torture and future butt stuff so u are warned

Like Rubidium and Water by firepaladins // 6.8k (one shot)

“Hey, have you ever seen what happens when you put rubidium in water?” 

SOME GOOD OLD SCHOOL AU where shiro is a jock and matt is a mad scientist, aka he likes blowing shit up.

thats some gay shit by solllys // 16.6k (multi-chapter)

pidge: lance is a harlot
pidge: but he’s our harlot and we love him
lance: i cant believe youre calling me a slut
keithkogay: when the shoe fits
lance: go away emo hermit
keithkogay: no im taking you to walmart get down here you fucking twink

THIS IS SO FUNNY i love text based fics, but this is mostly klance but shatt is in it and its cuter than a baby with a puppy. as u can read from the description, bad words are used ALOT u have been warned

Pardon Me byeso (cazzy) // 2.7k (oneshot)

“Wait,” Lance says, scrambling on the couch until he’s sitting up. “I do have questions about the derivatives, but I’m dying to hear more about this barista that swept you off your feet!”

“You already know everything,” Shiro sighs, moving to pack up his laptop and textbook. “He works at Castle of Lions and we’ve talked a grand total of three times.”

YALL…. pining shiro is great this fic is so sweet and short but i still love it

Love and Other Questions by squirenonny // 43.3k (multichapter; WIP)

One week after news of the Kerberos disaster broke, Pidge receives a new Mark–proof that Matt is still alive. She breaks into the Garrison to find him, only to find herself caught up in the fight for the fate of the universe.

Keith keeps his arms covered so he doesn’t have to watch Shiro’s scars compounding on his skin–but doing so means cutting off contact with his romantic soulmate, who greets him each morning with a new (and terrible) pickup line.

Shiro and Matt thought they were the luckiest people alive when they found out they were going to Kerberos together. But Shiro hasn’t seen Matt’s untidy scrawl on his arm in almost a year, and he has no idea if his soulmate is even still alive.

[Canonverse Soulmate AU with romantic and platonic soulmates (and some gray areas in between)]

im crying,,, this is angsty as heck and is sad but its so good,,,, pls read it. klance is also in this

Holy Shattrimonyby Ikira // 14k (Series; WIP)

Shiro just thought that he was helping Matt out, keeping him safe while they were prisoners, making sure he had enough to eat, that kind of thing. The other alien prisoners, however, see it in a slightly different light. Congrats, Matt and Shiro, you officially just got space-hitched!

this is also a really good series and just… matt and shiro get space married and cute things. smut in the last part of the last fic and skippable

The Trials and Tribulations of Matthew Holt by herekittie // 15k (multi-chapter)

“Takashi Shirogane is my pilot,” he said, voice flat and monotone. “Takashi Shirogane is my pilot, Katie. Takashi Shirogane.”

“Yes…?”

As if someone had flipped a switch, Matt freaked out in a burst of emotion, nearly knocking his head into Katie’s nose when he turned. “Takashi Shirogane, Katie. The Garrison darling! He holds all the records! All of them! Fastest stimulation time, youngest instructor, most liked instructor, and. And.” He looked down at his phone again.

“Right,” Katie said, drawing the word out. “Your crush.”

“Yes,” Matt replied. “My crush.”

A 5+1 thing that started as ‘times Samuel Holt interrupted Matt and Shiro’ but eventually became 'times Matt falls in love with Shiro’

god i love sam holt as much as he loves his peas,,,,, but dang this is cute and i can RELATE TO MATT LOL


ill be adding more to my list if i have time but!!! these are my current fave shatt fics (that i could pull outta my ass in like 10 minutes) but i always want more to read and add to my list!!! 

EDIT: I FORGOT TO LINK THE FICS WHOOPS WOW

Women In Young Adult Literature

This Wednesday we’re celebrating the social, economic, cultural and political achievements of women on International Women’s Day. I’d like to use that as an opportunity to talk about a few of my favorite female characters in Young Adult books. Careful if you haven’t read these books because of possible spoilers.

Cather Avery (Fangirl)

Cather Avery and her twin sister Wren are starting college and Wren has announced she wants to discover college on her own, leaving an introvert Cath hiding out in her dorm, writing fan fiction. I really liked that Fangirl was about Cath as a character at first and everything else second. Cath is shy and introvert but she’s also sure of who she is and isn’t ashamed of that.

Madeline Whittier (Everything Everything)

Madeline has a rare illness which prevents her from leaving her house, but Maddy is a happy teenage girl. She reads a lot, takes classes online, has a friend in the form of her nurse. Despite the fact that she was missing out on so much in her life, she keeps being optimistic. It is impossible not to like her. Of course, she was also moody and curious. This curiosity eventually leads her to uncover a secret that will change everything for her.

Glory O’Brien (Glory O’Brien’s History of the Future)

One evening Glory and her best friend mix up beer with the remains of a bat (that is as weird as it sounds). Next thing they know they can see people’s pasts and futures. Glory becomes obsessed with the second civil war and decided to write down every piece of information she gathers from seeing people’s futures. I loved how Glory handled seeing the future. She questioned everything in her past and present; her future, the strange hippie community across the street and especially her mother’s suicide and what I means for her.

Rose Hathaway (Vampire Academy-series)

Rose Hathaway is a Dhampir and thus fated to guard a Moroi. She’s determined to protect her best friend Lissa, a royal Moroi. Rose is sarcastic and insubordinate but she is fiercely loyal to Lissa. Over the course of the series Rose loves and loses Dimitri. The loss of him puts her friendship with Lissa and even her life at stake.

Mara Dyer (Mara Dyer trilogy and upcoming Shaw Confessions)

She has to power to kill people with a thought, but is she a villain? Throughout this trilogy, Mara tries to figure out what is happening with her. She means no harm, but around her people start dying under strange circumstances. She tries to understand her powers and is put in dangerous situations because of it. To get herself out of these situations she must use her power and questions who she is when she does.

Gwendolyn Shepard (Ruby Red)

Kerstin Gier gives us curious and funny heroines. These characteristics often put them in complicated situations. Take Gwendolyn, (Gwyneth in the US/UK editions) for example. She can travel through time but it isn’t nearly as fun as it sounds. She always taught her cousin would inherit the time travel gene, she isn’t ready to fulfill tasks that would take her across time. Yet, Gwendolyn uncovers the truth and stands her ground while taking on an ancient organization.

Shahrzad Al-Khayzuran (The Wrath and the Dawn)

She marries the Caliph, not to love him and be his bride, but to kill him. Khalid has had countless wives and has killed every one of them, including her best friend. But when Shahrzad finds out her husband is cursed she takes it upon herself to save him and their people. Shahrzad can come across as spoiled, but she also doesn’t take shit from anyone and doesn’t like to be told what to do.

Inej Ghafa & Nina Zenik (Six Of Crows)

Inej can climb the most impossible buildings. She grew up with loving parents but was separated from them and sold to a brothel. Her time there still causes her anxiety. Nina was a member of the second army in the Ravkan war. She’s a heartrender. Nina loves her power, she loves food and she loves Matthias, who is supposed to be her enemy, and she knows he loves her too. Nina is determined to show him Grisha aren’t evil like he has been told, to not only accept her but her kind as well. Inej and Nina are just as much a part of The Dregs as the boys and just as important for their mission.

Kestrel Trajan (The Winner’s trilogy)

As the general’s daughter Kestrel knows politics very well. She has always had a privileged life. When Valorians and Herrani’s go to war, Kestrel is put in a difficult position. Her people are in the wrong, but they are her people. Arin isn’t one of them. He’s her slave, the boy she’s in love with. She has to help his people. Kestrel is often put before terrible options but they are her only options and what do you choose when the outcome is bound to be horrible either way?

Verity (Code name Verity)

“Kiss me, Hardy. Kiss me, quick!” Well, if this book didn’t destroy me. Verity is captured by Nazi’s and tortured until she agrees to write down everything she knows - everything. The first half of the book is her confession, the second half is told from her best friend’s POV. Maddie and Verity are major friendship goals. Their story was so inspiring and completely heartbreaking at the same time.

Bianca (The DUFF)

The Designated Ugly Fat Friend is what Robbie calls Bianca, explaining that it isn’t a bad thing, but it’s a fact. Bianca tries to not let this bother her, but it does. She is the DUFF. Despite the fact that he hates Robbie the two of them start a friends-with-benefits relation, except for the “friends” part because they hate each other. The book discusses many others topics, such as friendship, neglect, alcoholism and divorce. Bianca uses the words ‘slut’ and ‘whore’ a lot throughout the book. In the end, she comes to a nice conclusion about these labels and ultimately it’s a good message. I would also recommend Kody’s other YA novels.

Linh Cinder (Cinder)

So far I’ve only read the first book in the Lunar Chronicles series, but it was enough to see that Cinder is bad-ass. She’s funny and sassy and the best mechanic in New Beijing. Instead of going to the Prince’ ball she’d rather use that opportunity to elope from her evil guardian. Things don’t go as planned when it’s discovered that Cinder is a Lunar, that she has powers, and that if the Lunar queen finds out, she will take Cinder to Luna and most likely kill her.

12x10 - “Pterodactyl Screeching into the void” - Part 1

My title is borrowed from @postmodernmulticoloredcloak comment on my crazy blogging after first watching this episode earlier. I feel like it is a fitting title for how this episode made me feel. To clarify, these are very very happy pterodactyls.

Steve Yokey wrote this episode and he appears to have well and truly taken up the gap left when Robbie Thompson sadly left the show. In fact this episode to me channels the ghost of Robbie in many different ways. From the fanfiction-esque moments of poor suffering third wheel Sam, to the meta nod to Charlie Bradbury, there is much of Robbie to be found here. Basically, it was bloody perfect.

I feel like there is so much to talk about in this episode that fandom will be chewing on it for months if not years to come. Yokey has picked up the characterisations brilliantly, and seems to have an understanding of what the fandom desperately craves in terms of Castiel, his character, his personality and his development. I adored his sass in this episode. Some other writers *cough*bucklemming*cough* struggle to really capture Castiel’s sass and humour. Showing their lack of understanding of Castiel’s persona and his intelligence and instead writing him in a way that is jarring and sometimes basically stupid. Castiel is far from stupid. In this episode he was written perfectly, in a way I haven’t seen since Edlund’s time. Is that a sweeping statement? Maybe. But I’m still riding my high so let me have it this time.

This episode gave us three of my favourite things. Badass and Sassy Castiel, Overprotective grumpy husband Dean, and poor long suffering brother Sam. (baring in mind this is how they are usually written in fanfiction nowadays this is exactly my jam and I am so so happy to see it play out on screen. Seriously who sold their soul to Crowley for this episode?)

This review will also be in two parts. Because I have so freaking much to say about it.

The first part will focus on destiel, the second on everything else including Castiel’s emotional arc (as separate from destiel), his relationships with angels, angels and gender and Lily Sunder’s character.

PART 1 - ALL THE DESTIEL

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Writing Series #6: Worldbuilding

When I went to speak with a group of high school writers (the event that prompted this “series”,  almost all of them asked me about “worldbuilding.” Wikipedia defines worldbuilding as “the process of constructing an imaginary world, sometimes associated with a whole fictional universe;” I define it as that thing I always forget to do. 

Worldbuilding is particularly important if you write fantasy because in a completely made up universe, everything is up to you: there are no pre-established rules. You event the landscape, the towns, the people, the hierarchies, the leadership. You are god. 

But for all of the realistic fiction writers out there, world building is a little different. It’s certainly less overwhelming, definitely takes less memorization, but it does have more rules. The question I always find myself asking is: do I base this story in a real town, or do I make it up?

What I’ve found to be the best solution is a mix of both: I choose a town I am familiar with, and I base my “fake town” off of it. This means I can add in a grocery store that doesn’t exist, a local pool that was never built, and, of course, if I want to talk about how terrible a place is, I don’t have to defame a real location. 

The advice “write what you know” is probably the most prominent in settings, which is why it’s so common to find all of an author’s books set in the same location (or coincidentally in all the different locations that author has lived in throughout their life). The way I see it, there are so many other things I need to keep track of (like character arcs, plots, actually writing) that I don’t have the patience to also research and learn new places, but for some writers, this is the best part, the chance to escape the place they know and go anywhere in the world via their writing. 

If you fall into this second category, here are a few rules of thumb:

  • Just because a place is “foreign” to you, does not mean it is to everyone, so please don’t treat your setting (especially if it’s in a different country) as “exotic” (as this can often come across as a fetishization of a race, people, culture, or land). It’s also, frankly, just less realistic. If your character lives in that place you desperately want to live in, they’re not going to see it every day with the wide eyes and fascination that you, the author, have. They’re going to complain that the drug store on the corner isn’t open and bitch about the weather. (This is different, of course, if your character is a newbie in this land and visiting, if they are seeing it for the first time; then the wonder and first impressions are valid to express.)
  • It might help to get a map. Finding a city website will also help (there you’ll find information about parks and rec, town history, libraries, public buildings, etc.). But being able to actually visualize the place will you allow to drop your character into that setting with a better idea of what will really be surrounding them. If you can visit the place even better! But what’s important is to get a street view one way or another, an idea of what it looks like to the left, right, forward, and back of where your character will be standing. Will they see hills on the horizon, just above the buildings’ tops? Is there a skyline? Is the air cool or muggy? What amenities does the town have? What is the wild life like? (Don’t write a squirrel into the scene, for example if there aren’t any in that climate.) 
  • Don’t let the setting hold you back. If there is no city on Earth that has everything in it that you need for your story to take place, it’s okay to make a place up. Just make sure that place has its own set of rules that make sense and add up logically (don’t say it’s a town of 300 people and then give it a strip mall, for example–that sort of thing would never be built for that population).
  • Keep track of your location! Whether your setting is real or made up (in which case you should keep a folder of your notes and maybe a hand drawn map), you should have something (a map, a list of places, a picture, etc.) to refer back to while writing. In order to keep the surroundings consistent, I find myself constantly scrolling up to an earlier moment in the story; I can never remember if I made the local park have a purple slide or blue. It sounds silly, but it’s all in the details, and the more accessible you can make this information, the easier a time you’ll have later (and the less time you’ll spend editing).

To all the writers out there: how do you figure out your setting and what are you tips for keeping things consistent and realistic throughout a larger work?

Feel free to add to this post or submit your own advice to share with your fellow writers at ancwritingresources.tumblr.com

Mob Psycho 100 Fanfiction Masterpost: Gen Edition

Fanfics with no sexual or romantic relationships. 

They are all for either teen and up or general audiences.

If you feel like there is a work that belongs on this list that isn’t on it, please let me know. If there is a work on this list that makes you uncomfortable for any reason, please let me know and I’ll take it off the list.

This one got really long, but there’s a lot of good fics on it, so give it a look! Featering Lulatic, dyingplatypus, warfare, and honestly these are all good authors and good fics. Make sure to leave kudos and reviews!

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anonymous asked:

I am going to Paris next year I was wondering if you had any ideas on how to make my French skills better? Stupid question but I'm just curious

Hey Anon !!

That’s definitely not a stupid question !

French is a really difficult language to learn so if I can help a little bit, it’s my pleasure !

The best advice I can give you is to listen, read and speak in french as much as you can.

It doesn’t have to be hard stuff ! There are quite simple books like Le Petit Prince ou Joseph Kessel’s books which are very modern and easy to understand. Reading 19th or 18th literature would be harder and probably would help you communicating because language shifted a bit since then and it’s very classic or romantic so it’s very long and complicated sentences (yes i’m talking about you Proust). But if you already have a solid base and feel confortable with your french, you can try !! Romantic literature is my favorite genre ! (So much good love stories ♥)

You can also have a look at french comics like Tintin or Astérix, or Gaston Lagaffe or Lucky Luke ! There are enough words to practice and it could help for some expressions ! (Plus Astérix and Tintin are culturaly really important to us haha)

Reading as much as you can in french will help you with grammar and you will certainly write better !

Then, you can watch movies in french ! Even if we really love to make indie movies, don’t feel obliged to only watch that ! Sometimes, it’s quite slow and boring.

Some movies are part of our pop culture, like Les Bronzés or La cité de la peur or Astérix et Obélix Mission Cléopâtre (Him again !) but it can be difficult for a beginner since it’s french humor with french slang !

Maybe movies with Louis de Funès ? He is very funny !

My best advice would be for you to watch french version of movies you’ve already seen, so you would already know what it is about and it would be easier to understand. Most of international release are translated in french ! (literally all of them except maybe indie movies haha)

So go for Marvel, Harry Potter, Lord of the Ring ! Even if the french voices sounds terrible, it helps !

Btw, you can also watch animated movies in french (Disney, Pixar or even FRENCH animated movies HEHE), it’s quite nice !

Tv shows and animated series are great too ?? I mean it is internationaly admited that french people made the greatest Simpsons’ voices !

Maybe TV Shows is not a good idea, it’s really terrible and it will break your mind they kept the same voice for nine and ten in doctor who I MEAN

There are also great french youtubers like Cyprien, Norman fait des vidéos, jimmyfaitlcon, Math se fait des films (funny analysis about movies) who makes podcasts about daily life, and some gamers, mostly Squeezie (he is a bit crazy but we love him)

I don’t know much about beauty channels, but there is enjoyphoenix ??

Some groups of youtubers make great humorous (or not) videos, like the Palmashow, Studio Bagel, Golden Moustache ! It’s short sketches that are really fun and help a lot to learn !

My last advice will be to speak french. Yeah, seems pretty logical, uh ?

I mean, if you can have a penpal you can correspond with, it would be great !


I hope it helped a little ! Have fun in Paris !

I’m sure some of my friends in the french side can give more advices ! ;)


[EDIT :] HOW COULD I FORGOT THE GLORY THAT IS KAAMELOTT
So fun, almost historically acurate, so well played, King Arthur !! such a great impact on french youth !!

(btw it’s amazing)

Skulduggery Pleasant Series : The Jitter Girls

When he’s absolutely sure there’s nothing more he can do, Pleasant delivers the terrible news to the parents. He does not look at them as the mother starts to scream hysterically, he does not look at them when the father shakes his head and thanks him for his services. 

And when he leaves the asylum, the screams of the little girls follow him all the way home, ringing in his mind like church bells.

Months pass, and he does not think of those little girls, with their bright, wicked eyes, and their sharp teeth, and the ancient cunning of their feral smiles.

Years pass, and he does not think of their little mouths, widening to emit shrieks that haunt his waking moments.

Decades pass, and when he sees those awful, pale hands reach out from that box, when he hears Valkyrie gasp in horror, he knows what happens next.

Those awful screams rush in, like the tide.

Youtubers AU

For @carryon-countdown!!!!! In which Simon and Baz are both beauty you tubers who couldn’t be any more different


  • Baz is a beauty guru that is honestly slightly terrifying to watch. 
  • He always scowls at the camera like he just fucking knows you’re putting the eyeliner on wrong and his is so sharp it could cut someone.
  • He only uses the best of everything, and his looks are ridiculously editorial. Cranky and Cool is his #thing. He always ends up looking unreal, with dark green metallic lip and dark purple eyeshadow, flawless skin, sharp ass cheekbones he spends hours on with his Kat Von D Shade and Light palette
  • IRL he’s an economics student in London with a really posh flat, and he uses Excel to organize his entire fuckin life, like don’t even diss Excel in front of him
  • His filming area is Minimalist™, grey desk, grey walls, all his makeup and brushes organized by brand on the wall behind him. 
  • He doesn’t even do an intro, he just blinks at the camera impassively for a couple seconds before he just starts in with the tutorial. But it isn’t even really a tutorial because he just expects you to KNOW how to bake your undereye concealer. Like, I’m telling you, watching him is stressful and intimidating 
  • But he somehow has taken the beauty world by storm, and he has 3 million subscribers that he rarely interacts with except to critique their technique when they tweet him a pic of them recreating one of his looks: 
  • “Did you use lipliner? I can see some bleeding in the corner smh. Try better”
  • Then there’s Simon.

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poliearbear  asked:

This blog is incredible. Any chance you might look at the most recent redesigns Tamora Pierce's Song of Lioness series? I have Opinions on them, but they're also strongly tinged by outrage that they dared to change the design from the version I had growing up.

THANK U FRIEND. I WILL DO MY BEST

In some ways, this is a perfect follow-up post to my Earthsea tirade: another classic fantasy series that has been graced with some distinctly vintage #looks. In fact, it’s really worth going over some of the old designs before we get to the new one, so let’s explore.

FIRST UP we have some charming vintage covers! (i was too lazy to date all these so idk circa what year). These seem to have been pretty widespread, so it may be what you’re referring to re the style you grew up with, asker? Anyway, these are adorable. Do I take them seriously? Not really, the style is mad dated, but who cares. They’re super fun, and the illustrations are exciting and colorful and very specific to actual elements in the story. As a kid I would have eaten that shit up, and in the 90s, I’m sure this was the height of fantasy book design.

NEXT. (and I’m sorry they’ve been cropped on the sides, but I think we get the idea) (in case it was unclear I just rip these from google, I don’t compile all these images myself LMAO) I’m generally not a fan of ‘boxed in illustration w very simple type below/above it’: It’s boring, design-wise, though it’s also inoffensive and hard to fuck up. But the illustrations are really lovely and vivid; I love how scrappy Alanna looks and how we get a real sense of peril and drama and grit without literally making everything dark, or sapping it of its whimsy.

TIME FOR SOME TRULY HEINOUS ONES. These beauties below, where Alanna is being really chill about clearly having been set on fire and is also apparently living in a post apocalyptic wasteland, came out in 2010, aka the height of the paranormal YA romance craze.

You can’t tell at all, obviously.

Nope, no influence here. Bella Alanna looks totally normal with absurd photoshopped lighting/effects and her two brooding love interests who would never be mistaken for vampires. (fun fact, when you google image search “song of the lioness new covers” half the results are this single image, because the internet has devoted a LOT of blog space to going WTF at it over the years. but seriously, wtf is that shirt she’s wearing?)

And we have these, where they couldn’t be assed to do more than one illustration, or to…. put…. a shirt on her? even though she’s wearing a cloak? Where did the rest of her hair go? Shouldn’t we be seeing an indication of boobs, with that much of her chest exposed? It’s been a long time since I read these so correct me if I’m wrong but isn’t her Magic Necklace for contraceptive purposes? Is that the thing we want to devote an entire book cover to? Whatever its purpose, why does it look like that? At least the twilight covers still had alanna holding swords on them rather than inexplicable quasi-nudity.

Also, this is the collected edition that I read when I was like 13, and I am biased, but I think it’s the best:

it captures the bright, kitschy, vintage-illustration feeling of a lot of the old covers without actually being kitschy or vintage. It has the upbeat cool-lady-knight-on-an-fun-adventure vibe that the Twilight covers are missing. The type knows what’s up and is chilling, letting the illustration do its thing while still being integrated w it. 10/10.

There are tons of others, but I think that’s sufficient context, so let’s look at the new-new covers:

Hm.

Usually I’m pro-abstraction and anti-putting the characters on the cover, because that tends to be the obvious, unimaginative solution. However, unlike my feelings about the Earthsea books, I think making the the Lioness series appeal to children is actually a worthwhile endeavor, and to that end, I think it’s kind of a shame to lose the imagery of Alanna herself swinging swords around, which really does have a unique appeal. Especially since the first book is literally ALANNA: THE FIRST ADVENTURE. You’re being sold on the character as much as the story.

But for what we have, I…. almost like it? All the text is really well-balanced, to harken again back to the Earthsea conversion on Series Title Vs Actual Title, and the intricate framed woodwork thing with different color schemes as an overarching structure is working for me. The detailing is worth looking at up-close:

But up close we also notice my Problem which is the fact that these objects are photomanips, instead of illustrations. It might be argued that this is a matter of taste/ preference, but here, I don’t think it is; I think illustration was a real opportunity to be stylistically interesting/integrated with the rest of the cover and it was wasted on…. this subpar photograph of a horse.

Publishers seem to shy away from illustration on YA fantasy covers. I’m not sure why: we get plenty of trendy (mostly simplified or abstracted) illustration on YA contemp, Illustration has always been a major mainstay of middle grade covers, and art a la Uprooted/any Gregory Maguire book or the ADSOM series is sort of a Thing for adult fantasy right now, but YA fantasy is having a moment with typographically-driven covers, and, eternally, an ugly affair with photomanip. I can’t say for sure that the designers of these Lioness covers were “aiming YA” but…. Subpar Photograph of a Horse is making me think they are, or are at least taking cues from that genre. Anyway, that’s kind of a tangent but it is A Bummer Generally.

Of the four images, the shield is working the best and the cat is working the worst. They’re not terrible by any means, but they’re awfully generic-feeling, and lack any particular sense of depth or dynamism. Overall, this is one of those times where my critiques leave the realm of Concrete Terms and Measurable Inadequacies into something more ephemeral, but I feel like Lioness series covers, at their best, encapsulate a whimsy and a warmth that these just…. lack, even though I don’t really have any major fights to pick with the design. ¯\_(ツ)_/¯

Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema


The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.

DISCLAIMER: THIS SERIES IS NOT A REVIEW. I WILL SPECIFY IF I LOVE SOMETHING, BUT OTHERWISE I WON’T COMMENT TOO MUCH AND THE FLAWS I POINT OUT MAY OR MAY NOT IMPACT MY ENJOYMENT OF A NON-RK SERIES I’M NITPICKING. THIS IS A FORUM FOR RUROUNI KENSHIN PRIMARILY, SO PLEASE RELEGATE DISCUSSION TO THAT TOPIC, THANK YOU. I DON’T WANT UNWARRANTED GoT SPOILERS OR PEOPLE SAYING I HATE THEIR FAVORITE SHOW. 


The Dancers of Cinema: Choreography and Action Direction


This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves


A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 


                                     Reality vs Cinematic Realism


As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 

                  

                                               Final Thoughts


All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!


                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 


Commander (Pt. 1)

Bucky Barnes x female!OC

Summary: Earth has some new and unexpected saviors teaming up with the Avengers as they wait for the inevitable arrival of Thanos.

Warnings: Slow burn, some swearing

A/N: So this is my new series guys. It’s the longest series I’ve written so far and I’m not even done with it yet. Tags are open so if you like to be tagged feel free to ask. GIF is my edit but not my original, if you know the original artist let me know and I’ll credit them but I was unable to locate them. If you have any questions about why you’ve been tagged in this fic please see THIS post. Also I’m a sucker for art so if you for some reason feel compelled to do art of my characters please tag me in it so I can reblog it endlessly. 

PS: I’m terrible at summaries, I’m always worried I’m going to give too much away…


She had been living on this god-forsaken planet on and off for almost half of a century and everything had been fine and dandy up until the past few years. Then Thor and Loki decided to show their royal faces and now shit was getting real. After the battle of New York with the Chitauri, she had been keeping a very close eye on the Avengers and everything they were doing. Based on their most recent antics and the rumors she had heard floating around the other universes, it was inevitable that Thanos was going to be showing up here soon. She spent months calculating and analyzing everything preparing for her departure but now the time had come and she needed to leave before it was too late.

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jael-paris  asked:

Hey, resident script writer! Could you tell us more about script doctoring since we all just learned Carrie Fisher's been doing it in the shadows for decades?

Of course! XD And thanks for asking!

First, let me give you the technical definition of a script doctor, as given to us by the Great God Wikipedia:

[[Screencap of Google Wikipedia result, which says: A script doctor, also called a script consultant, is a screenwriter or playwright hired by a film, television or theatre production to rewrite an existing script or polish specific aspects of it, including structure, characterization, dialogue, pacing, theme, and other elements.]]

This is true, as far as it goes. What this definition leaves out, though, is that a script doctor is the Hollywood screenplay version of a ghost-writer – meaning, they don’t usually get official credit for their work.  They are paid a set amount to “doctor” an existing script – which can mean anything from a quick “punch up” (i.e., a polish,) of the existing dialogue and action, to a rewrite of the plot itself – but the credit for the screenplay will most likely still be given to the original screenwriter(s).

Why is this? Well, for a number of reasons, both commercial and artistic. 

Firstly, we must remember that writers work in a primarily intellectual and intangible medium – words on paper can be easily scrubbed out, files erased, and notes lost. So it becomes difficult sometimes to prove that a story came from one writer’s brain as opposed to another. Things get even more complicated because there are those who are the Idea Guys, those who are the Collaboration Kids, those who are the Nuts and Bolts Gals, and those who are all three. So, one person might have come up with the idea for a movie or a television pilot, written the treatment (synopsis,) or outlined the story – and then another person will be the one who actually writes the script.  

Because of this, one of the most often contested issues in the Writer’s Guild becomes, “Who gets credit for this??” This is vital, because whoever gets the credit gets three VERY important things: 

  1. A reputation-boosting line on their resume
  2. A step towards eligibility to join the WGA, the writers’ union 
  3. The right to residual profits (i.e., royalties.) 

Since a screenwriter’s career depends entirely upon selling their next script, you can see how gaining a good reputation and joining the union is of utmost importance. As for royalties, while often not much, they can be enough to keep a writer from homelessness in lean times – also rather important.

And yet. And YET. Just because someone came up with the idea, or wrote a screenplay, doesn’t mean it’s good. In fact, one of the best-kept secrets in the industry is just how AWFUL first drafts can be. But the machine needs to be fed, meaning that if an agent or a producer sees potential in a poorly written mess of a script, they’ll still try to pitch it, getting as much momentum and interest for the story itself until they inevitably run into the road-block of said poor story, dialogue, characterization, etc. 

This is when they call in the script-doctor – usually someone experienced, with a knack for witty dialogue or fixing plot holes. (This happens a hell of a lot with both comedy and action scripts, for some strange reason.)

But why call in a third-party at all, you ask? Why not give a few notes/criticisms, then let the original writer take another crack at it? 

The answer is eminently practical: We believe what you show us. If a screenwriter has turned in a mess of a script, the producers who see it assume that said mess is the best that writer can do – otherwise, why wouldn’t they have submitted something better? Since every re-write takes time and money, it’s a much safer bet to give the mess to a veteran writer you KNOW can turn out good product than to give the moron who screwed it up the first time a chance to screw up again.

The problem with this approach, however, is that once a script doctor takes control, at what point does the script stop being the intellectual property of the original writer, and start being the property of the person who’s rebuilt it from the ground up?

A perfect example of this would be the over 30 uncredited screenwriters who worked on the movie The Flinstones. THIRTY WRITERS! Why? Well, every time the film changed directors, or producers, it was given to a new writer or group of writers to do a draft. The original story ended up being chopped and changed and sewn back together a bazillion times. It came out barely watchable mush, but that’s not the point; the point is, it still made money, so who gets it?

Deciding on the credit for The Flintstones became such a circus that it forced the WGA (Writer’s Guild of America) to change its bylaws.  Now, a screenwriter must contribute more than 50% of a script, or 33% of an adaptation, to retain credit. 

So, in order to keep a script doctor at the level of “ghost-writer”, or uncredited, the production company only has to make certain that they use only 49% of the script doctor’s rewrites. Or that they hire two script doctors, and split the rewrites half-and-half. Of course, sometimes the script doctor has to do what they call a “page-one” rewrite, meaning they basically recreated the script from the ground up. That guy gets a writing credit for sure. But since the WGA does not like having more than 3 writers credited on any given project, a producer’s choices might be influenced by not wanting to have to go to arbitration in order to give credits to the 10 writers that actually helped the project.

Thing is, all writers all good writers have the ability to edit and fix other people’s work. It’s really far easier to fix a poorly executed story that already exists than to come up with something original oneself. So often, well-established writers will take script doctoring jobs on the down low to help pay the bills, and just forget about the credits because 

  1. They don’t need the credits that badly, and
  2. They get more out of gaining a reputation as a good script doctor, like future jobs as word gets around about them.

This, I believe, was how it worked for our Carrie. She was well-known in the industry for her ability to fix terrible dialogue, although there were a few movies she worked on that I don’t think anyone could have salvaged. The first time she showed her dialogue-honing chops was rumored to be by fixing her own lines in the original Star Wars trilogy. Lucas was so impressed with her work there that years later he asked her to do a punch up on Attack of the Clones, and to write a script for the Young Indy series

She also punched up Hook, Sister Act, The Wedding Singer, and a bunch of others.  Here’s a short video about her script-doctoring career:

So, that’s how it works! But if you’re thinking of doing this for a living, understand that it’s harder nowadays to get into script doctoring, because they make you pitch ideas and notes before they give you a chance – and who wants to give their ideas away for free??  

If you want to read more, there’s a short article on script doctoring here that I like.

Star Wars Rant-Along: TFA EDITION! (Chapter XIII)

So it’s that time again.

Originally posted by hollywoodmarcia

I haven’t done one of these in awhile—not since I moved across the country—and to be honest until we started getting new content (see: Aftermath) I wasn’t really keen on continuing. It’s been over a year since I picked up The Force Awakens novelization, and the last thing I wanted to do was spend my Friday nights sitting down with a bottle of wine, my nerd-fueled rage, and ADFs terrible writing. I’m a completionist however, and the hype for The Last Jedi is ramping up. So until this series is firmly in my rear-view mirror I won’t quit it. I’m also going to be starting a Rogue One Rant-Along next week (not drunk), so there’s that. I like the Rogue One novelization much better.

Originally posted by klennnik

For those of you who are wondering what these posts are about, about a year ago I started reading the TFA novelization chapter-by-chapter drunk as a skunk. Then my liver decided no more and I had to work my way through this book sober. My state of drunkenness is in brackets next to each link, to give you an idea of what to expect:

Alright, let’s get this thing started. After one long, tumultuous year, we’ve finally reached it—The Bridal Carry.

Prepare for pain and existential angst.

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Goldilocks 07 || PREVIEW

A/N: In celebration of 800 followers 🎉 and the fact that every Goldilocks part so far has reached over a hundred notes, I would’ve liked to release the part early, but unfortunately I’ve not had as much time as I would like to write it (not to mention edit it). I’m still planning on posting the full part on schedule unless something goes terribly wrong, but until then, here’s a preview! Oh look! In the distance… exposition…

Links to: Goldilocks Masterlist || 01

“Tae, where did your pants go?” you yell to be heard over the pounding bass of the music.

He looks down, blinking blankly a couple of times at his boxers, “I honestly don’t know?”

“And where did you get this tie?”

The band of silky material is wrapped firmly around his head like a bandana, both ends trailing down either side of his neck. He tugs at it, bursting into a fit of laughter, “I don’t know that either.”

You can’t help but smile, “Do you know anything? Pabo.”

“I know you’re hot and I’m fucking smashed. Let’s make out.”

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LIAR LIAR: PART 1

A LIE

SUMMARY: -request-You told your sister that you have a boyfriend so she’d stop trying to set you up with people but now she’s coming to visit and you’re in too deep and need a fake boyfriend ASAP. (THANK YOU TO @super-slick-fanfic-chick for letting me use this idea for my series! Love you!)

PAIRING: Barry X Reader 

WARNINGS: none really

A/N: I am so happy to announce that I am finally done with finals and have returned to the land of fan fiction and tumblr. This was a lot of fun to write, even though finals kept me busy and writers block tried to stop me. Let me know what you guys think and whether you want part 2 or not! ALSO! thank you @winchester-with-wings   for editing this! You rock!

        You are seriously starting to consider murder. Life imprisonment doesn’t seem so bad if that means a break from your sister’s constant nagging on your perpetual single life. But if you’re being honest with yourself, she’d probably haunt your ass, asking why you still haven’t found a man. You know she means well, just wanting you to find the same happiness she’s found with her wife, Jane.

           However, with terrible blind dates one after the other, set up by your well-meaning sister, you couldn’t handle any more. That’s why when Thanksgiving came swinging around this year, you tried everything to get out of it. Even going as far as to say you were in the hospital, but your mom saw through every lie. She’s known you long enough to spot it over the phone, (it’s a little discontenting at times). So here you are, miles away from your home in Central City where you could be wrapped in a blanket or dining in with Barry, who had invited you to Thanksgiving with him, Iris, and Joe. Instead, you sit at your family dinner table, with your sister, Megan, across from you in the middle of one of her infamous rants. Like this one, they usually focused on your “fast approaching doom” of becoming a spinster.

“Y/n, I’m just saying that there comes a time in your life where you have to ask yourself, is it me?” Megan chides as she passes the mashed potatoes to your dad. Unintentionally your jaw clenches, it has developed into a habit around Megan.

“Right, dad?” She asks him, like a child waiting for approval. He seems like a deer in headlights and makes the wise decision of standing from the table and claiming to have forgotten the gravy. Even though it was sitting in front Aunt May.

           It doesn’t take Megan a second for her to spin her head back to you, her face a bit softer.

“You know what? There was this guy, Sam something, I met at a charity event last time I was visiting you in Central City. I think you both would hit it off—“

“Meg, honey, not now.” Jane, your sister-in-law, pleads, and you mouth out a ‘thank you’ to her. You’ve spoken too soon; however, as Megan pulls out her phone waving Jane off.

“Just a second, I’m sure I have his number in here somewhere.”

           Your heart beat quickens while anxiety follows. You are not going on another crappy blind date.

“Meg, stop it. I’m serious!” You beg, but she’s glued to her phone. Heat bubbles up inside of you, and anger fills your head, turning your ears red. “Megan,” Damn, what are you going to have to do to convince her to give it up? This is getting ridiculous.

“Found it!” She exclaims, and you forget to think. (God, you’re an idiot sometimes).

“I have a boyfriend!”

           At that, your sister is snapped back to reality, and it takes you a minute to let the words sink in. Shit, what did you just do? Your mind flies through possible ways out, take it back, lie, act like nothing happened…but it all brought you back to the simple point: if your sister thinks you’re taken, no more blind dates, no more speeches of being doomed to live alone. Of course you don’t really have a boyfriend, but how hard can faking it be?

                                       **6 MONTHS LATER**

 

           Pretending to have a boyfriend has turned out to really not be that hard. With your sister almost never visiting, all you really had to do was answer questions about your “boyfriend” whenever she called. And man, was it bliss, to not be worried about what blind date was next.

           Barry’s feet rest on top of your coffee table, and you stretch your legs on top of his. He smirks, and pulls his eyes away from the movie.

“Comfortable?” He asks, laughter hinted in his voice.

“Very.” You give him a cheeky grin, cuddling up next to your best friend. Chuckling, he wraps his arm around you.

           Tonight was one of your weekly movie marathons with Barry. When no metahumans would be tearing the town apart and Barry, aka the Flash, didn’t have to stop them, the two of you would choose movies you’ve never seen, or movies you wanted to see again or TV shows and marathon them together. Eating more popcorn and milk duds than humanly possible, and joking around. Sometimes muting the television and making up your own commentary for the characters.

“Hey, we’re out of popcorn,” You point out and look up at Barry expectantly, causing him to roll his eyes with a smirk. He doesn’t need to respond and he moves away his arm, standing up and moving towards the kitchen, taking the empty bowl with him.

“Thank you!” You call to him, stretching out the ‘ooo’ sound as you say it.

           Suddenly, the noise of someone knocking against your door enters into the apartment. Groaning, you toss the blanket you had to the side and make your way towards your front door.

“Barry,” you yell out, pulling open the door as you speak, “did you order pizza again? You know there is such a thing as too much pizza…” Your voice regresses suddenly when you’re met with the person standing at the door. Instead of a pasty, teen in delivery uniform and holding a pizza box, your sister, Megan, is there.

“Surprise!”

           She reigns you into a hug, taking you in by the neck causing you to laugh.

“What are you doing here?” You inquire, pulling away to get a good look at her. You haven’t seen her since Christmas.

“What? A loving sister can’t visit?” One look from you has her giggling away her previous serious expression and walks inside, dropping her coat into your arms. “Okay, your right. My business is hosting another Charity event here! It did so well, last year and I thought, ‘hey if I’m in town, why not stay a couple days with my younger sis?’”

“So, you’re staying here? At my place?” Oh no.

“Well yeah, unless, of course, if you want me to go…”

“No, no, of course not, it’s just—“

“Y/n, I get it, you don’t want me to intrude on you and the boyfriend, but I swear I’ll be the best guest ever. You and him are even invited to the Charity Gala!” You don’t know how to respond, but she doesn’t notice, her eyes busy looking around the room. “Where is the guy anyway? I want to meet the man who stole my sister’s heart.”

           Right about now you wanted to hit yourself in the head with a frying pan. How could you forget, about telling her you and your make believe “BF” were living together? Another one of your brilliant lies, at the time you thought it made your story more believable, but now you were wishing you kept your mouth shut.

“Megan, I have to tell you something,” you begin, the truth has to come out. You can’t invent a boyfriend out of thin air.

“Oh, don’t tell me that you and him broke up? I mean seriously, Y/n, can you not keep a man?”

           At that, you shut your mouth tight. It was all flooding back again, like nothing had changed. It’s in this moment, that Barry, bless his soul, decides to come out from the kitchen, a newly filled bowl of popcorn in his hand.

“Double buttered just how you like it,” His voice trails off when he sees that you’re not alone, his eyebrows crinkling together for a moment.

“Oh, you must be him! I am so happy to finally meet you!” Megan’s face lights up when she sees Barry, quickly walking over to him and enveloping him into a similar hug she gave you earlier.

“Uh, Barry meet my sister, Megan. Megan, this is Barry.” You introduce, awkwardly shoving your hands into your pockets. Your best friend’s face lights up in recognition and immediately returns a smile towards your sister.

“It’s really nice to meet you, too. Y/n, has told me a lot about you,” he tells her and she looks him up and down with a grin plastered to her face.

“Y/n, you didn’t tell me your boyfriend was hot.” She exclaims,

“What?” Barry questions, his face in complete shock and bewilderment. Megan, luckily, didn’t catch on.

“Hey, I may be gay, but that doesn’t mean I don’t know a hot guy when I see one, and my sister has definitely snatched up a good one.” She replies in confidence, and you want to hide your face in your hands.

“You know what, Barry, can you come with me?” You say finally, trying to control this before things gets out of hand, “I, uh, need some help setting up the guest bedroom.”

“Uh, yeah, okay.” He agrees, reluctant, placing the popcorn on a table nearby.

“Meg, just make yourself at home, we’ll be right back!” You tell her before pulling you and Barry into the spare bedroom.

           You turn around, after closing the door behind the two of you, and are met by Barry’s stern green eyes and his eyebrows raised expectantly.

“Okay,” you begin, reaching out to him, “I can explain.”


“Run that by me again?”

           Barry sits on the edge of the bed, and he runs his fingers through his hair, before turning to look back at you, across from him.

“Barry, you know I wouldn’t be asking you if I had another choice,” you don’t bother to repeat the plan again, you’ve already done it twice.

“Okay, let me get this straight. You told your sister you were dating someone so she would stop setting you up on blind dates, but now she’s here and you need me to pretend to be your boyfriend?”

           You move closer to him,

“She’s only in town for a couple days. Barry please, I’m desperate.”

           He bites the inside of his cheek, like he does when he’s thinking something over. Your heart beats anxiously for his answer.

“How sure are you that it’s going to work?”

“Like 20%.”

“And the other 80?”

“The other 80% means my sister finding out I’ve been lying to her for months and she never talks to me again.”

“Those odds suck.”

“I know, but I need you, Bare.”

           Barry smiles and scratches a spot behind his ear, before giving a reluctant sigh.

“Why not? It should be fun.” He breaks into a large grin, and you tackle him, covering him in a bear hug.

“Seriously? Thank you so much!” Barry laughs into you, his back lying on the bed from when he fell against your sudden burst. You fall to the side, rolling off of him. The two of you stay like that, for a second, giggles being shared between the two of you. Him on his back, with his head turned to see you and you on your side, a hand propping up your head. Barry’s the first to speak,

“How hard can it be, right?”

who you should fight: KnB edition

so, I hear that you all want to know who would win if you fought the KnB characters?  well, wait no longer, because I am here to give you the facts.  the truth, straight up.  the truth, the whole truth, and nothing but the truth.  here are the do’s and don’ts of who you should fight:

Kagami Taiga
who wins: Kagami (unless you are a werewolf)
Kagami’s known weaknesses are dogs, food, and tough kanji.  aside from those things, he’s pretty much invincible.  also, he’s always ready to fight.  he would be squaring up with you before you had time to finish rolling up your sleeves.  the only people to put a dent in Kagami in the entire series are Kuroko, Riko, and Kagami himself.  that’s a formidable trio, and it’s worth noting that Kagami never stays down for long.  he’s back on his feet and ready to go again in no time at all.  do not fight Kagami Taiga unless you are a Japanese teacher who is also a werewolf, and can therefore defeat him with both complex kanji and being a literal dog.

Kuroko Tetsuya
who wins: you, but at what cost?
Kuroko’s mostly weak, but be careful, if he lands a hit he could seriously damage you.  have you seen him punch the basketball across the court and call it a pass?  goddamn, you could get seriously injured if he tried that out on your squishy bits.  also, and this is important, do you have the moral high ground in this fight?  make sure you do beforehand, bc if not, you’ve just gained yourself a nemesis.  he’s a fucking stubborn little bugger and he won’t let the injustice of your victory continue.  this is the boy who took down the GoM just to prove a point.  he’s patient.  he will wait.  only choose to fight Kuroko if you don’t fear retribution.

Aomine Daiki
who wins: Aomine
so he did knock Haizaki out with one punch which was pretty impressive, but also he’s a loser and he doesn’t go to practice.  and he probably smells - all boys about that age do.  fight Aomine Daiki.  tell him to do his homework and take a shower.  he’s strong and athletic and he’ll probably win, but, damn it all, this boy needs to be fought.  his teammates will thank you for trying, and you’ll get a nice feeling of accomplishment if you manage to get a hit in.  I say go for it.

Momoi Satsuki
who wins: unknown
this is a bad decision and you will regret it immediately.  no one has ever fucked with Momoi throughout the entire KnB series and there’s probably a reason for that.  do you really want to try this and find out why?  no, no you don’t.  fighting Momoi is a bad choice and I would recommend that you do whatever you can to avoid it.

Midorima Shintarou
who wins: YOU
Midorima is a fucking nerd and you should fight him at once.  he won’t want to risk damaging his hands, so punching is out, which means his only attacks are either slapping or kicking.  there’s barely any risk for you.  you cannot lose this one unless he tries to run away with his longass legs.  protip: corner him first to avoid this.  also, at no point should you try to fight Midorima when cancer is in first place according to Oha Asa - this is when he is naturally at his strongest.  try to schedule the fight for a day when your astrological sign is ranked higher than his.  it might not mean anything, but you will have a psychological advantage and winning will be even easier.

Kise Ryouta
who wins: who cares
look, I don’t know what your beef is with Kise, but do you really want to do this?  he makes money with his face.  he’s probably insured for, like, a lot of money.  he’s absolutely ready to fight if it’s necessary (see: that time he was ready to throw down with Haizaki), but you shouldn’t let him.  the lawsuit is definitely not worth it.

Murasakibara Atsushi
who wins: how tall are you?
Murasakibara is 6′10″ and if you are taller than that you automatically win.  congratulations on being a motherfucking giant, you absolute noodle, you.  if you’re not taller than Murasakibara, I’m sorry, he’s gonna crush you.  he’s alarmingly, deceptively competitive and there’s no way he’s going to let you waste his time by attempting to beat him up when he could seeking out and consuming sweets instead.  the longer you drag the fight out, the worse it’s going to be for you in the end.  if you must fight Murasakibara, just let him beat you right at the beginning and live to fight someone else another day.

Akashi Seijuurou
who wins: Akashi
look, we both know this is a terrible idea.  that’s not going to stop me from telling you to fight him anyways.  yeah, you’ll get your ass handed to you on a silver platter, probably by a butler employed by the Akashi family specifically for that purpose, but it’s worth a shot.  god knows he deserves a good ass-kicking.  you absolutely need to fight Akashi.  it’s for the greater good.  please do it.  imagine what it’ll feel like in the fleeting moment between your fist meeting his face and your soul leaving your body.

hanahinatahana  asked:

What's going on with the Siamdang drama? I decided to skip since I've been burned by SSH dramas before, so I have no idea what's been going on.

Hoo boy,  So, pretty much:


1.  SBS thought they had a guaranteed hit on their hands with Lee Young Ae’s big comeback drama.  Up until shortly before it aired, it was always meant to be a weekend drama, and while it got pushed back once or twice, the earlier possible slots were for the weekend.  Then someone went “hey, we have a guaranteed, no chance of failure drama, why are we making it a weekend drama instead of primetime?”  So they moved it to the Wednesday/Thursday slot without taking into account that, well, it was meant to be a WEEKEND drama, and not only do weekend dramas have a different vibe from primetime dramas, but viewers also have different expectations.  If it had been a weekend show, there would have still been some problems, but I do believe that it would had had the ratings-or close to-that it was expected to have.

2.  Even though Lee Young Ae apparently didn’t want to rely on nostalgia too much, SBS really really did, and played up the nostalgia in marketting, and in the show itself.  On paper, it makes PERFECT sense why she’d go with it.  It’s set in the same time period as Dae Jang Geum and the characters are familiar but not identical, it featured a character who rarely (never?) appears in sageuks, a romance between a couple in their late 30s, and a rather unusual and somewhat original spin on things.  It isn’t the first series to combine modern and  historical parts (and it should be noted that filming finished long before Goblin or Chicago Typewriter, which also feature reincarnation and historical and modern timelines, were ever announced) but it’s still an uncommon approach.  Unfortunately, SBS opted too much for the nostalgia.  Nods and homages to LYA’s previous iconic works are natural and expected, but SBS decided that people who liked LYA in an early 2000s drama wanted to watch her in an early 2000s drama in 2017.  Personally speaking, while there were some not-great sageuk parts early on, it worked for me.  It didn’t work for a lot of people because…well, even if you liked something 14 years ago you don’t WANT something that hasn’t progressed in those 14 years.

3.  The series was hyped as a sageuk with bits of modern plot, and marketing really built up the nostalgia.  In reality, the series was always meant to be roughly evenly split between the modern and historical plotlines.  Unsurprisingly, when fans got something VERY different from what they’d been promised (the first episode was mostly modern parts, the second was half modern, half snippets from different points in the sageuk plotline) they reacted pretty loudly.  SBS reacted by being SBS and making drastic edits.  It should be noted that the ratings didn’t fall below what’s normally considered decent until AFTER the major edits took place.  Most of the editing was removing large chunks of the modern parts.  Unfortunately, it was constructed for the two plotlines to feed into and support each other.  The sageuk plotline was perfectly decent on its own, but was obviously lacking something, and that something was the bulk of the complementary plotline in the present.  As a result, while we’ll likely get resolution for the sageuk plotline, they cut so much from the modern plotline that I don’t see how they can fully resolve and explain everything in the final episode.

4.  I’m not completely up to speed on this part, but it was apparently also expected to do well internationally, like Moon Lovers did, but the China ban pretty much killed that.

5.  It’s SBS doing a sageuk?  I mean, don’t get me wrong, more often than not,  sageuk that doesn’t get stellar ratings sails through SBS unscathed.  But then…well, they pretty much did the same thing to Moon Lovers with the heavy edits that made things a mess and did more harm than good, but at least they didn’t do so many edits that they dumped 2 entire episodes worth of plot.  Then there’s poor Ja Myung Go, which had the misfortune of competing with Queen Seon Deok (and another really popular drama that QSD replaced early in its run, tough I forget that drama’s name) to which it bore some similarities.  The ratings Ja Myung Go pulled in were low, but not actually terrible, but it was meant to be 50 episodes and they cut it to 39.  IMO, having to condense the last 20 episodes into 9 episodes (and I can’t recall if they even had that much forewarning) pretty much ruined it.  I loved that show despite not caring for the male lead at all, or being very invested in the romance, until the final handful of episodes, which I thought went downhill fast, and the ending pretty much ruined it for me.  (Tragic is one thing, but I thought that went OTT with the tragedy, and actively ignored Ja Myung’s agency to have the tragedy, but that’s another rant.)  SBS seems a little more trigger happy and panicky if their really hyped dramas don’t immediately perform as expected, and both Saimdang and Moon Lovers probably would have fared better in ratings if someone hadn’t hit the panic button and sent the editing department into a frenzy.


I mean, I’ve spent half the run of the show going “MBC wouldn’t have done this to us.”  (I mean, in general, MBC seems more willing to stick with sageuks and let them do their thing even when they only have average ratings.)  Sure, we would have had even more Dae Jang Geum shoutouts, but at least they would have given the show a proper chance.


6.  I honestly have no idea if this is a factor, and I touched on it in a post last week, but Rebel: Thief Who Stole the People has been…not a sleeper hit, but it’s a show pulling in good ratings and a lot of acclaim despite relatively little promotion.   MBC kinda threw it out there and it took off was better than the overlapping and way more hyped sageuks from SBS and KBS.  But Rebel is, IMO, a truly revolutionary and progressive show in a lot of ways.  Even if you don’t see it as revolutionary or progressive, there’s no denying that it deals with and addresses things other sageuks usually don’t, and is very different from what we’re used to in a lot of ways.  At the same time, you have Saimdang relying on tried and true tropes for the sageuk, and steadily losing a lot of what set it apart thanks to SBS edits.  A lot of people I know (as in, all of them that I can think of) who initially watched Saimdang but couldn’t get into it DO watch and love Rebel.  Whether or not this holds true for Korean viewers, I don’t know.

I mean, I’m biased.  People who follow me who don’t watch kdramas, or even those who do but don’t watched Rebel, are probably sick and tired of me talking about it.  Someone out there probably isn’t reading this post purely because I post so many walls of text about the show that they have every possible version of the title plugged into tumblrsavior.  Unless it goes south in the last few episodes, I’m going to say that Rebel is probably one of the best shows I’ve watched in the last few years, while Saimdang is pretty much my most anticipated drama of the last two years. Aside from the first few episodes, Saimdang did not live up to my expectations, though I do still like it for the show it is.


End rant.  Sorry, you probably didn’t expect a reply anywhere near this long, but ti’s one of the things that gets me going these days.  My friends in Line have put up with a lot of this from me lately.

NEILSWESNINSKI’S AFTG FIC REC

hey guys! as a thing for reaching 1k followers on this site (what??) i put together a collection of some of my favourite fanfics for the foxhole court! hopefully you guys like it, and be sure to check out all the amazing authors!

Keep reading

M’s Writing Tips

Below you’ll find a list of tips and tricks I’ve used to help improve my writing. 


Part One:

There are four types of me: 

  1. The lazy creative type
  2. The impatient type
  3. The overly confident type
  4. The rare mixture of the three above type

Do you identify with any of those? You do? Cool! I’m going to share with you what I do when I’m in those four different moods. Let’s start with number one.

#1 Lazy

Half the time whenever I get a fanfiction request I don’t plan it out, same goes for drabbles as well. I’ll just start writing, which isn’t always a bad thing. The requests and drabbles usually have enough information attached where I don’t need to plan, I’m able to create as I go. Now, how do you deal with this when you don’t want it?

  • Write. I’m not kidding, it’s like writer’s block, just write.
  • Listen to those new ideas popping into your head while you’re writing, you’ll thank yourself in the long run for changing your story rather than giving into your laziness to not rewrite a scene.
  • Force yourself to plan.
    • Give yourself rewards for breaking your habit of not planning.
  • Take a step back and truly shove yourself into the scene. Close your eyes and pretend you’re there. You can be your main character, you can be a bystander, hell you could be God if you wanted- just put yourself in the scene. Feel the tone of the atmosphere and use it. Use the immersion to think and motivate yourself to write more intensely. 

#2 Impatient 

I know damn well what it’s like to just want your words to magically show up on the paper or document in front of you. 

  • Write out an undetailed version of the story. Sounds weird, I know, just bear with me here.
    • You’ve got that brilliant idea for a story in your head and you just can’t seem to get it out fast enough, so skip the details and get it out before you forget anything major.
    • It doesn’t have to be long, mine range from a page to three pages (front only).
  • Once you’ve got the words in front of you, you can start to formulate plot twists and specific plot points for certain parts of the story.
  • You can also use it as a reference if you’re blanking on a minor detail while writing future chapters.
    • This is useful if you’re like me and write chapters months apart. 
    • I also have a terrible memory so it really helps me remember the little things.
    • Just make sure you keep it updated with any changes.

#3 Overly Confident

Similar to number two, the Impatient Type, being overly confident leads to a lack of details in each chapter. 

  • Have patience; you’ll get your story written, I promise. The last thing you want to do is rush a chapter.
  • Reread your chapters, not necessarily to edit, but to make sure you didn’t skip over a certain part or leave something out.
  • Write out bullet points for each chapter and make sure you hit each one. 
    • If you don’t, write about them in the following chapter.
  • Check your writing- you don’t want to write a plot twist poorly. 
    • Or any other scene, for that matter.

#4 The Mixture

This, this is the ideal writing type, it’s where the three types above are mixed so perfectly everything just works. And you know what helps this heaven-like state? Planning.

  • Plan out your characters and be as specific as you can, even if it’s about something you think will be unimportant to the story. It may come into play later and you’ll thank yourself for having it.
  • Talk to a friend, make sure your story doesn’t have any major plot holes.
  • Get excited, do a little dance to enjoy your productivity- it’ll help get your blood pumping and get you ready to start writing.
    • You’re allowed to be giddy about your work!
  • Don’t give up! But…you may need to take a break. 
    • If you hit a road block during your perfect mood, get up and stretch. Maybe take a nap and dream about your story.
    • Go for a run.
    • Skip around your house.
    • Eat some cake.
    • Steal the Declaration of Independence.
    • Find something to occupy your time for an extended period of time to give yourself a break.
  • Remember that you don’t have to write the entire thing in one day. 
    • I know you may want to get as much writing as you can in because you don’t know how long this mood will last, but if you push yourself too hard you’ll turn into type number three.

Writing isn’t easy. Anyone who claims they’ve never struggled with it is most likely lying, I swear your pain isn’t going unnoticed. 

Well, there you go! That’s all I’ve got for you…for now. I plan on writing more parts that include a multitude of tips so don’t expect this to be the only part in the series. Also, don’t hesitate to ever message or send me an ask if you’ve got any questions!