it’s important to be accurate

Okay, so Hulu has this show called “Harlots,” which has

 - Historical costumes, yum

 - Prostitution treated like an actual profession, and women are complex and well-rounded??????

 - Everyone important is a woman, it’s completely woman-centric

 - It’s ACTUALLY historically accurate in that black people exist in England holy shit

 - Full of absolute joyous Easter Eggs for people who know their history

 - The intrigue is just bursting at the seams, it’s like Game of Thrones with brothels

 - Also, it caused me to make this dumb macro


I’m sorry guys, but we really need to talk about translation errors. It’s important for translations, ones meant to be accurate, are accurate. Like, it’s actually really important, not just in setting tone, but in setting the actual plot.

Let’s talk about chapter 521.







These are the most outstanding of the differences in this chapter alone. Each of them could literally mean entirely different things. 

For the first one, Yonkou’s translation has Lucy state that she will see her soon, and in MS’, Lucy asks if she will see her again. This is probably not as important as the next two.

In the second, Yonkou’s translation makes it sound like Brandish says the thing about trying to kill Lucy. In MS’, Natsu is talking about Dimaria’s attempt on Lucy’s demise. This is a huge plot thing because that would mean Natsu remembers Lucy’s “death”.

In the third, Yonkou is very vague about Zeref’s apology to Natsu, and MS makes it sound like Gray’s arrival is going to cause Natsu the most pain.

I will admit that I am extremely biased, because I like MS translations much better. So I can’t just say they are more accurate because I like them more. 

None of us have a clue, and that irks me. Because those last two are extremely different.


Imagine April, Casey, Karai, and the turtles are in like their mid to late thirties or something. 

Imagine Casey has the brilliant idea to start a comic book series about the adventures the turtles had when they were younger.

Imagine he goes to his bff Raph with the idea, since he and Raph are both artistic. 

Imagine he gives Raph a long spiel stating that 1. not only would these comics become a historical reference for future historians about their lives (as Renet had already told the turtles how famous they’d be), but 2. that their lives could easily be made into a comic book series that a wide range of people could find compelling.

Imagine Raph agrees.

Imagine them asking Leo for a journal he kept when he was young (or rather, asking him to type up an edited version he wouldn’t mind them seeing) that they could use as a chronology reference.

Imagine them asking Mikey for help with comic relief.

Imagine them asking Donnie to proofread/write his own technobabble since, “It’s important to be accurate.”

Imagine Raph and Casey start to brainstorm pen names since they want to use their actual names in the story.

Imagine while brainstorming pen names, Raph asks Casey, “Hey, what were those names you used to write on your gear?” and Casey answers, “Eastman and Laird.”

Imagine they decide to use the pen names Kevin Eastman and Peter Laird.

Imagine them checking in with the clan before sending it off to be published to make sure everyone felt accurately represented (so it wouldn’t be like those sitcom episodes where one person writes a book and obviously copies real life but from their point of view, making everyone else look awful).

Imagine their semi-autobiographical comic becomes a huge hit.

Imagine it eventually gets out that the comics were true stories.

Imagine that’s how they become famous (in the 2012 universe, postseries).


Okay shellheads: If you want to draw, write fics or make crazy awesome head-canons you must to see these:

1- A happy turtle simple graphic

2- All the fucking parts of the plastron and carapace.

3- Human bones comparison whit our reptilian friends.

4-5- How they get into their shells. Some are more exposed and others are completely locked.

6- Approximation graphic… I tried.

captainsarcasmawaaay  asked:

I'm writing a fantasy story set in the 6th century in various places around the world, including the middle east. I'm concerned about how to represent the pre-islamic world without coming off as disrespectful or islamophobic. For example, the Kaaba being used to house idols. It's historically accurate, but I feel reluctant to depict it in that way, as it might be disrespectful. Is this a legitimate concern? What other pitfalls should I be aware of in depicting this setting?

Representing a Pre-Islamic World Respectfully

It’s historically accurate, but if it’s not important for your world-building, you might as well leave it out. In other words, it would mostly make sense to me if you were writing about the families that historically guarded the Kaaba or were the head of providing for visitors and guests who wanted to view the idols, but may not be necessary if you are already building a society focused on polytheism with characters that won’t necessarily be concerned with the Kaaba or those particular idols at all times. 

Remember, people of that era had their own house-gods to offer reverence to, gods that traveled with them. A lot of people were very poor and might not be able to have the opportunity to mingle with those families that held sway over the Kaaba and the traffic of visitors, etc. 

Also, the Middle East is a very broad place which doesn’t only include Arabia, so make sure to be specific in your details, narrow in on a particular country or locale and let that guide you and your research.

-Mod Kaye

anonymous asked:

do you have tips on writing smut?

Hmm. Well, firstly it’s important to be accurate. Things need to be properly prepared and lubricated, you can’t just shove it in there and hope for the best.

Secondly, dear GOD avoid stupid words for penis or cum or even vaginas.


  • dick, cock, erection, shaft, slit, head
  • seed, cum, (occasionally spunk), maybe sperm depending on the situation
  • vagina, pussy, lips, clit


  • stick of destiny, one-eyed monster, (try to avoid boner as well [it just sounds childish]), package, prick, doinker, meat popsicle, divine rod, anal impaler, etc.
  • baby juice, baby batter, salted cream, schlong juice, protein shake, jizz, spooge, two ball throat cream, etc. etc.
  • lady flower, pink taco, muff, twat, poontang, lady garden, bearded clam, beaver, cocksheath, etc. etc.

Next, it’s important to include foreplay. There’s a LOT of things that build up to sex, and experiment with these things to make a unique sex situation each time!

Now, I know it’s tempting to use words over and over. DON’T DO THIS! There are synonyms for words for a reason! Don’t know a synonym? LOOK IT UP! You have to do that a lot as a writer! Also look up descriptive words!

For example, what sounds better?

  1. He rubbed his cock once before freeing his partner’s cock.
  2. He stroked his throbbing cock once before freeing his partner’s swollen erection.

Clearly number 2, correct? <3

It’s very important to remember that it’s like REAL sex and you need to treat it as such. You need to express the emotions they would feel, don’t overuse the word “moan”, and have some good dialogue!

Words to use besides moan:

  • groan
  • cry
  • mewl
  • whimper
  • whine
  • grunt
  • gasp
  • sob
  • wail
  • and whatever else you can find!

Describe different kisses as well! There are a million different ways to kiss: use them all. This also applies to sex positions. 

Try to break the norm when it comes to how their body parts are positioned (without going crazy, of course). This requires you to be more descriptive for readers to understand how they are at that moment, but it’s a good challenge! The worst thing is when a reader has no idea what position the involved characters are in.

I think I basically covered everything <33

If I missed anything, feel free to send another ask and I can fill you in!

Happy writing, and happy sex scenes!

Fitness trackers keep track of how long you’ve been working out, and your heart rate, and the number of steps you take in a day, all while coming in a conveniently small, conveniently $200 package (which you’ll lose in a drawer in a month). And that sounds pretty harmless, even useful. Who doesn’t love data? Well, what if the data isn’t accurate? A study of a pair of Fitbit products found that they miscalculated heart rates by up to 20 beats per minute, and that they got worse as the exercise got more intense. You may recognize intense exercise as the time when it’s most important for a tracker to get an accurate reading, since you don’t really need that much monitoring when cramming Cheetos in your mouth and yelling at Wheel Of Fortune. A second study found an average error rate of 14 percent – a margin that doesn’t just make the product useless, but dangerous to someone who has heart disease and needs to know precisely how much their ticker is ticking.

6 Healthy Habits With Huge Downsides (Nobody Talks About)

anonymous asked:

Can Azula be excused from her actions because of the abusive relationships she's in with her father, the fact that she's 14, and her mental instability due to her abuse? There are obviously complexities to her character but I am very sympathetic to her. I don't want to fall in the same hole that Kylo Ren fans do though. Like I can see that Kylo Ren is evil and I don't excuse his actions in any way like some members of the fandom and yet I do this for Azula lol

Man, this is a complicated question. And it’s something I’ve somewhat tried to tackle because there was a time where I was falling into a hole too. Normally when any question of Azula comes up, I just link this wonderful piece that was anonymously submitted to me, because I truly think it’s the best lens. It lays out how Azula has done horrible things that we aren’t meant to excuse, yet at the same time she is a tragic figure given her abuse, given her age. To quote the linked essay:

The thing is, I think it’s also a really important and painfully accurate depiction of what happens when you get a family situation like this. I think Azula’s distressing lack of compassion existing in uncomfortable juxtaposition with the fact we know she was made this way through abuse, is valuable. Because…that’s what it’s like sometimes. How do you cope with that? How do you untangle that mess? How can you feel any which way about that?

So I think it’s also worth examining whether our desires to make her more sympathetic are partially based in a need to make that situation less complicated and painful. If we imagine she was secretly conflicted the entire time it’s…easier.

I think it’s important that they didn’t just show the cycle of abuse broken (via Zuko), they showed it continuing (via Azula, by way of Ozai, by way of Azulon; they touch on this when they show us Ozai’s baby picture - not even he was always a monster, and Azulon was terrifying).

I am far, far, far more sympathetic to Azula than to Kylo Ren (or Kuvira) because of her age and abuse, but I do think taking all agency away from her and saying she has no responsibility isn’t a tenable position either.

This actually reminds me a bit of the dialogue about Tyrion in the asoiaf fandom, since he is 100% a victim of abuse who deals with ableism every day, and yet he’s also a fucking asshole who is often incredibly entitled and misogynistic. People want to pretend he couldn’t have possibly had any say whatsoever in marrying the 12-year-old political prisoner, because his abuser is the one who suggested it.

Look. The way abuse manifests and the fucked up actions that result are not simplistic and there’s no formula that we can apply to figure out at what moment (or age) someone is free of responsibility for what they do. But I think all we can do is look at who is pushing towards healing. Azula never asked for any sort of redemption, and we’re not meant to be fist-pumping at her downfall. She is a victim, and props to ATLA for not shying away from the tragic realities. It’s heartbreaking that she can’t play goddamn volleyball without terrifying kids her age, you know? At the same time, she is also the perpetrator of violence, and that’s made clear. 

Her scripting wasn’t free of issues, of course, but for what we got, this was a damn effective exploration of the cycle of abuse. We can appreciate that tragedy without absolving her.

Kylo Ren is just an asshole.

white people when there are no brown people in fantasy: um!! chill!! it’s supposed to be historically accurate!! there just weren’t any brown or black people there back then!

white people when there are brown people in fantasy but they’re poorly represented: um!!! how can it be racist when it’s just fiction??? it’s not real!! those aren’t real races!! it’s fantasy!!

I The Beginning

Before you even start studying maths you’ve gotta get your things together. The notebook you use to do your homework problems, your revision notebook, extra grid paper, textbooks, pens, pencils, rulers, geometry sets whatever you will need in this study session. Now maths is one of those subjects where no matter how long you redo your homework problems you won’t do as well as you hoped if you don’t learn how to apply the maths. So I’ll be focusing on how you can learn to apply mathematics, along with a few techniques that will prevent the ‘3 stages of downfall’.

II Applying this weird things called mathematics

Theory is a good place to start, however, don’t just parrot the theory so you can trek through those problems. How did people come up with these theories? Were they derived from another concept? Do these rules apply to all areas of this topic? What is the purpose of the concept itself? These are the types of questions you should ask yourself so that you aren’t limiting your brain. Here’s an example: ooh I recognise this problem, I’m going to do it the same way I did it originally to get it right. If you have this mentality in an exam, when a harder question decides to knock on your door, will you know how to do it? Hmm…

III The first stage of downfall

‘I make so many silly errors’. This is actually my life and I’m working towards fixing this. I tried out this method and it seems to be working so far: when you’re redoing problems from your own textbook and other textbooks, mark it and for me, most of the time the questions I get wrong are silly errors. If you have sufficient working, you can look back and see what made you draw the conclusion that was wrong. Write all these reasons on a sticky note and each time you attempt a question, go through the list of causes in your head and after you’ve completed the problem, go through the checklist again to make sure you haven’t done anything on the list. For me, it actually had to do with my handwriting- something that I could easily control. In the actual test, if you have enough time, redo each and every question to make sure that you haven’t made any stupid mistakes. My original working is in pen and my checking is in pencil (I outline this on the front of the test so my teacher isn’t like what the hell is this???).

IV The second stage of downfall

'I didn’t have enough time’. Again, actually my life. So, when you’re doing the practice problems, time yourself and go as quickly as you can but make sure you are 100% accurate. That’s why it’s important to recognise the causes of your silly errors first. Write down the average time it takes you to complete a problem belonging to a specific subtopic, but it doesn’t count if you got the problem wrong. Then you can not only figure out what questions in the test to focus more on based on your time and accuracy, but you can figure out what subtopics are your weaknesses and you can make them your strengths :))

V The final stage of downfall

'I’m not good at maths’. Yes, the final stage of downfall is your mentality. If you constantly believe that you’re horrible at maths, you won’t try as hard because 'what’s the point I’ll fail anyway’. So not true. YOU ARE CAPABLE OF ABSOLUTELY EVERYTHING A LITTLE MATHS PROBLEM IS FREAKIN NOTHING FOR YOU BECAUSE YOU ARE A GOD/GODDESS WHO IS HELLA INTELLIGENT AND CAPABLE OF EVERY SINGLE THING

I hope this helped you guys + go smash that maths test Xxxxxx

anonymous asked:

what does it take to get your gender marker changed??

get your passport taken care of first. a passport is a federal ID that can be used as identification in any state (and other countries), as well as serve as proof of citizenship in place of a birth certificate. you can also get a passport card, which is wallet sized and can serve as ID anywhere.

this could change under new administration, but obama made it easy to get your gender marker changed on a passport, and as of right now, there is no surgery requirement to change your gender marker. you don’t even have to have your name changed yet in order to change your gender marker on your passport. you can change the name later (and if it’s within a year of getting your passport updating your name is FREE). 

all you need to change the gender marker on your passport is this:

  • DS-11 passport application form
  • a letter from a doctor confirming that you have had, or are in process of having, appropriate clinical treatment for transition to the updated gender. and LISTEN - there are no set regulations for what defines “appropriate clinical treatment”, that means no proof of surgery or hormone therapy, nothing needed and no questions asked, all you have to do is have your doctor write a letter. i have a template for that letter that your doc can use verbatim, message me & i’ll send it to you. 
  • your original birth certificate (if you already have a current passport you don’t need your birth certificate, your current passport will work as proof of citizenship)
  • a photo ID (i.e. driver’s license), AND a photocopy of that ID, 1 page front, 1 page back
  • $135 application fee plus $15 for passport photos. if you don’t have that money i can give it to you. @charl_carles and @KendraSerra on twitter are matching trans people with donors to cover the cost of these passport fees. @transrelief is doing the same. this is how i was able to afford paying for my passport. 

that’s ALL YOU NEED. don’t be intimidated. it can be stressful getting all those documents together, but once you have them all you need to do is go to a passport acceptance facility (usually a post office) near you and have your application and documents mailed in. whoever is working there will validate the application for you. call ahead, most places require an appointment but many accept walk-ins. some places accept debit and credit cards but many only accept money orders and checks. call to make sure, and know that when you go in, the law is on your side and employees are not allowed to harass anyone or ask questions about your medical history. if you feel uncomfortable or the staff is less than professional towards you, you can call the National Passport Information Center at 1-855-865-7755 or submit a complaint online through their Customer Survey

i hope that helps, i know it can seem stressful or overwhelming but it’s so important to have at least one form of identification that reflects your accurate gender. please don’t hesitate to message me again if you have any more questions or want to double check you have everything you need!

On Azula

Lokgifsandmusings: I received a remarkable and moving essay after responding to this ask regarding my intent on my series of Azula metas. In my view, it is the best framing of the disputes around Azula and how I’m choosing to close this set of analyses. I urge anyone who is a fan of ATLA to read it in its entirety. It is a note that assumes I am the reader, but I don’t think its meaning will be lost on anyone:   

I want to preface this by saying that I find your meta fascinating, that I am aware you have no desire to excuse or decomplexify Azula, and with reassurance that I, also, think she is a painfully complicated character. Unfortunately, I do suspect much of the pushback against your critique comes from a place of dismissal and a desire to comfortably write Azula off as “born evil”.  

Having said that, I think it would be a mistake to view all disagreements on this as stemming from that reaction, or from ignorance (either on the part of the viewer, or Bryke) of intersectional issues, or with the “born evil” point of view.

queertoons talks about lenses and that’s absolutely accurate. As an alternative lens, I offer the fact that my partner finds it incredibly emotionally difficult to watch ATLA because he was physically abused by his father as a child and he now suffers complex PTSD as a result. The Ozai-Azula-Zuko dynamic is especially painful for him because it mirrors his father’s favouritism of his sister, and the way she became a secondary abuser. Almost certainly out of some kind of survival instinct and he very clearly blames his father for ruining her chance at healthy development. While she may not be consciously aware of it, she absolutely was abused too, even if she was never subject to violence.

Keep reading

anonymous asked:

Hey! I looooove your art <3 I wanted to ask, how do you make a character look the same from different angles? I struggle with this so much, I draw a character that I like, and when I try to draw them from another angle they look completely different... I just don't know what I do wrong

Thanks! <3 In order to draw characters from different angles, you need to understand the construction of the character so you can stay on model every time you draw them. It’s also extremely important that you at least know basic anatomy to get started or else you won’t know where to put things or how they work.

When you go to draw a character, first think of the general shapes that they’re made of. (I’ll use Dipper as an example because lots of people were wondering how I draw him)

You see that he’s mostly made up of circles and round shapes, so we’ll use those to construct his design.

The rough sketch on the left shows the round defining shapes that I mentioned. I make sure that those are in place before refining the sketch and adding details. Drawing webs like sketch on the far right can help you see the three dimensional curves on the character and help better your understanding of the construction. Making character turnarounds are also really helpful as well.

It’s also important to think about the character’s proportions, which can be anatomically accurate, or exaggerated based on the style you’re drawing in (In this case, it’s slightly exaggerated). I usually have the corner of his eye line up with the top of his ear, have his mouth line up around the bottom of his ear, his eyes resting just above his nose, have the rim of his hat on level with his eyebrows at rest, etc. Normally, I draw his shoulders about the same width of his head, but sometimes I will widen his shoulders to make his body proportions more accurate to real life. (I have never really been decisive on this lol, It mostly depends on how I want to draw him at the time.)

I was going to add more info to this like using different shapes to design, but I don’t have the time for that atm. ;; I hope this was helpful enough, and good luck! c:

OKAY OKAY OKAY BUT LIKE. so i’ve watched the video about 20 times now because i’m just s o happy. i think i’m actually shaking. but point being it’s so good and also the two guys he takes down at the end are S O good because it’s tim’s fighting style. 

he’s small and he jumps up on the one guy to take his entire body weight into his chest and force him down, and then once he gets pulled off and thrown, he rolls well, and then his hits aren’t ridiculously powerful, but they’re accurate and it’s so important it’s so much like how i see tim fighting it’s so smart and uses his size to his advantage. i j u S T 

we are just so blessed to have him so pumped and so motivated to go for this. i am crying thinking about it; this is the most respect tim drake has been shown since the reboot in 2011 i stg

I really wish that GRRM had given Doran’s mother a name. Canonically Doran’s mother ruled Dorne in her own right and she believed in protecting her people and I think it’s such a missed opportunity on GRRM’s part that he didn’t have a sidebar in TWOIAF about her rule. What did the Unnamed Princess do during her rule? What did she do for her people, that left a lasting impression on Doran? What did she do during the WOT9PK? (Am I right in my theory that she lobbied Aegon V to take action while he dreamed of dragons?? Tell me I’m right.) What influence did she have on Princess Rhaella, information which could have been provided to us via letters, diary excerpts, etc in TWOIAF? How was the Unnamed Princess received and treated at the Targaryen court? What were her political policies? Why does Arianne not think about her grandmother? Why, in a series where it’s so important for GRRM to be ~~misogynistically accurate~~ (the misogyny is not historically accurate), why did GRRM not write a small paragraph showcasing a female ruler, ruling in her own right, presumably competently, presumably uncontested? What was her name?

Seven Deadly Fight Scene Sins

Below, we’ve listed some common sins that can detract from enjoyment of a fight scene. As always, rules are made to be broken. It’s also worth understanding something, before you try though.

Why Are You Thinking? We Should Be Fighting!

When working on a fight scene, it’s best to write the sequence as it happens on the page. This way, the action is immediate and in the moment. A common mistake, though, is for the character to become distracted even when it’s just within their head. The author may insert thoughts, description, and even dialogue that slow or pad out the action. This can be very frustrating as it often can lead to the feeling that both the author and the character in question are not taking the fight seriously. After all, if the character does not believe they are in serious jeopardy then how can the reader?  

Commonly, this may happen during rewrites or if the author gets distracted with making sure everything is clear. However, it’s also an easy mistake to correct. So, just be sure to stay on point and when you read over your fight ask yourself: does this feel like it’s happening right now? If not, cut the fat.

Talking as a Free Action

Fights are like sprints, they are moments of extreme physical exertion that leave us breathless with little room for chit chat. Lengthy, chunky dialogue inserted as two characters pound away at each other is unfortunately as common as it is unrealistic. Whether it’s Chris Claremont’s Wolverine flying through the air as he delivers a paragraph of text or two characters mouthing off witty banter in the middle of a sword fight, talking while entertaining can quickly become the means by which a fight sequence devolves into the ridiculous. As we, the authors, are not experiencing the fight sequence as it happens, what the characters are physically experiencing can be easy to forget.

Here’s a solution that both Starke and I recommend: talk before and talk after. If your characters must talk during limit yourself to ten syllables. That is not ten syllables per character, that would be too much. Instead, limit yourself to ten syllables maximum for all your characters who are fighting. This way, you can easily count it out and you’ll know that the dialogue itself is serving it’s place in the scene without detracting from the sequence.

Five Minutes is a Long Time

As authors we have a tendency to exaggerate for effect and those of us who are inexperienced at a specific kind of physical exertion have a serious tendency to overestimate. For reference, five minutes is a long time. It is a devastatingly long time. The average street fight, by comparison, only lasts twenty five seconds. A fight can end in seven seconds. The maximum of movements that even an experienced combatant can make before simply failing due to overwhelming exertion is eight. The more unequal the fight between two individuals, the faster it ends.

Characters who overestimate like this, especially those who are supposed to be experienced, tend to look very foolish and it undercuts the sequence. There’s a limit to how long a fight can go before the reader starts to lose interest and to sell your characters, it’s important to make the attempt to be accurate.

However, translating time into text can be very difficult and while we can count a single page as a minute in a movie script, the same cannot be said for a novel. A simple solution is to limit yourself by counting it out through the number of moves instead of guessing how long. The longer the fight extends, the more exhausted a character is going to become. If you limit yourself to eight moves per character, then you will get into the acceptable range for keeping your sequence punchy and quick.

Remember, the wider the experience gap, the faster it will end unless the experienced character has a reason to keep it going.

That’s Not Anatomically Possible

We could also label this as “spontaneously develops third arm”. This can happen during rewrites or through the introduction of a new weapon or when the author doesn’t stage it out or think the physics of the scene through entirely. Sometimes, it’s an attack that would do no physical damage were it to connect such as spinning and kneeing (a knee takes it’s power from the body driving forward to the low-line of the body or upwards into the body, it can be lifted to generate a better, quicker spin for another attack such as a spinning backfist, but is useless on it’s own, it is also a single action movement) or multiple actions happening simultaneously like two characters in a death grip punching each other without releasing their hold and you have a sequence that sounds good but makes no sense when your readers step back to put it together.

The best way to solve this is by finding a partner to walk you through it physically even if it’s just bashing at each other with nerf swords. Yes, you may feel a little silly and foolish but the more work you put into it, the better the result will be. It’s important to get a good grasp the physicality and body positions in the scene as you’re describing it and this can be difficult to figure out in just your imagination.

Intuition Does Not Equal Skill

Intuition is nice, and so is “natural talent”, but unless your character is a several thousand year old immortal or a character who is continually reborn and acting on lifetimes of combat experience, then neither of these are a substitute for actual skill. Skill is empirical. It is earned through time and practice, we don’t come out of the box knowing exactly what is needed. When this happens in a novel, it is a plot contrivance and a cheat by the author to push the character along without having to say “how” they know. In short, it’s lazy. Worse, it promotes that unfortunate idea that skill is just something some has as opposed to the reality that it can be gained by anyone who puts in the required time and effort. This promotes the idea, especially for young readers, that if they do not grasp a concept quickly then they should just give up because the only skills worth having are those that come easily. Natural is not always better and no matter how much talent someone has, it will be nothing if they don’t develop that talent into a skill that they can use.

Don’t use intuition to cheat your way past a concept that you cannot adequately explain, instead dedicate time to understanding the profession or skills you are trying to include into your character. Yes, it will take longer and may be confusing in the beginning but the end result will be much better.

Detail? What’s that?

When you write your sequences, it’s important to be clear. If the reader is not grounded in the sequence, is not experiencing the sequence, and following the sequence as it happens then the grand fight or moment in the book will become meaningless. Detail can lend clarity to the image the reader imagines and make the sequence carry through. If your characters strike at the body consider where they are striking to as opposed to just having them throw attacks blindly. Have them focus on their opponent and visualize the body, break the body down into pieces: head, throat, shoulder, arm, wrist, hand, stomach, etc. When a character is knocked back, consider what they do. Do their feet slide? Do they stumble? Think about the body and how it reacts. Think about the environment and how they are affecting it. Be specific and be clear with the sensations you are eliciting.

Make it easy to follow. Read over the sequence with your “new reader eyes”, if you have to reread it a few times to get an understanding of what is happening then a rewrite may be necessary.

Don’t Call Your Shots

Whether your character is announcing to the villains the exact way that they plan on defeating them or calling out the name of their super special technique before they unleash it, don’t do it. It may feel badass to have the character tell someone exactly how they are going to be defeated and then follow through, it tends to ring hollow. One: it discounts the ability of the enemies to adjust to the hero’s plan and react accordingly (which hurts their believability, why should I care if they can be dispatched so easily after being told what is about to happen?) and two: unless the hero is lying or bluffing, they look stupid, overconfident, or both. After all, they just told me what’s about to happen. Unless you’re working within the long anime tradition of announcing a special attack, it just feels like a waste of breath.

Respect your villains and antagonists enough to not short change their intelligence for the sake of trying to make your protagonist more often. Study up on badass boasts and figure out what makes them work. Hint: it’s usually the humor beat afterwards such as Marcus in Babylon 5 when he says “In five minutes no one at this table will be left standing, five minutes after that, no one in this room will be left standing” and after he does so, collapses and says “Great, now I have to wait for someone to wake up” or playing off Superman’s reveal that he constantly holds back his powers for fear of hurting someone in the finale of Justice League Unlimited in the final battle with Darkseid when he says “But you can take it, can’t you, big guy? So, let me show you just how powerful I really am.” (He also doesn’t succeed, but it’s a great moment). However, neither of these outline exactly what they’re going to do but both come with the threat that it’s gonna be awesome.

Say it without saying it, leave room for excitement and the thrill of seeing just what a character will do instead of them telling us what they’re going to do.


[trans] Harper’s Bazaar Jonghyun Interview (June 2016)

※ Do not re-translate into another language

Your actual atmosphere is very different from the sides we see you on TV. You are very energetic on stage but you actually have a small voice and talk slow in real life.

J: That’s right. The image shown on TV and how I am in real life is very different. I feel anxious in front of a camera. (Bazaar: Even though you’re a singer of 9 years since debut?) Even though no one believes it, I still am. Stage cameras are okay but I get very tensed up when I’m on reality or on variety shows. So, maybe that’s why people say I feel much younger on TV. It’s not like that at all when you meet me in real life right?

You seemed to show a buoyant spirit on TV but I feel like you are introverted and calm in real life. You also looked at your smartphone in silence when there was free time in between shooting.

J: I am searching up videos on Youtube. I watch it to keep me awake when I have schedules or feel sleepy. I rarely get any sleep if I have schedules starting from early morning. I started sleeping late out of habit ever since I dropped out of high school as I didn’t have a specific time to go to school. I actually slept only about 2 hours each day until 2 years ago. I felt fine back then but I started to feel a chronic fatigue since last year… I am naturally a sensitive person and I think I’m more sensitive since it’s just before my album release. I am the type of personality who dives into something very fiercely until I finish it. I think about the things I need to revise all day.

You picked dropping out of high school as your first turning point in life. What is your reason?

J: It was a choice that allowed me to escape from puberty. I only realized this by now but I actually just notified my mum (about dropping out) rather than asking her consent. Of course, I asked her permission saying that I have set up this plan, but from my mum’s perspective I think it must have sounded like “I’m going to drop out no matter what”. I think I was able to grow more mentally because my mum respected my choice. My environment had changed in one day and as much as I felt my mum’s trust in me I felt stronger responsibility. It felt like my mind had stretched out as if someone was holding my head and toes and stretched me. So it might have left stretchmarks or scars but it’s a wound of glory.

In one web magazine, they called SHINee as ‘delicate artist’ when picking out the 5 charms of each SHINee members. Do you agree?

J: Naturally I thought differently because I am walking on a path that not an average person would pick since young. It is correct that I don’t fit into being ordinary (t/n: he is referring to his career as an idol). However, I personally feel that being artistic is a phrase that’s been glossed over prettily. People say it’s ‘artistic’ to describe things like ‘it’s peculiar’, ‘it’s not understandable’, ‘it’s progressive’ or ‘his/her opinion is distinct’ in a positive way. I should say its real meaning is a little different from its meaning used in social context. Art is same as well. Isn’t art something about interpreting and expressing something in your own language? It’s not something only beautiful or heavy but the meaning of art in society includes an element of fantasy. In that context, I think idols can be artists too. Art isn’t something very grandiose.

It is right that you don’t fit into the type of an ordinary idol. Even by looking at your music, you fill your whole album only with self-composed songs or you work as a producer and a songwriter for musicians of other agencies such as Lee Hi, Kim Yerim, IU, etc.

J: My dream was becoming a song writer originally. I picked singer as a way to achieve that dream more easily. It wasn’t planned, it happened to be like that as the timing was right but I don’t regret it even thinking about it now. It turned out to be a good fortune. I think idols are artists who are at a very advantageous position. Musicians need to be conceptual and idols are great in terms of exciting one’s imagination. Also people call idols that make music as ‘above expectation’ due to stereotypes even though making music isn’t really particularly something that special. It’s an inherent flaw and a strength that idols have.

You don’t say you love or thank them unconditionally when interacting with fans too. I thought it was very realistic when you said “The relationship between artist and fans is not simply only something just beautiful. We expect, disappoint, impress, get angry with each other… It’s a relationship of a person to person that goes through these emotions several times.”

J: I hear from a lot of people asking “Can idols say such things like that?”. Especially during interviews like this (laugh). But I think it’s the right thing to do to speak honestly to fans and people who know me well. Of course, there will be people who might be upset. But on the opposite, I think it could also hurt people when I hide myself or show something fake. I would rather show my real side, I am not a person who can hurt people by lying. So I always tell my fans that “I’m just a person who show up on TV. We will continuously be good friends.” Fans will know very well about what I mean.

So you’re the type of person who says clearly about your thoughts. In your solo mini album <BASE> that was released last year, I was impressed by the distinct sense of identity that wasn’t collapsed by SM’s planning ability.

J: I think it’s not meaningful if solo albums weren’t like that. My music can be divided largely into two; work that I do for personal interest and work with a purpose of wanting to create a certain image to the general public. Both are meaningful but for solo I think it’s only correct to show focusing on the former. I didn’t want to create another view of SHINee. So while planning for <BASE>, I suggested the company of making a unit or a collaboration album if they wanted to lead the album into the direction that they wanted. I had confidence that my solo album will come out some day even if it didn’t get released last year. The important thing was not when the album would be released, it was a problem about what kind of thoughts I would put into so I didn’t push them impatiently. Then two days later I received a call “Then do what you want to do”. When thinking of SM, people usually have this image of high suppression or no exchange of opinions but it’s not really like that. Since the company has high standard within itself, it might be hard to overcome that wall. But to say my personal opinion… you just need to do well. Then you’ll be able to do what you want.

Did you express freely about what you kept in your mind in your new full album which will be released sometime in May?

J: I wanted to create a sexual album. An album that had an overall sexy nuance not only with the title song and something that would inspire imagination rather than something blindly provocative. But there’s a difference as a producer to start its work saying “I want to create this kind of album” and to reveal “I have worked thinking something like this” after completing it. There were a lot of ‘tackles’ that came in asking me to relax or hold back a little when I proceeded my work letting people already know that it’ll have a ‘sexual’ code. They would interpret lyrics into something that was sexy while it was really nothing…(laugh) It was fun too as whether they were informed about it or not influenced so much on interpreting the music. As a result, I am satisfied because I was able to do things that I like as much I can. Of course, it’s fun and thankful if the album does well but even if it doesn’t I have already accomplished the intended goal.

A sexual nuance that stirs imagination, it naturally makes me think of Maxwell or D'Angelo.

J: Of course, I have neo-soul genre that I sing in a falsetto style too. Apart from that, there’s a diverse genre mixed in the album such as PB R&B and new jazz. Hip hop was so in style for a while so I naturally listened to a lot of hip hop beats. I was able to ease my curiosity on beats that I have recently become interested into such as future bass or trap. In general, it’s a story of ‘having a romantic something between two’ or ‘falling in love’ so there are no break-up songs, not even one ballad.

It’s a concept that makes me anticipate on its presentation, just like how you changed your voice in each track of <BASE> as if you were acting a character. For that reason, you received a review that it was a theatrical album.

J: It’s a part that I consider extremely important. To express emotions comfortably and accurately, you need to use your breaths rather than the tone or depth of your voice. The breaths are all different when you cry, laugh, or be surprised so when you use that appropriately you can show expressions just through your voice. For writing lyrics too, I tend to start work after constructing the personality of the character accurately first. Of course, the idea grows by substituting myself so a lot of my personality is seeped into the character. The most important thing is the situation that the narrator of the song and the listener is in. If I don’t set the general frame, I cannot get ideas on not only about the lyrics but the melodies too.

What kind of person is the narrator of this album?

J: He’s very unctuous but it doesn’t mean he’s flaky. He’s the type of person who makes jokes often and says cheesy things without hesitation. That kind of man that girls scold him saying he’s cheesy but you end up liking him secretly.

I heard you really enjoy writing including lyrics too. You have a habit of making memos of every little inspiration because you aim to become a writer.

J: My dream was to become a novelist or a Korean language teacher during middle school. But after taking my first mid-term exam I thought ‘Ah, I can never be a teacher’ because my grades were so bad. So I joined in the school’s band and changed my career path as making music and writing lyrics. Even when I go see fortune tellers, they say that I have an ability to deliver thoughts and persuade people. The fortune teller said “Your fate is to become a teacher but since you haven’t studied at all you’re a con man!”. (laugh) People who are eloquent or have a literary talent is so attractive as an artist or as an opposite sex. I want to start writing in earnest whether it is poems or novels when I’m over 30.

Your novel <Diphylleia Grayi: Things that have been released and set free>could be considered as a small start then. Why did you write a love story when you said you never read romance novels or watch romantic movies?

J: That’s the irony in life. I thought who the readers would be when I wrote the book just like when I write lyrics. The majority of the readers will be female so I thought what kind of stories from me would they listen and be swayed by the most. And that was a love story. But I thought I could never write more than 2 pages about lovey dovey romantic relationship so I wrote a story about break-up and times after the break-up. I was in great happiness all throughout the writing process because I was able to look back to myself in a different way than writing diaries or lyrics. There are 4 characters in the book. The male protagonist, the female protagonist, singer and a junior colleague of the male protagonist. All four of them are sides of me. Encountering with a character that were given each side of myself, that work was so fun. People usually would think the male protagonist is me but that man is the attitude that I have when doing music and the woman shows the attitude that I have when treating people that I work with. The singer is me from other people’s eyes, and the junior colleague is the side of myself that I show when I’m in love.

That junior colleague had a role of offering condolence silently at a distance.

J: To speak honestly… It’s when I’m in a one-sided love. When I fall in love, I tend to continue that emotion blindly so much that I haven’t loved that many people since I was born until now. It’s difficult and takes a long time until the moment I’m in love. Maybe it’s because of that, I had an abstract plan of making a family before but now I don’t even want to date or get married. I am satisfied with the way I am in life and I’m having fun in making other plans than a romantic relationship so I’m really into that.

I was actually surprised that you found the word ‘Diphylleia Grayi (Skeleton Flower)’. It’s a rare flower that becomes clear when it gets wet, it’s not a word we use commonly.

J: It’s such a pretty flower. I really like finding words like that. If I have a word that I like, I search to know its dictionary definition and think about what kind of social meaning it has. It’s like doing a lot of addition and subtraction with a word. Sentences and words tend to stay in my memory a lot.

Is there any phrase or word that crosses your mind lately?

J: There’s a text message that someone sent me and it remained in my memory for a long time. “Let’s meet for sure before the spring comes.” That sentence was so pretty and it was fun because that person doesn’t use honorifics to me but said something like that. It felt warm too, I wondered why that person said it in a way setting an abstract time limit rather than saying March or April. I felt a little moved by it. I wrote a story and also made a song called ‘Us, before spring comes’ because of that. He’s a close hyung who’s currently abroad and spring has already passed before we got to meet. But I think it will still remain before I release ‘Us, before the spring comes’.

Like all of your lyrics or novels, you are actually a person with a romantic side. Do you think you’re a romanticist yourself?

J: Yes and I’m also a dreamer too. Dreamers are people who dream hopeless dreams. I believe there should be lots of dreamers. Even though it’s a hopeless dream, a change can be induced by having more people who try to reach that dream. What’s funny is that once that dream is realized, they are no longer dreamers. But I hope they stay as dreamers by finding another dream again. It is correct that I am a person who’s objective and realistic at the same time too. What that means is that I know very well that people don’t understand me. I carry out what I want to do saying “I know people will find me strange when I talk like this but I’m still going to do how I want”. It could be a rebellious spirit or a way to attack the unexpected. Things that seem so useless in the eyes of others or things that people would think why would he give such a deep meaning to that extent, things that I can’t even understand; I really like those things.

What other ‘useless’ thoughts do you have for instance?

J: The true meaning of existence? For example, like Santa Claus. Everyone knows that it doesn’t exist in the world but when you do something good due to your faith that Santa Claus exists, in another words I believe it exists regardless of whether its existence is real or not when it influences me in a way. Like that, the boundary of ‘it exists’ and ‘it doesn’t exist’ collapses.

It’s an ‘artistic’ thought.

J: Yes. Artists are people who make the most unpractical things in the world. But I think that’s the difference between creatures and human. Ah, I am into the word ‘creature’ lately. It has a more sophisticated nuance compared to beast but it still has its raw feeling without sounding like it’s a swear word. I think my intention isn’t delivered correctly when I say ‘the difference between a beast and a human’. I think about such things too. What the difference between beast and creature is, how different is its depth. When I talk about something like this people usually say “Yeah. It is philosophical. Humans need to think about such things and look deeper. But do you must…?” or “So, have you watched <Zootopia>?”.

seconds-and-centuries  asked:

Hi! I'm sure you get this a lot, but I've just seen your ACNL map on my dashboard and I was wondering how you made it. c: I'd love to do something like that to help me plan my town but I wouldn't even know where to begin! I looked through your "anne plays new leaf" tag but couldn't seem to find anything on how to make a map like that, I'm sorry for bothering you if there's a guide or something on your blog already that I just couldn't find;; Thanks very much!

oh wow, i wasn’t expecting that to get more than maybe a handful of likes lol.

hello, though! i hope you won’t mind me publishing this on the offchance anyone else is curious–it’s really quite simple, actually, but i’ll give a few tips. there are probably better ways to do this, but this is how i go about it.


firstly, you just need MSpaint, and some patience.

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