keep turning pages

when things seem bad, you just need to keep going and turn the page :))

The 1 Thing Your Scenes MUST HAVE

Sully is a good representation of how I want people to react when enthralled by a story I’ve written:

But more often than not, I get a reaction more like this:

Or at least, I did. I couldn’t understand why my writing produced these less-than-stellar responses. I had meticulously worded every sentence. I’d made sure there were exciting parts. I had parceled out backstory, setting, and exposition so the reader could understand what the heck was going on. So why did eyes glaze over while reading my book? Why did MY eyes glaze over while reading my own work? 

The problem, I finally found out, was that my scenes didn’t turn. 

I was cramming all that exposition in right out of the gate, so the reader knew absolutely everything … which meant there wasn’t anything to find out. The scenes were just tiny chronicles where the main character set out to do something and accomplished it with flying colors. Nothing ever happened that surprised him. And consequently, nothing ever happened to surprise the reader.  

I wasn’t withholding information, and revealing it methodically. 

I wasn’t letting the story spin in new directions. It was always chugging along the straightforward track where I’d dropped my reader.

I wasn’t letting my scenes TURN.

To illustrate what I mean, here’s an example of a great scene with a great turn from a wonderful movie: Beauty and the Beast

*Opening music that makes me want to cry from how beautiful it is*

Beat 1:

“Once upon a time, in a faraway land a young prince lived in a shining castle…” (Action: Apparently the world takes action to make sure this prince lives a cushy existence.)

“Although he had everything his heart desired, the prince was spoiled, selfish, and unkind.” (Reaction: And he acts like a brat anyway.)

Beat 2:

“But then, one winter’s night, and old beggar woman came to the castle and offered a single rose in return for shelter from the bitter cold.” (Action)

“Repulsed by her haggard appearance, the prince sneered at the gift, and turned the old woman away.” (Reaction)

Beat 3:

“But she warned him, not to be deceived by appearances, for beauty is found within.” (Action)

“And when he dismissed her again …” (Reaction)

Beat 4:

“The old woman’s ugliness melted away to reveal a beautiful enchantress.” (Action)

“The prince tried to apologize …” (Reaction) 


Beat 5:

“But it was too late, for she had seen that there was no love in his heart. And as punishment, she transformed him into a hideous beast and placed a powerful spell on the castle, and all who lived there.” (Action)

“Ashamed of his monstrous form, the beast concealed himself inside his castle, with a magic mirror as his only window to the outside world.” (Reaction)

Beat 6:

“The rose she had offered was truly an enchanted rose, that would bloom until his 21st year. If he could learn to love another, and earn their love in return, by the time the last petal fell, then the spell would be broken. If not, he would be doomed to remain a beast for all time.” (Action)

“As the years passed, he fell into despair, and lost all hope.”  (Reaction)

“For who could ever learn to love a beast?”

Turn: The 6th beat is the turn. The story has spun in a new direction, the direction the WHOLE STORY will motor towards. 

Revelation: There’s the big one of the scene turn, but I love how every action and reaction in this prologue feels like a revelation. Each one feels like it could be a scene on it’s own, but it’s told in a just few words, with beautiful imagery. There’s no fluff in this, nothing unnecessary, everything is perfectly needed. (Sorry, I just really love this opening. I can remember sitting in my little wicker rocking chair when I was four watching this in awe. This movie is one of the reasons I’m story obsessed.)

NOW let’s remove all curiosity and surprise from this scene. 

We’ll take away the atmosphere of “all is not as it seems”, the “seeking and learning significant information” feeling, the sense that we’re climbing to something significant. Instead of withholding and revealing snippets of information, after gradual beat-by-beat escalation of curiosity, we’ll dump all information right away. We’ll take this beautiful scene, and make it distinctly not a scene by removing all traces of a turn.

So! The purpose of this “section” of story is to communicate necessary information. What info? The guy used to be a terrible prince. Someone cursed him to be a beast. His castle and the people who live there are also cursed. He’s got a rose that will bloom until he’s 21. He’s supposed to fall in love with someone and get that person to love him back.  Or he’s going to be a beast forevermore. So, let’s give it a whirl.

Let’s say it opens up on Lumiere and the Beast. They’re just hanging out in the West Wing, the Beast watching the rose sparkle, Lumiere extinguishing and reigniting his left candle/hand for something to do.

LUMIERE: “So Master, it’s been years since you were turned into a beast and the castle staff was turned into objects.”

BEAST: “Yup.”

L: “I wish you hadn’t have upset that enchantress, and been a bit kinder.”

B: “Me too. Don’t know how.”

L: “Now our only hope to return to our human forms, is if you fall in love and get that person to fall in love with you.”

B: *Noncommittal grunt*

L: “Better happen soon, before that last petal on the magical rose falls. When you turn 21, it’s going to fall. And if you haven’t learned to love by then, well, we’re stuck.”

B: “I’m aware." 

L: "Yup.”

B: “Yup.”

Well, that was extraordinarily awful. 

So what about these scenes is different? (Besides one being a work of art and the other being agony in text form.) 

– One withholds information and reveals it slowly, turning the story at the end. 

– One is just an info dump. 

So how can a turn be accomplished?  There are four types of turns: 

– Surprise

– Amplified Curiosity 

– New Insight

– Spin in New Direction

A SURPRISE turn is the difference between what the character expects and what actually happens, surprising them, surprising the reader/audience that is enthralled by your story. A CURIOSITY turn is when a new mystery is presented to the reader, increasing their drive to find out what happens next. An INSIGHT one is when a scene ends by solving a mystery, answering a question that the audience has been wondering about. And a SPIN is just that, a turn that jolts the story into a new unexpected direction.

And how do they work in a scene? 

The turn happens at the end. It’s the point of the scene. Everything’s leading to it. Think of it as the period punctuation mark on the end of the sentence that is your scene. But really your reader is anticipating that turn throughout the scene.
It’s this anticipation and “gradual illumination” that’s crucial to a story turn. This is the wonderful curious feeling that keeps us turning pages. That sense that “all is not as it seems, and if I keep reading I’ll find out the truth.” which is so intoxicating. And this is accomplished with beats, the exchanges of action and reaction, each acting like a escalation on a roller coaster, each increasing anticipation for the drop. 

Turns and revelation anticipation are rather magical when you think about it. They really are (as Robert McKee says) the substance of story. (Or they’re magical to me. I said I was obsessed. Blame this movie!) 

Now I’m going to go watch Beauty and the Beast again.

  • me: its ok if u dont know ur lgbt until later bruh its ok to change labels ur fine. phases r normal and healthy parts of life and if the label doent fit its cool to try to find a new one tht makes u comfy.
  • tumblr: nO YOU CAN'T DO THAT, UR GAY FROM THE WOMB,. born rAINBOW FLAG IN HAND!!! UR FRIST WORDS R 'I A GAY TRANS MAN' NO ROOM FOR QUESTION!!! no one has evEVR HAD A PHASE NEVER. if u werent born WITH DYED HAIR AND A FLAG IN UR ARMS THEN U R NOT A QUEER
hallelujah

Title: Hallelujah 
Pairing: Tyler/Reader
Rating: Mature
Warnings: CHURCHBOY TYLER. Dirty talk, daddy kink, shyness, needy!Tyler, fluffy shit, all sorts of fun I hope you’re gonna like.
A/N: You guys have been begging for this, so I worked it up as best as I could. I really hope you all like it, because it was fun to write.

Originally posted by lightninglime

Keep reading

Writing Advice: At the Heart of Your Plot Lies a Question

I’ve been thinking a lot about story structure lately. It’s the thing I struggle with the most, as an author, and judging from a lot of stories I’ve read (and blurbs I’ve helped to write), it’s a big issue for others, too. A lot of times, people don’t realize that there are fundamental structural issues with their stories until they get to the marketing phase, when they go to write a blurb or query letter and realize they cannot condense their story. 

I have some bad news for you: If you can’t elevator pitch your book, there’s a good chance that the problem is the book’s plot, not your innate blurbing skills. 

I know. That’s a hard thing to swallow. And maybe I’m wrong - maybe you just need to work on your blurbing a little bit and it’ll all be just fine. 

But maybe I’m not wrong. In which case, just humor me for a second. Your story will thank you for it. 

Thing #1: Your world-building is not your story. 

It doesn’t matter how much careful thought and planning you’ve put into figuring out the logistics of your world’s science, economy, government, etc. The intricate backstories and family histories might be totally important, but they’re probably not the plot. Until you have characters who want things and obstacles in their path, you don’t have a story. 

Thing #2: Your character arc is not your plot 

Characters should change. Your character should be transformed by the events of the story. This is, ultimately, where the story lies. It’s not, however, the plot. Why, you ask? Because plots are actually pretty generic. A plot is a framework, a set of expectations and structural beats that hold up the story. The story is the character’s development between Point A and Point B. 

Thing #3: Plots are tied to genre 

In the sense that I’m using plot here - expectations and structural beats - I would argue that “plot” is the essential defining characteristic of genre. Which is to say, the thing that unites books within a genre is that they all have essentially the same plot. But how can that be, you ask? Because…

Thing #4: “Plot” = The Story Your Reader Asks (and you have to answer)

What is it that keeps a reader turning the page? What compels a reader to finish a story? Compelling characters, cool settings, sure, ok maybe. But I would argue that at its heart, the thing that makes any reader keep reading (as opposed to, say, watching TV or playing soccer or giving their cat a bath) is curiosity. 

Humans are naturally curious. We love gossip. We find it irresistible. There’s something in our genetic makeup that craves answers to questions, to gathering insider knowledge. 

Which means that if you ask a question, and it seems like a fairly interesting question, the person hearing it won’t be satisfied until they know the answer. 

So based on that assumption, I would argue that readers keep reading stories in order to find the answer to a question. I would also argue that, for the most part, the nature of that question is the same or pretty similar for all stories of a particular genre. 

Some story questions: 

  • Who did it? How did they do it? Why did they do it? (mystery) 
  • Will they succeed in time/before bad thing happens? (fantasy)
  • Who will come out on top? (epic fantasy) 
  • How could these two unlikely people possibly fall in love? (romance)
  • What actually happened? (thriller) 
  • How will they get out of this? (adventure) 
  • Are they going to survive? (horror)

Etc. etc. 

Different stories will have different flavors of these questions, but at its core, every story should have a central question that drives the narrative onward - everything else eventually feeds in to answering that question. 

You’ll note, too, that sometimes the question asked by the narrative itself is not really the question asked by the reader. For example: Ostensibly, the mystery in The Girl with the Dragon Tattoo is “What happened to Harriet?” But I think the real question is “How is the PI connected to the reporter? What’s actually going on here?” (which, you will note from our handy-dandy chart, makes this book a thriller and not a mystery). 

“What actually happened the night of the murders?” <- Dark Places by Gillian Flynn. Definitely another thriller. (See also: “What actually happened to Amy?” at the heart of Gone Girl.) 

“How is Katniss going to survive the Hunger Games?” (adventure! For all that it bills itself as a dystopia, Hunger Games is at its heart a survival story that calls back to Jack London). 

There are more questions than the ones I detailed above, but those are some starters to whet the appetite.. 

The important thing to remember is that if your story doesn’t have a central driving question, it doesn’t actually have a plot. It may have a character arc! Lots of things might happen! It may have a story. But it will have no plot. And your readers might not know that’s what’s wrong with it, but they’ll notice it. They’ll pick up on it. 

And when they do, what they’ll tell you is: The book is boring. 

So the next time you’re struggling to write the elevator pitch for your story, or the story just isn’t coming together for you, stop and ask: What is the main question? What is the question that’s going to keep the reader turning the page? 

Comics

This is a camp camp fanfic based on that one headcanon that Max snorts when he laughs. I can’t link it because I’m on mobile but you’ve probably seen it. This took a long time to write, but it’s just in time to celebrate 800 followers! Where did you all come from?

——————————————————

COMICS
–—

Max laid sprawled on his cot, lazily flipping through a comic.
It was one of those really boring comics that had the occasional really really funny joke that convinced you to keep reading.
He turned the page, and knew from the get-go that this strip was one of the aforementioned rarities.
He found himself laughing at the comic, but quickly sobered when he heard Nikki shouting outside.

“HOLY SHIT!” She yelled, crashing into the tent.

“Hey! Watch your language!” David cried outside, jogging closer, “Is everything alright?” He asked, entering the tent after Nikki.

“Everything is great! Max snorts when he laughs!”

“No, I don’t. I don’t even laugh. You must have been hearing things.” Max felt his face heat up under his glare.

“Awe! Max! You have to show us!” David cooed, ruffling Max’s hair.

“No,” Max said, swatting away David’s hand, “I don’t. Because there’s nothing to show.”

Max stood up and walked out of the tent, angry with himself and more angry with his face for burning so brightly.

“You know we have to do, right?” Nikki grinned at David.

“No, what?”

“We have to make him laugh! Duh!” Nikki said, throwing her arms in the air.

“That sounds like a great idea! Cheering Max up is a good activity! But how?” David asked, cocking his head.

“I have some ideas…” Nikki grinned, rubbing her hands together in a manner that made David a little nervous.

Max had wandered around a little, not really sure where he was going, when he ended up at the docks.

“Max!” Nikki yelled, “Max! Max! Maaaxxx!”

Max turned to see Nikki running up to him.

“What?” He snapped.

“I was thinking, since we haven’t gone monster hunting in a while I asked David to take us to follow some tracks!” She grabbed Max’s hand and tried to drag him after her.

“Hold on a second, why would I want to go anywhere with David of all people?” Max said, trying to pull his hand away.

“Because it will be fun! You’re coming no matter what, and Neil is too, so come on! Everyone is waiting!” Nikki smiled.

“Ugh. You know what? Fine. Let’s just get this over with.” Max said, finally relinquishing control and allowing himself to be tugged over to where David and Neil were standing. There was an air about them that he didn’t like. David was a little too happy, and Neil wouldn’t meet his eye. Something was up, but he held his tongue.

They were a little ways into the forest when David stopped to show them something. He crouched down and pointed out some tracks in the soil.

“And these, kids, are squirrel prints! Aren’t they interesting?” He asked, winking at Nikki.

“I think you meant to say,” Nikki giggled, turning to face Max, “aren’t they printeresting?” Nikki and David laughed, Neil groaned. “Come on Max! Don’t you get it? Printeresting! B-because they’re prints? No? Okay.” Nikki smiled and skipped ahead. Max really didn’t like where this was headed.

It was a pretty standard nature hike, save for the strangely persistent puns and jokes. Max didn’t really find them funny. They felt stale and forced, like his comic.

But also like his comic, there was bound to be one funny moment. That moment came two hours later on their way back down the mountain.
David was climbing a tree to retrieve an abandoned beehive to show the kids how the hived looked inside, much to Neil’s distaste because “I’m allergic to bees!”.

David was inching closer and closer. Max, despite himself, felt slightly uneasy about this whole ordeal. That branch didn’t look very strong.

And as if on cue, the branch snapped. David fell what must have been at least ten feet down, and he would have fallen further and, probably fatally, smacked right into the ground had he not gotten hooked on the last branch by his vest sleeve.

Neil gasped, and Nikki cheered. Max just stood there, startled but unsure.

“Uh, wow. Great example of what not to do kids! Can one of you get me dow–” The branch tore through his vest sleeve and he fell the last couple feet, hitting the ground with an ‘Oof!’.

“Shit David!” Neil yelled, startled “are you alright?”

David just slowly raised a single thumbs-up in response, and for reasons unknown for anyone but Max this was apparently the funniest thing in the world.

Max burst out laughing, stumbling back and sitting on the ground. He covered his mouth with his hand to try to muffle it but every time he looked at David embedded in the ground he started laughing again.

Nikki grinned at Max, Neil couldn’t help but smile a little, and David squealed. He found the little snorts THE cutest thing in the world.

Pretty soon after everyone was laughing, too. It was pretty hard to resist, it was just so contagious.

When Max sobered, he stood up. He was still laughing a little when he wiped his eyes and said

“Haha okay, if you guys tell anyone about that I’ll deny it and then I’ll gut you.” With an innocent little smile and started off down the path.

The three stopped laughing immediately and looked at each other. He seemed a little too serious for their comfort. But then, it was hard to take him seriously after that.

Anonymous asked:

I’ve recently started planning a book about a town filled with supernatural happenings however as I’ve started to plan it I’ve realised it feels more like a TV show, where every episode the characters fix a problem, only for a different problem to come along next. Some of the problems are linked to the plot while others are subplots. Do you think this type of plot could be conveyed through writing, or should I change my plan so it works better in book format?


Ideally, a story should involve three things: 

1) A character who wants something and goes after it.

2) An antagonistic person/creature/force (or multiple) that throws obstacles into the character’s way, making it harder for them to reach their goal.

3) The character attempting to overcome each obstacle, sometimes succeeding and sometimes failing.

This dynamic of desired goal and the character’s struggle to reach it–that’s story. That’s what keeps people turning the pages or turning on the TV.

When, for whatever reason, you subdivide a story into chapters, parts (I, II, III, etc.), books in a series, episodes in a season, seasons in a series, or acts in a play, it is necessary for these parts to be able to stand on their own to some degree. Each of those parts needs to sort of tell its own story–one that builds toward the overall story, or the “story arc.” 

Here’s a graphic I did to show what that looks like in a book series:

In the graphic, “series arc” really means “story arc.”

So, my point to explaining all of this is what your story is doing–the character fixes a problem only for a new one to come along–that is the natural flow of a story. That’s the character struggling toward a goal, hitting obstacles, overcoming them, and moving on only to reach the next obstacle.

What you need to do, if you haven’t already, is figure out what your story arc is. What is the end goal this character is trying to reach? And, how do all of these little problems they’re overcoming help them take another important step toward reaching that main goal?

When you organize your story into goals, obstacles, sub-arcs, and the story arc, you’ll see a structure emerge that makes it feel less like your character is just fixing random problems before another one comes along. Giving your character an overall purpose will help give meaning to those individual problems and the overcoming of them. My post How to Give Your Story a Purpose goes into this in a bit more detail. :)

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Have a writing question? I’d love to hear from you! Please be sure to read my ask rules and master list first or your question will not be answered. :)

anonymous asked:

How do I write a good already established romance between to characters?

So, previously I did talk about the components of a good romance story. Though I did talk a lot about building the romance, there is still some good tips that we can work with. You’re still going to want the compatibility, the likability, etc. There are also a few more things we can look at too.

Because there isn’t going to be “the thrill of the chase” that comes with pursuing the romance, you need to make it exciting for the readers in other ways. 

1. Individually developed characters: There is little more anything than a couple that only seems to appear as a unit. It doesn’t matter how long they’ve been together as couple or how much they love each other- they should not appear attached at the hip, so to speak. Each member should have their own arcs, that do not revolve around each other!

Also included- they should have relationships with other characters. Friends, family, enemies even. So long as their social sphere is bigger than just their lover.

2. Comfort: Couples that have been together for a while will know each other pretty well. Flaws, strengths, likes, dislikes, inside jokes and secrets between them. A lot of this will show in how they interact with one another- a strong romance shouldn’t just be love and kissing, they might also be friends and confidantes. They’ve probably learned how to read each other’s moods and body language, know where to draw the line on joking around, etc. This doesn’t mean that there won’t be new things to discover about one another, however! But a long-time couple will interact differently than a new one.

3. And conflict: Being together for a while doesn’t mean it’s all smooth sailing, however! Remember that in romances, like in anything else, conflict is what creates the drama. They might fight sometimes. They might have really big fights, sometimes. There can also be outside conflicts that put their relationship to the test. Miscommunication, keeping secrets, telling lies, here’s my general conflict post again. Again, conflict is what keeps readers turning pages, and keeps the interest going.

Growth: Almost a separate point, but I’ll just include it under conflict. Take a look at Growth and Influence on the other post. Often times conflict will determine how a couple grows and influences each other. When you make a mistake, it is often your partner that holds you accountable,as part of loving and supporting someone is helping and inspiring them to become the best person they can be.

Of course, if a romance has too much conflict, particularly in the way they interact or conflict generated by the couple themselves, you risk losing their sense of compatibility.

4. Compatibility: I know I talked about it on that other post already, but it’s pretty important. This couple has to work together in order for readers to root for it. If they are constantly fighting or stirring up drama with one another, they may not be so perfect a fit. Romance is a big part of the story, and if it isn’t something that the readers can cheer for, then it almost immediately becomes something tedious or annoying.

And the last thing I am going to mention for today,

5. Memorability: This is going to be the jokes, the secrets, the sweet moments that stand out. Think of any relationship that is strong in your life. More than likely- and especially if you’ve known each other for a while- there are certain things that you share between you, that can even include everyday objects or phrases that remind you of memories you made with your loved ones. These are the little jokes, habits, hobbies, and practices that define their relationship as something real and unique, like a character of it’s own. You know, the moments that are GIFed or drawn or quoted or ranted about all over tumblr like “omg I’m still not over it,” or the “Okay? Okay” that makes teens cry for a solid year. 

Okay, time to wrap up, but I hope this helps, thanks for the message!

~Penemue

I wonder if there’s a single place in the whole world that’s never had a story. I bet not. I just about guarantee you there’s no places like that in America. Every little square of it, every place you stomp your foot, that’s where something happened. Something wild, maybe something nobody knows about, but something. You can fall out of the sky and right into some forgotten storybook.

You run and run and run and you keep turning pages and none of them are empty. They’re all full of stories. There’s nowhere left to write.

I think I’m just a bookmark.

—  Bee, Nebraska. 17776
  • NANCY:  I had the funniest thought up in that twister.
  • BARTENDER:  Yeah?
  • NANCY:  I was thinking, "I have no idea where this thing is gonna throw me, but I know I'm gonna land on top of a story."
  • NANCY:  I wonder if there's a single place in the whole world that's never had a story. I bet not. I just about guarantee you there's no places like that in America. Every little square of it, every place you stomp your foot, that's where something happened. Something wild, maybe something nobody knows about, but something. You can fall out of the sky and right into some forgotten storybook.
  • NANCY:  You run and run and run and you keep turning pages and none of them are empty. They're all full of stories. There's nowhere left to write.
  • NANCY:  I think I'm just a bookmark.
  • -17776
I wonder if there’s a single place in the whole world that’s never had a story. I bet not. I just about guarantee you there’s no places like that in America. Every little square of it, every place you stomp your foot, that’s where something happened. Something wild, maybe something nobody knows about, but something. You can fall out of the sky and right into some forgotten storybook. You run and run and run and you keep turning pages and none of them are empty. They’re all full of stories. There’s nowhere left to write. I think I’m just a bookmark.
—  17776
2

In his autobiography, Revenge of the Nerd, classically trained actor Curtis Armstrong humorously makes peace with the fact that the first line of his obituary will reference Booger, his nose-picking character from Revenge of the Nerds

Glen Weldon says, “Armstrong knows something about the celebrity memoir most celebrities don’t: When stories are presented this genially, this garrulously, and with such an offhand flair for nerdy self-parody, we’ll happily keep turning those pages.”

I, Booger: Actor Curtis Armstrong’s Affable Memoir, ‘Revenge Of The Nerd’

Image: Liam James Doyle

anonymous asked:

Hey there. A while ago you posted a fic rec post and said you might do one for original fic too. Just wondering if you're still planning on doing this as i'm curious as to what you like reading?

Hey there nonnie! I did say that didn’t I - my bad. Work and uni kind of got in the way. Anywhoo, how about a list now?

Originally posted by plumkat

(some will be NSFW)

General fic

House Rules  by Jodi Picoult - A teenager with aspergers who is obsessed with forensic science. And then the police come knocking.  ‘ Jacob’s behaviors are hallmark Asperger’s, but they look a lot like guilt to the local police.’

Losing You  by Susan Lewis . There are so many stories interwoven into the tragedy that occurs the night Oliver accidentally runs Lauren over. Like the reason Oliver was even behind the wheel that night, despite the fact that he’d been drinking, in the misguided attempt to save his  mother from herself, the toxic relationship between his dad and alcoholic mother, and Lauren’s own relationship with her mother and the secrets she was keeping from her. All come to a head that night and are slowly and painfully peeled back, exposing harsh truths and the damage they can do to each other and the consequences of those actions.

YA

I have a soft spot for  Barry Lyga ’s books, particularly the  I Hunt Killers series. This features the son of a serial killer over 3 books. Also, the audiobooks narrated by Charlie Thurston make it even better. He seriously nails ‘dear old dad’s voice perfectly. Think Spencer Reid from Criminal Minds, but younger and much more psychologically damaged.

Barry Lyga also wrote  Boy Toy . This is quite a taboo subject but very emotionally hitting. It’s about a young teen (17?) who finds out the woman he lost his virginity to when he was 12 - his teacher - is being released from prison early. The story flits between present day and when he was 12 and the following months/years. It was sometimes uncomfortable reading but refreshing to read from a male point of view.

Split by Swati Avasthi . This starts with Sixteen-Year-Old Jace Witherspoon arriving at his estranged brother Christian’s apartment after being beaten by his dad. They haven’t spoken in years. Christian has built his life up again after years of abuse and had hoped his younger brother escaped it. Of course, with Christian out of the way, Jace takes the brunt of it. After an incident with his dad and some unspecified event (that you learn about as the book develops) Jace arrives hoping to tentatively re-build his relationship with the brother who walked out on him. This book deals with domestic and child abuse.  Also fits perfectly into my love for protective brothers in books.

Last Seen Leaving by Caleb Roehrig . This was an interesting read with a mystery that keeps you turning the pages. The main protagonist’s ex-girlfriend has disappeared.  Nothing seems to make sense. As well as the mystery factor it’s also a story of self-discovery for the MC.  This is really a gem of a read. The only issue I had with it is the characters seem much older than they are depicted in the book, but that’s really only a slight issue.

MM

Lisa Henry (aka @thisdiscontentedwinter ) and J.A. Rock have written some of my fave books. The above recs were more YA and these are definitely not:  The Good Boy  (and it’s sequel) is both an angsty and kinky read. Lane’s parents have been found guilty of fraud. His mother is in prison and his dad’s on the run. Lane - suspected of being involved and wholly innocent - has been left with nothing and ends up trusting the wrong person. Physically and emotionally hurt and traumatized, Lane is taken in by the one person he never thought would help - Derek, one of the victims of the fraud. It’s a dom and sub story, pupply play and some BDSM. This was one of my first forays into MM fic and remains one of my faves.

When All the World Sleeps is probably my third favourite of the pair. It features a guy who sleepwalks. And when he sleepwalks he kind of does some serious shit. Like setting fire to Kenny’s house. With Kenny inside. Now he’s back home after serving his time and lives in a cabin by himself where he chains himself to the bed so he doesn’t do anything stupid. Like kill someone. Too bad people wont leave him alone. Then there’s the cop who doesn’t believe him. Cue some sexual tension. Of course, after some retribution from the townsfolk leaves the MC unable to save himself, the cop can’t quite rightfully leave him alone and chained up at night. so he agrees to do it for him. And the more time they spend together the more they fall into each other’s lives. Dom and Sub.

Less kinky and much more lighthearted is the Playing the Fool series. I think I have recced this before. This is seriously one of my fave series. Henry is a con-artist who has witnessed a mob-hit in the middle of his own hustle. Mac is the FBI agent who is tasked with finding the errant witness. Need I say more? Well, I will because no matter how many times I read this series (3 of them) I end up cracking up every time. Henry is a hoot. Charming to everyone except Mac who he enjoys winding up. They’re a perfect pair. Kind of. 

Of course, it’s not all a laugh a minute. You can’t have a  Lisa Henry and J.A. Rock without a little angst thrown in. They sprinkle just enough  of Henry’s backstory throughout the series to explain some of the reasons he is the way he is without giving too much away. If any character is going to stay with you after you’ve finished reading, it’s going to be Henry.

Oh, and I suggest you read it with the audiobook too. I love Nick. J. Russo’s voice.

I still have plenty of the author’s other works yet to read in my kindle.

Five in a Bed series by  M.A. Blisher - this is polyamorous. Domestic Discipline. And Daddy kink. One of my guilty pleasures. But there is a backstory to Danny and heaps of psychological angst so it’s not just a pwp offering.

Shadow of the Templar  series by  M. Chandler . Jeremy Archer. Art Thief. Simon Drake. FBI. UST galore. Actually, there’s not a lot of sex in the series. A lot is fade to black scenes. And that’s what makes the series so great. It’s not pwp. It doesn’t need sex to make me want to read the series. There’s actual plot. Cases. Action. And the fact that Jeremy and Simon both circle in and out of each other’s orbits. There’s selfishness, there’s conflicts of interest. There’s feelings. There’s sacrifices. And really, with their backgrounds and history, Simon and Jeremy existed before they were even Simon and Jeremy. * excuse me while I immerse myself in their orbits *.

Although I am yet to read all of the series, I quite enjoy the Voices  series by  Sarah Masters  - psychic and detective. working together. smexy times. Enough said.

Old School Discipline  by  Misha Horne - if you are familiar with this author then you’ll know spanking will be involved. And I just love characters who have smart mouth’s and bratty characteristics.


I still have plenty, but I’ll keep those for a later date 

TBC

Originally posted by mouseinmypocket

anonymous asked:

so i caught up with mha bc every1 told me i should read it, and i... dont understand why? todoroki? is popular? heck even more popular than uraraka?? he's just ur typical chara with tragic(tm) backstory n daddy issues? is it bc of his design? I'm actually not surprised since 80% of the fandom r just girls, still i dont get all the hype...(pls dont hate me)

So, shuffling past the obligatory YOU COME INTO MY HOUSE knee-jerk response…

It’s likely that his character design is a big part of it; it may seem shallow, but the fact of the matter is that an appealing design can play a huge part in a character’s popularity. It’s not a bad reason, and it’s not the only reason. So I like his fancy hair and heterochromia and facial scarring; fight me.

I can’t speak for everyone, so I’ll do my best to try to explain what I like about Todoroki. A lot of it is shallow, surface-level stuff. I like his design. He has a cool superpower. And yes—he has, as you say, a Tragic Backstory™ and “daddy issues”. (And honestly I don’t understand why “daddy issues” are derided and trivialized so often in fiction. So he had an abusive father. That’s not just a cliche; that is an actual thing that happens in real life.) Those tropes are conventional in fictional protagonists, but the thing about conventions is that they’re not inherently bad or boring. The reason why narrative conventions exist is that they work. And even if they are used often, that doesn’t mean they aren’t versatile. A “tragic backstory” can mean a world of different things, and in Todoroki’s case, it means he’s grown up in an emotionally and physically abusive environment, with a father who tries to shape him into something he isn’t, and a mother who has also hurt him, while being just as much a victim of this environment as he is.

And in spite of this, Todoroki is still a good person. Is he flawed? Yes. Has his upbringing instilled bad behaviors and mindsets that he needs to unlearn in order to grow? Absolutely. But his flaws are different from, say, Bakugou’s flaws; for all that Todoroki was cold, distant, and unfriendly at the beginning, he was never actively malicious, nor was he ever a bully, and he always had at least some consciousness of the consequences of his actions. One of his most significant moments in Season 1 was when he took on the thugs at the USJ by freezing them, before acknowledging that this could cause serious long-term harm, which he didn’t want because he values heroism. And later, when challenging Izuku at the Sports Festival, he does so as an equal. He doesn’t look down on him the way Bakugou does, and he doesn’t see Izuku’s competence and strength as a threat to his own self-worth. Bakugou’s challenge boils down to “you better not get ahead of me, Deku,” which puts the onus on Deku to “know his place.” Todoroki’s challenge is “I’m going to beat you,” which puts the onus on himself to rise to the challenge and beat Izuku through his own strength. And yes, his reasons for challenging Izuku reflect the unhealthy standards that his father his set (and that Todoroki has set for himself) but from the beginning there is a marked difference between Todoroki as Izuku’s rival, and Bakugou as Izuku’s rival. Character foils exist for a reason.

So what do we see, with Todoroki? We see a flawed individual who has grown up in a toxic environment, but who still shows a potential and an active desire to be good, to be better, and to move past his own personal tragedies. And in the beginning, he does it wrong. He messes up and hurts people without meaning to. Even when he receives some help through Izuku’s encouragement, it’s not an instant solution to his problems, but the start of a healing process. That’s what makes him—and his Tragic Backstory™—compelling. When I look at Todoroki, I see how far he has come from when he first appeared, and I also see how far he has the potential to grow even further. More to the point, I see that he wants to grow. He wants to heal and he wants to be better than he was, and while I personally can’t relate to his past, I can still root for that. 

When it all comes down to it, I find tragic pasts compelling for the same reason I find plucky shonen underdogs compelling. I see both Izuku and Todoroki start from the bottom in their own way, and I keep turning each page and tuning in to each episode because I can’t wait to see them grow. I watch them stand up and walk forward and overcome, and that’s a good story to me.

And of course, you’re allowed to read all that and disagree. MHA is a show with a metric fuckton of characters, so obviously not every fan is going to latch onto the same one. You don’t get the hype about Todoroki, that’s fine because I don’t get why people love Bakugou so much. It’s fiction. It resonates differently with everyone. Hope this answered your question, in any case.

Subject 17 - Memo 4
Desmond Miles
Subject 17 - Memo 4

So, this will be a short one dad… uh, something to remember me by if things go South; if I don’t make it out of the Temple today. I’ve tried to be optimistic about all this, but I- I just can’t. I think spending all this time in Connor’s memories has made me anxious. I mean his story is painful in so many way. Still he never lost hope, even when his faith in others eroded.

I can only believe that we are doing is the right thing, that I can stop this disaster…I know this… I mean the technology is there, waiting for us to use it. I’m the first piece of the puzzle. Something in my genes, or my memories, some final piece of code to switch the whole thing on… that’s why I’m here. That’s why they’ve brought me here.

Only, um… I- I don’t know what I’ll have to give up in return. My sanity? My life? It’s impossible to say. I do know this… our battle with the Templars will not be over. Whatever is inside that temple is not an ending. It’s just another chapter in this- this endless story. And it’ll be your job… and mom’s, and- and Shaun’s and Rebecca’s to keep turning the pages.

You know I- I keeping thinking about something Orson Welles once said… something like If you… if you want a happy ending, it all depends on where you stop telling your story. So maybe… maybe that’s the answer. Maybe that’s how people keep marching forward.

If you something goes wrong in there, Dad… something happens to ME… when you tell my story years from now… please tell them the one about how I lost my way, and then I found it again, just in time to save the world. And- and- just… end it there. That will keep everyone smiling.

Goodbye Dad. Say hello to mom. Tell her I love her, okay? Tell her I- I love you both… I love you both.

Anonymous asked:

When people say “why should I care about your story/character/conflict” I don’t really know how to answer because ..n Isn’t it kind of subjective? There are characters and situations in stories that are very important that I don’t care about and vice versa. What do people really!mean when they give that kind of advice?


What this question really means is “why does the reader care about what happens to your character?” Why do they want to see them succeed? What makes them interested in this particular person’s story?

Usually this is a matter of finding universal themes that we can all relate to in some way. Feeling left out or left behind, feeling like a small fish in a big pond, wanting to be loved, being afraid of a new situation, wanting to survive, wanting to protect the people you love, and so on.

Take The Hunger Games for example. Most of us can’t identify with being thrust into a fight to the death, but we can identify with wanting to protect the people we love. We want to see her succeed because we know what it feels like to be willing to do anything to protect our loved ones. That makes us care about her and her story, and it keeps us turning the pages. :)

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Have a writing question? I’d love to hear from you! Prohibited topics: portrayal of diverse characters, emotions, specialist knowledge questions (medical, etc.), “how to portray/describe,” asking for tropes/cliches; broad, vague, or complicated questions. See master list & main site for more info!

It starts again in the morning. Don’t hope for a message. It’s not there.

Take the next step, turn the page, move on with your life.

Forget about him. That was yesterday, the day before, last week, two months ago.

Get up. Pull your hair back because he liked it when it was down.

This might prove that you’re over him. You aren’t.

Mascara. Eyeliner. Lipstick. Put everything on.

He liked you with as little makeup as possible.

This might prove that you’re over him. You aren’t.

Dress up. He liked you in your sweats because that’s when you were most at ease.

Earrings. Necklace. Paint your nails.

He preferred you plain and simple.

This might prove that you’re over him. You aren’t.

Everything you do reminds you of him.

At the end of the day the eyeliner is gone because you still cry over him.

You lay in your sweats because that’s what he liked.

You check your phone over and over again, is it him?

It’s not.

You crave him but you’re not even a taste on his palette.

Go to sleep. It is the only way to stop thinking.

Wake up and try again, turn the page.

Keep on turning the page, do not turn back. Move on.

Resolve to Read These 7 Timeless Classics You May Have Missed

Still looking for the perfect New Year’s resolution? Just in time for the 40th Anniversary Special Edition of ROLL OF THUNDER, HEAR MY CRY, we suggest making 2016 the year you FINALLY read these 7 timeless classics that no one should miss: 

1. Roll of Thunder, Hear My Cry by Mildred D. Taylor

It’s been 40 years since the story of Cassie Logan’s transformative year at the height of the Depression hit shelves. Don’t miss the 40th Anniversary Special Edition, which includes cover art by Caldecott Honor winner Kadir Nelson and an introduction by Jacqueline Woodson!

2. The Outsiders by S.E. Hinton

Widely considered the original YA, Ponyboy’s tale still resonates with its powerful portrait of the bonds and boundaries of friendship.

3. The BFG by Roald Dahl

Catch up on Sophie’s adventure with the BFG (Big Friendly Giant) before the movie hits theaters in July! Watch the trailer for The BFG movie here.

4. My Side of the Mountain by Jean Craighead George

When Sam Gribley runs away from his family’s crowded New York City apartment to live in the mountains, his year alone will change his life forever.

5. The Puffin in Bloom Collection 

Four classic stories are given new life in these gorgeous editions designed by Anna Bond of Rifle Paper Co.!

6. Summer of My German Soldier by Bette Greene

The summer Patty turns 12, she forms a friendship that jeopardizes her family, friends and freedom – but it’s a risk she has to take.

7. The Westing Game by Ellen Raskin

This Newbery Medal winner is a medley of illusions, aliases, and subterfuge guaranteed to keep you turning pages to figure out Sam Westing’s game.

I wonder if there’s a single place in the whole world that’s never had a story. I bet not. I just about guarantee you there’s no places like that in America. Every little square of it, every place you stomp your foot, that’s where something happened. Something wild, maybe something nobody knows about, but something. You can fall out of the sky and right into some forgotten storybook.

You run and run and run and you keep turning pages and none of them are empty. They’re all full of stories. There’s nowhere left to write.


I think I’m just a bookmark.

—  Nancy McGunnell, Wyoming running back
10 Reasons Why You Should Read The Deadly Nightshade

1) A 19-year-old Hispanic protagonist. Unfortunately, it is incredibly rare to see a POC heroine in YA fiction. Well not here! Nightshade is a dark-skinned, curly-haired Puerto Rican who is lethal with a pair of katanas.

2) Diverse characters. The Deadly Nightshade features characters with a wide array of ethnicities, sexualities, and beliefs. The majority of the main characters are POCs.

3) A YA/New Adult book without the cliché and overdone romance subplot. I don’t know about you, but those cheesy love triangles you often find in post-apocalyptic and dystopian YA make me nauseous. This novel features a solely platonic relationship between the protagonist and her companion, and while there are a few minor romances between some characters, they act as important aspects of the plot.

4) Meaningful inter-character relationships. This is a novel focused almost entirely on the strength and importance of human connections in the face of adversity. Each relationship between characters is essential to their growth and development throughout the book, and they are sure to stay with you long after you’re done reading.

5) Set in post-apocalyptic America. Set in the year 2084, The Deadly Nightshade features a world where the majority of the population has been wiped out by warfare and disease—a world where gangs run rampant and terrorize the remaining survivors, a world where civilization is all but non-existent and bloodying one’s hands is essentially inevitable.

6) No “Chosen One” trope. Unlike many YA protagonists, Nightshade is not chosen from birth to reconstruct society or gifted with some supernatural power. She is an average girl who, through intense training over many years, becomes a deadly product of the chaotic environment in which she lives in order to survive.

7) Extensive character growth/dynamism. The Deadly Nightshade not only follows Nightshade’s transition from helpless child to deadly survivor, but it also chronicles her emotional growth and re-humanization as she fosters life-altering connections with other characters.

8) The protagonist isn’t necessarily a good person. Nightshade is by no means a righteous, good-hearted heroine, and she’s well aware of it. She’s got a blood-stained history, and she’s willing to do almost anything to ensure her own survival, even if it means bloodying her katanas more times than she cares to count.

9) The villain isn’t necessarily a bad person. The novel’s antagonist can’t really be considered a flat out evil guy. After all, he is seeking revenge for the death of somebody he loved by Nightshade’s blade.

10) Plenty of action sequences to keep you entertained. If you’re an action-lover, this book has a multitude of teeth-gritting fight scenes that are sure to keep you turning the page! Did I mention the protagonist wields katanas?

Order The Deadly Nightshade on Amazon in paperback or eBook form today! I guarantee there’s nothing else like it.