key roles

🐚🍃 About astral projection + exercises 🍃🐚

Astral projection and dreams

When we dream, we have out-of-body experiences on the astral plane. Conscious astral projection involves getting into a meditative state, moving your astral body out of your physical body, and traveling around on the astral plane.

Astral Body

Between you as spirit and your physical body there is an intermediate body known as your astral body. It is lighter and more changeable than your physical body. But the astral body has more shape and density than pure spirit. Your astral body may often be recognizable as your human form, but it can also change appearance, shift shapes, and do fun things like moving through walls.

Astral Plane

The world between the physical and spiritual world is known as the astral plane, or the astral. While it is commonly referred to in the singular as the astral plane, there are actually many different levels of the astral, or astral planes. We move through these astral planes in our dreams.

Astral Travel

The astral world is much more fluid than the physical world. Astral travel is not bound by the limitations of time and space. You can visit different dimensions and travel to past or future experiences on the astral. For many people, it is also easier to connect with deceased loved ones on the astral.

Astral planes vary from the ordinary, to the phantasmagorical, to the divine. Defying easy definition, the astral planes intersect with both physical reality and the symbolic realms of the dream world. Astral travel can take you to dimensions beyond your imagination.

Astral Dream Experiences

Your astral body plays a key role in creating new developments which have not yet manifested in your physical life. The astral is like a giant laboratory in which you experiment with your life and your creations.

The astral can also offer great insight, as it allows you to come at things from a different angle. Astral dream experiences allow you to see things from a different perspective than your normal awareness. As a result, astral dreams can be especially useful for working on situations that–for one reason or another–may be difficult to face directly in daily life.

Astral Projection Meditation

Astral projection typically involves getting into a meditative state so you can consciously move your astral body out of your physical body. With practice, astral projection allows you to develop greater awareness of out-of-body and astral experiences.

These are simple directions for an astral meditation that is suitable for beginners…

ASTRAL PROJECTION EXERCISE:

Preparing the Space, Preparing Yourself…

Find a quiet, comfortable place for yourself–where you will not be disturbed. Create a relaxing atmosphere. You may want to light a candle, burn incense, or play some quiet, soothing music in the background. Begin to relax in general. Take some deep breaths and perhaps do some light stretching. Sit upright in a comfortable position with an open posture.

Part I: Aura Meditation

Get yourself centered and grounded by doing the Aura Meditation in How to Meditate. You will also need to repeat this after your astral projection meditation.

Notice how you experience yourself before doing the Astral Projection exercise. Then close your eyes and focus your attention inward…

Part II: Astral Projection Meditation

Be aware of your body. Notice how you experience the density of your physical body. Then be aware of your aura about an arm’s length all the way around your body. Notice how you experience the lightness of your spiritual energy. Then start to open up your awareness of an intermediate body between your physical body and you as spirit. Notice how you experience the vibration of your astral body.

Allow yourself to shift your awareness to your astral body. Be present in your astral body.

Float your astral body up to a corner of the room. Be present in your astral body in that upper corner of the room. From that upper corner of the room, be aware of your physical body down below you, sitting in the chair. Notice how you experience your physical body down below you.

Then float your astral body up through the ceiling and be on the roof of your building. Be aware of your astral body standing on the roof of your building. On the roof, move around a bit in your astral body. Notice how you experience being in your astral body. Be aware of the world around from the roof of your building. Notice how you experience the world from your astral body.

Then bring your astral body down through the roof and be in an upper corner of the room again. From the upper corner of the room, notice your physical body sitting in the chair below you.

Float your astral body above your physical body. Notice what it’s like to be above your physical body. Then gently lower yourself down into your physical body. First be aware of being in your astral body in your physical body. Then allow yourself to shift your awareness to your physical body itself. Allow yourself to come back fully into your physical body.

Part III: Repeat the Aura Meditation

Get yourself centered and grounded by doing the Aura Meditation in How to Meditate. Draw all of your energy back from above you. Feel your feet on the floor. Feel your legs, torso, arms, neck and head. Be aware of your aura an arm’s length around your body. Notice what it’s like to be grounded back in your body.

When you feel ready, take a few deep breaths, gently open your eyes, and slowly begin to move. Notice how you experience yourself after doing the Astral Projection exercise. Give yourself some time to integrate this experience and enjoy being relaxed before moving on to other activities. (Especially after you first start practicing this meditation–you may want to journal your experience, have a cup of tea, or go for a quiet walk.)

If you practice astral meditation on a regular basis, it will become easier to do and your out-of-body experiences will gradually become clearer. - Oakwulf

Blessings to all of you! 

Lots of love, 

Myhiddenwordblog

8

So if at times I seem overprotective of the system that we’ve built, if I worry that the resentments of others might disrupt it, I have good reason.

#what elementary did with it’s 100th episode was a testament to the kind of show is #to the kind of show #the kind of holmes adaptation - it has tried to be from the start #what they chose to do with their milestone episode is the epitome of all the ways it stands in stark contrast to any other adaptation #any other show not just any other sherlock adaptation but any other crime procedural would have pulled out the big guns #and dealt their lead/s a huge case and packed it full of guest stars or notable minor characters #for sherlock stories specifically no one could begrudge you for assuming moriarty would play a key role #but that has never been what drives elementary #the 100th episode offered all it’s emotional significance to what has always been the core of the show #that sherlock is better because of the people he surrounds himself with #that there is no true reward in playing the lone genius cut off from society/humanity #and his partnership with joan is the finest exemplar of that #yes the bit with marcus in the opening was nice #and gregson’s little speech at the end pulled at my heart strings #both because of it narrative significance and the subtext of it being written for the cast and crew’s dedication to the show bts #but it always comes back to this #one holmes #one watson #the single fact that elementary is fundamentally about sherlock valuing human connections and interpersonal relationships #over solving the puzzle #will forever set it apart from any other sherlock adaptation #and that might be a criticism for some #but it will forever be one of the key reasons that i cherish and adore it

7

Given its key role in 12x15, I thought it was about time to remake my green cooler appreciation gifset (shoutout to original requester @samspurpletoothbrush)

Video games are the perfect form for storytelling — and succeed where movies fall short

There’s a moment in What Remains of Edith Finch — one moment among many, really — where I had to pause while playing.

“You have to experience this,” I said to my partner, passing over the controller, as it thrummed softly, rhythmic and steady. The controller’s haptic feedback played a key role in how the story was being told in that particular moment. I won’t spell out what happened — it’s a pretty big spoiler. So let me just say that it involves a heartbeat.

Where an Edith Finch book would tell or a movie would show, the game can force players to feel its most intimate stories. My experience playing Edith Finch habitually transcended passive digestion. Holding the controller meant more than reading the words on the screen or hearing Edith’s voice through the speakers.

Writing for the Atlantic in April, Ian Bogost argued that video games are better without stories because movies and books “tell them better.” But the reductive reasoning peppered throughout Bogost’s article fails to take into account a vital interactive imperative. Some stories need the interaction only video games can offer to achieve their powerful, climactic sequences. It’s something that other, more traditional mediums simply can’t match. Read more (Opinion)

follow @the-future-now

Wondering how to tell your friends about “Women of Xal” but there’s no easy place to gather information? Well we’re here to fix that with a reblog-ready post! (Kickstarter link here!)

SO WHAT IS “WOMEN OF XAL” ANYWAYS?!

“Women of Xal” is an otome visual novel currently live on Kickstarter. You assume the role of Xjena, who, along with five other girls, will be campaigning against each other to lay claim to a political position of power in a Matriarchal society. An all male harem comes free with your victory. An official trailer and playable demo is available right in the front of our Kickstarter page!

SO HOW DO YOU WIN THE CAMPAIGN FOR POWER?

There’s several ways to do this (or outright fail at it.) You can either play through the game as a benevolent friend to everyone and decide you don’t want the power that badly, or you can be ruthless and throw everyone you can under the bus. And there’s plenty middleground to go around. However, everything has a consequence, and there’s no easy ‘right or wrong’ answer to situations that become increasingly grey and complex.

BUT CAN I ROMANCE THE GIRL IN THAT GIF?!

Velvet (the girl in the gif!) is romanceable! Because you can make Xjena gay, straight, bi, poly, or ace! It all depends on your own preferences. There are 5 ladies to choose from, and five guys, with more on the way thanks to Kickstarter backers making romanceable OCs.

WILL THERE BE NUDITY/SEXUAL SOUNDS?

Not planned, and if happen to get a flood of requests for it, there will be an option to opt-out of said content altogether.

I CAN’T AFFORD TO BACK YOUR KICKSTARTER. HOW ELSE CAN I HELP?

If you hit that reblog button, you basically play a key role in saving my life. You can also play the demo and talk to us about it in my inbox or on our subreddit!

I WANT TO ASK MORE QUESTIONS

My asks are open, and allow anons for the time being! (Shortcut Link)

nightsky6  asked:

I don't understand, aren't liberals democrats and progressives...? I'm a little confused. Pls shed some light

Anonymous said to berniesrevolution:

I thought Bernie was a liberal

Anonymous said to berniesrevolution:

Protip: don’t say the whole “left” thing. Bernie is a progressive and wonderful person. Applying simply “left” to him is not a good discription. It kind of fucks both parties here.

Anonymous said to berniesrevolution:

Is a liberal now like a neo-liberal? Sorry, I’m confused by all the terms now…

We have had a few of these recently, so I figured I would address them all at once. 

There is a problem with using the term Liberal in politics, especially in the United States. Two facets of any ideology are Social and Economic policy. In the United States, we have had an odd arrangement with our political parties. Prior to Clinton, the Democratic party had Liberal Social and a more Conservative Economic Policy. The Republican’s, since Reagan, have had Conservative social and Neo-Liberal Economic Policy. Since Clinton, the Democrats have been pushing Liberal Social and Neo-Liberal Economic Policy. 

See how confusing that is? When you say “Liberal” context is important. Are we talking economic issues, social issues or the amount of cheese on nachos? 

It can become very confusing. 

That being said, here are some basic definitions to help you out:

Hence why Bernie is a Leftist, a Progressive and a Liberal. 

This is also why I am @theliberaltony

day 63647283: when will mikael speak?

3

Farewell Ikutaro Kakehashi, initiator of the MIDI standard.

Ikutaro Kakehashi (梯 郁太郎, born in Osaka February 7, 1930) was an engineer, an entrepreneur, and the founder of Ace Tone, Roland Corporation and ATV, Japanese manufacturers of electronic musical instruments. He is known for his role in the development of Ace Tone and Roland drum machines and the MIDI standard.

In 1964, he developed a hand-operating electronic drums, called the R1 Rhythm Ace. It was exhibited at Summer NAMM 1964, however not commercialized.

In 1967, he developed the preset rhythm-pattern generator using diode matrix circuit, a drum machine where a “plurality of inverting circuits and/or clipper circuits are connected to a counting circuit to synthesize the output signal of the counting circuit” and the “synthesized output signal becomes a desired rhythm.”

Ace Tone commercialized his preset rhythm machine, called the FR-1 Rhythm Ace, in 1967. It offered 16 preset patterns, and four buttons to manually play each instrument sound (cymbal, claves, cowbell and bass drum). The rhythm patterns could also be cascaded together by pushing multiple rhythm buttons simultaneously, and the possible combination of rhythm patterns were more than a hundred (on the later models of Rhythm Ace, the individual volumes of each instrument could be adjusted with the small knobs or faders). The FR-1 was adopted by the Hammond Organ Company for incorporation within their latest organ models. In the US, the units were also marketed under the Multivox brand by Peter Sorkin Music Company, and in the UK, marketed under the Bentley Rhythm Ace brand. The Bentley-branded Rhythm Ace inspired the 1997 Birmingham band Bentley Rhythm Ace when a model was found at a car boot sale. The unique artificial sounds characteristics of the FR-1 were similar to the later Roland rhythm machines, and featured on electropop music from the late 1970s onwards.

In the 1970s, he founded Roland and continued the development of drum machines, including the Roland CR-78 and the iconic Roland TR-808.
In June 1981, Kakehashi proposed the idea of standardization to Oberheim Electronics founder Tom Oberheim, who then talked it over with Sequential Circuits president Dave Smith. In October 1981, Kakehashi, Oberheim and Smith discussed the idea with representatives from Yamaha, Korg and Kawai.[3] The MIDI standard was unveiled by Kakehashi and Smith, who both later received Technical Grammy Awards in 2013 for their key roles in the development of MIDI.

In 1991, based upon his contribution to the development and popularization of electronic instruments, Kakehashi was awarded an honorary doctorate from Berklee College of Music, U.S.A. In 2000 he left his handprints on the Rock Walk Hall of Fame in Hollywood. In 2013 he received a Technical Grammy Award, shared with Dave Smith of Sequential Circuits, for the invention of MIDI. Kakehashi retired from Roland in 2013.

In 2014, Kakehashi founded the ATV Corporation. Together with Paulo Caius, former CEO of Roland Iberia, Founder and CEO of Roland Systems Group EMEA, Makoto Muroi, a prestigious research engineer for music and audiovisuals, also former President of the Roland Systems Group Japan, Mark Tsuruta, former CEO of Roland Audio Development USA and Glenn Dodson, previous CEO of Roland Australia, they’ve decided to start again with a dedicated and experienced team. ATV has been growing since; with a vast team of experienced engineers focused on providing the market with brilliant and exciting new products in both market fields.

In 2002 Kakehashi published his autobiography, titled I Believe In Music, and was also featured as a biography in the book The Art of Digital Music.

Highlights:
1930 - Born in Osaka, Japan.
1954 - Started Kakehashi Radio electrical appliance store
1960 - Founded Ace Electronic Industries Inc.
1967 - Patented “Automatic Rhythm Performance Device” drum machine
1972 - Founded Roland Corporation and became president
1983 - Unveiled MIDI standard
1988 - Roland purchased Rodgers Organ Company renamed Rodgers Instruments fulfilling Kakehashi’s lifelong dream to build large classical organs
1994 - Founded Roland Foundation and became chairman
1995 - Appointed chairman of Roland Corporation
2001 - Resigned chairman’s position and appointed Special Executive Adviser of Roland Corporation
2013 - Received technical Grammy (along with Dave Smith) for inventing MIDI
2013 - Retired from Roland Corporation
2014 - Founded ATV Corporation

2

I wanted to do a few portraits of women in paleontology so here’s Mary Anning and Professor Anusuya Chinsamy-Turan. 

Mary Anning discovered the first plesiosaur skeleton and one of the first ictheosaurs and also played a key role in the discovery of coprolites (dino poo). 

Anusuya Chinsamy-Turan is a South African vertebrate paleontologist known for her expertise in the study of the microstructure of fossil teeth and bones. She’s currently the head of the department of biological sciences at the University of Cape Town. 

Why Sangwoo Became Affectionate

As my best friend @officialperidork said, chapter 6 is basically an ecchi. We are presented with a soft, sensual, and sexually charged tone which is a dramatic shift from what the readers now understand to be the norm. But we don’t really get an explanation and I doubt a handjob would turn Sangwoo from knife-happy to cuddly.

After reading @killingandstalking ‘s theory that Sangwoo’s mother may have sexually abused him, everything becomes clear.

Recapping the interactions in chapter 5, we see that Sangwoo was initially carrying unconscious Yoonbum to the basement but stopped midway and instead brought him to his room. We are not given a motive for this. I doubt it was a sudden change of heart or pity. I think Sangwoo recalled an event from his past where he was sick as a child.

Sangwoo places Yoonbum on his bed, helps him drink down the salt water, and tells him to rest. Later he comes back to the room and asks if Yoonbum is okay, and here is when Yoonbum shares how he wants to eat at the same table as Sangwoo from now on.

This is a key shift in the roles of the characters. Sangwoo has not shared the big table with anyone else to our knowledge and made Yoonbum sit on the small table like he did as a child. Now child Sangwoo shared the small table with his mother and must have questioned why he and his mother couldn’t eat at the big table too. By expressing how he wants to eat at the big table, Yoonbum makes a connection to child Sangwoo. Child Sangwoo only ate with his mother.

If they both eat at the big table now. Sangwoo may be able to “change” his past.

His Father doesn’t exist.

Yoonbum now has the role of child Sangwoo.

Sangwoo now views Yoonbum the way his mother viewed him and so he begins to comfort him the same way. He introduces to Yoonbum to intimacy in the same room he was as a child, and thus the fear of his mother has passed and he is now in control of how the “child” is handled.

In chapter six, we see Yoonbum explaining how since that incident, Sangwoo hasn’t hurt him, ordered him around, or made him do chores. Yoonbum is no longer the housewife. Sangwoo has taken on the role that his mother had and takes care of the abused “child”.

Dealing with the aftermath when “father” is gone

normally Yoonbum would be sprawled on the floor getting beat by now because of “father”


Showing empathetic concern

definitely not something “father” would do to “mother”


Changing the subject/showing affection

Yoonbum is even drawn like a child getting his cheeks pinched


Overall gentleness in caretaker behavior

Yoonbum explains that it feels like he’s living with twins that have a completely different personality from one another and it took time for him to get used to this. He goes on to say Sangwoo bathes and dresses him daily, which is really not like him. He normally would not give a damn if Yoonbum was hungry, dirty, or hurt. 

We do not know how long this behavior continues. We later see them sleeping in Sangwoo’s room, under the same covers. I think we can assume with the abusive dad, Sangwoo’s mom often slept in Sangwoo’s rooom instead…and that’s when things get really fucked up. 

Sangwoo solidifies his role as the mom.

1) He teaches sexual acts in the room he was haunted in

he even thanks Yoonbum after the blowjob 

2) He caresses with damp hands

3) He provides food rather than having Yoonbum cook

4) He explains the situation the way an abused parent would

Again, time passes after this. And then Sangwoo tests his loyalty and Yoonbum tries to make his escape and royally fucks up. I’ll make a post about that too later.


BONUS *when you’re your own mom and you cuddle yourself??*

killing stalking is a wild ride that we’re all going to get thrown the fuck off of

5

Social Media Manipulation and Electioneering: How the US Billionaire behind Donald Trump’s election also helped engineer Brexit


Robert Mercer, who bankrolled Donald Trump, played key role in Brexit by using using military disinformation tactics via Breitbart News and analytic data from Facebook

Cambridge Analytica, an offshoot of a British company, SCL Group, which has 25 years’ experience in military disinformation campaigns and “election management”, claims to use cutting-edge technology to build intimate psychometric profiles of voters to find and target their emotional triggers. Trump’s team paid the firm more than $6m (£4.8m) to target swing voters in the US election.

(continue reading)

When somebody says "the man determines the sex of the baby. you can't be trans because it doesn't exist. it's simple science you can't go against biology." this is what I tell them.

“You’re right, and you’re wrong. It’s actually not simple at all. On average, fertilization occurs about two weeks after your last menstrual period. When the sperm penetrates the egg, changes occur in the protein coating around it to prevent other sperm from entering. At the moment of fertilization, your baby’s genetic make-up is complete, including its sex.

If a Y sperm fertilizes the egg, your baby will be a boy; if an X sperm fertilizes the egg, your baby will be a girl. In that sense you are technically right, but gender is determined by so much more than that. We all know that a man’s brain is different to that of his female counterpart, right?” By which point the person who I’m talking to agrees. then I go on to say.

“In month 3 of Pregnancy

the baby has grown from embryo to fetus. by now the baby’s arms, hands, fingers, feet, and toes are fully formed. the baby can open and close its fists and mouth. Fingernails and toenails are beginning to develop and the external ears are formed. The beginnings of teeth are forming, and the baby’s reproductive organs are also developing, but the baby’s gender is difficult to distinguish on ultrasound, because the genitalia start out the same. Differentiation of the male and female reproductive systems does not occur until this crucial fetal period of development.

It is believed by scientists that during the intrauterine period the fetal brain develops in the male direction through a direct action of testosterone on the developing nerve cells, or in the female direction through the absence of this hormone surge. According to this concept, our gender identity (the conviction of belonging to the male or female gender) and sexual orientation should be programmed into our brain structures when we are still in the womb. However, since sexual differentiation of the genitals takes place in the beginning of the third trimester, (The third month of pregnancy) and sexual differentiation of the brain starts in the second half of pregnancy, these two processes can be influenced independently, which may result in trans-sexuality. This also means that in the event of ambiguous sex at birth, the degree of masculinization of the genitals may not reflect the degree of masculinization of the brain. There is no proof that social environment after birth has an effect on gender identity or sexual orientation. Data on genetic and hormone independent influence on gender identity are presently divergent and do not provide convincing information about the underlying etiology. To what extent fetal programming may determine sexual orientation is also a matter of discussion. A number of studies show patterns of sex atypical cerebral dimorphism in homosexual subjects. Although the crucial question, namely how such complex functions as sexual orientation and identity are processed in the brain remains unanswered, emerging data point at a key role of specific neuronal circuits involving the hypothalamus. So yes you are right, it is biology I’m not fighting anything other than ignorance.”


2

My entries for @voltageparty‘s design contest! I would have done only one, but I really love the concepts of both Shingen and Kenshin to pick just one :’3

For Kenshin, I applied his iconic, historical (mostly) white garb and the cherry blossoms that plays a key role in his main story. I made her to look absolutely feminine and “goddess-like” to match her lord counterpart. But underneath it, of course, is a woman who can and will fight for the sake of those she vowed to protect.

For Shingen, I knew I had to have her exude a “powerful woman” aura because she’s, of course, the Tigress of Kai. She had to be mature, alluring but also imposing with a ferocity that matches her lord counterpart. Her inner robe is an interpretation of “dyed in crimson, dusted with peonies” kimono that Shingen gave to the mc in his main story. She just had to have fur that I refused to put on as a headdress, because my goal for her is to look like the lady of the alpha male who wears the glorious furry headdress hahaha. It’s a shoutout to Shingen’s old battle sprite besides. I also added a bit of allegory in there, which is the plum blossom hairpiece. Plum blossoms symbolize the coming of spring (kind of a bad news for Shingen somewhat) but it also symbolizes the spirit of health and new beginnings. A ray of hope in the coming of spring, if you will.

Hope you like them!

And by the way, I follow the Voltage account on my main blog, as this is my side blog where I put my art on! 

anonymous asked:

I'm having trouble because I have a number of characters that I need to introduce pretty early on and I'm not sure how to do it without just having them all introduce themselves. None of them have ever met or heard of each other before the beginning of the story. Any advice?

Character Introductions

Greetings and salutations! We’re going to talk about character introductions, but before we do, I’m going to link two posts off the top of my head where we’ve discussed this before. Check out these two posts for some additional information if you’d like it. Regardless, I’m going to go in depth here on some great strategies for mass character introductions. 

Penney on Character Introductions

Rebekah on Two Characters Meeting for the First Time

Evaluate the Necessity of Each Introduction

Our anon mentioned that they needed to introduce all these characters pretty early on, but let’s stop and analyze that need for a moment. When you’re trying to decide if a particular event or detail is needed early on in your story, ask yourself the following question:

Do these characters (or facts/details) I’m introducing play a key role in the action of the beginning scenes? 

Make a list of your first few scenes (include brief summaries of the scenes), and look at who the key players are. Imagine you have a character that is being paid to steal something, and they’re in the process of stealing it. The conflict in the first scene is their success/failure to steal said object. The person who hired them to steal it is unimportant in this first scene. Yes, mention that your character was hired by someone to do this, and maybe hint at a general consequence if your character fails (”He’ll kill me if I fail”) but avoid an in depth description of this “boss character” and the nature of their relationship until later. The only thing that matters right now is whether or not your protagonist is able to steal this object.

Regardless of what happens in the first scene, your protagonist will need to return to this boss character and either give them the object they stole or inform them that they failed. This is the point where you start to describe this boss character - what they look like, what their demeanor is like, what they’re willing to do to make their point. It may be the point where you go into the backstory of your protag’s relationship with them, but it may not be needed even now. It may be that this backstory isn’t necessary to know until 2 or 3 scenes later on when we start to wonder why the hell our protagonist is putting up with this boss person’s insane orders and methods. 

The key point when it comes to exposition - make readers wonder about it before you tell them. Giving a reader all the information in the first chapter often results in a reader learning things they don’t even care to know yet.

So the first thing to do before you start introducing all your characters, is to decide which characters are involved in the actual events of the story in these early scenes. It’s likely that some of the characters need only a brief mention at this point (not a full intro), or perhaps even a postponed intro until a chapter or two later. 

In the case of our anon, none of their characters know each other, so it’s necessary here to ask yourself why they all need to meet at this particular point. Can Character A meet B in scene one, and then meet C, D, and E in scene three? 

If you feel like they all have to meet at once, because they’re all part of a group or something, then choose one or two relationships to focus on first. For example, when I start a new job, I take in everyone’s names at once but likely only remember a few, and the few I remember are because I end up talking or working with them 1-on-1 first. So decide if you’re able to generalize some of the introductions early on and focus on one or two character interactions early. It doesn’t mean those generalized intros are insignificant characters - it simply means we’ll get to them later when they become relevant. If this point seems valid to you, definitely read Penney’s post. 

Make Each Intro Significant and Memorable

I make this point in the post of mine I linked, but in this case, there’s a little more to it than what I discussed. When a character is meeting a lot of other characters, each introduction should include more than just “Hi, I’m Rebekah.” A detail should be included that we’ll remember, or something should happen that becomes significant. 

In Big Hero 6, Hiro meets four new characters in one scene (five if you include Callaghan). And each introduction includes not only a name (a nickname actually), but also showcases the area of science they each specialize in, because they’re each fussing with their projects as he moves through the room. Because he’s meeting them while they’re in the middle of work, we also see some characteristics about how they each operate (Wasabi getting upset when his “system” is disrupted by people grabbing his stuff). And rather than one big mass introduction, (”That’s Go-Go over there, and this here is Fred, and oh that guy over there is Wasabi”), Hiro meets each person individually, though still in one scene. These are formal introductions, but they work because they reveal something memorable and significant about each person, and it’s easier to keep track of them.

If this were a novel rather than a movie, this would also be a good place for Hiro to relate specific details about each person to his own life. If one of them reminded him of someone (whether it’s someone he knows, or a cross between two famous characters/celebrities), or if he’s initially intrigued or put-off by the character. For instance, Hiro later has an overflowing wastebasket full of discarded ideas, and this kind of mess might be something a super organized person like Wasabi might be driven insane by. So when they meet, Hiro might think something like, “Wow, if he’s frazzled by this kind of chaos, he better not set foot into my workshop.” I’ve exaggerated a bit, but I want to show an example of your opportunity as a novel writer versus a script writer. Pick on little details and show how the details affect the character that’s meeting them. 

Use Distinguishable Names and Create Associations

If at all possible, choose names for your characters that are easy to keep straight. Try to avoid having too many character names that start with the same letter, or have similar sounds to them. That’s no need to have a Danny D. and Danny C. situation here, or even an Ashley/Amber situation. You have control over your characters’ names, so pick names that are easily distinguished from the other characters’ names. 

Also, with a large cast, let readers form associations with a particular name that they won’t forget: 

  • “Noah was a ‘no-nonsense’ kind of guy.” 
  • “Shelley had a shrill laugh, and she was easily amused (and easily startled) so you heard it quite frequently, even across the room.”
  • “Ricky was the risk taker of the group. Not because he was brave or anything, but because he never thought things through.”

Let’s review:

  • Noah = no nonsense
  • Shelley = shrill
  • Ricky risky

These adjectives serve as subtle mnemonics that help to build associations between names and descriptors, and it’s the type of thing that a reader will remember without realizing that they’re remembering it. 

Mix and Match for Variety in Interactions

Depending on the type of point of view you are using, you may also have the opportunity to create smaller conversations within the larger group. You start the story with Ashley meeting Noah and Shelley, and you take the time to really show enough of who each character is that we’ll remember, and then you jump to a new scene where Danny is meeting Ricky. Once we’ve gotten used to this second group of characters, you bring all five together. Instead of being overwhelmed with all five characters at once, we’re spoon fed a little at a time so it’s less of an overload. 

And this example of 3 characters, then 2 characters isn’t an absolute. You can work with as many characters as you feel you can balance. If you’ve got a cast of, let’s say 12 characters, you might start the scene with a group of 5, and then a group of 3, and then a group of 4. The number of characters you’ll introduce at a time is in proportion to the cast as a whole. A bigger cast might mean bigger groups, or perhaps several smaller groups. This is where you play around with your specific setup to see what works. 

These are just some tips for introducing a large number of characters. Hopefully something in here will help you!

-Rebekah