major categories

fun tonys fact for tonight! expect some surprising or interesting winners because for this season, the american theatre wing changed how the tonys are voted! now, instead of every voter voting in every category, voters only vote on categories in their field. light designers won’t vote for best set design, actors won’t vote for best costume design, choreographers won’t vote on best book of a musical, etc. it might shake things up!!

Actually

The question I get the most is how I write characters that feel like real people. 

Generally when I’m designing a human being, I deconstruct them into 7 major categories:

1. Primary Drive
2. Fear: Major and Secondary
3. Physical Desires
4. Style of self expression
5. How they express affection
6. What controls them (what they are weak for)
7. What part of them will change.

1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it.

2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4.

3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.

4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially? 

5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?

6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for.  What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of. 

7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot. 

That’s it.

But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?

If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?

How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?

Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.

They start to breathe.

anonymous asked:

Hey, you're awesome, thanks for existing, basically ^_^ Anyway, I wanted to know if you have any tips on how to write different personalities? My characters (all of them) always end up with the same default personality that I fall back on. Thanks!

Thanks for your question, darling!  I think most of us have struggled with this – after all, we’re conditioned to one way of thinking, feeling, and acting for as long as we live.  That doesn’t necessarily mean we write characters like ourselves, though.  In fact, many of us have a “default character” that’s sassier than we are, sweeter than we are, or in some way different enough from us that we still feel like we’re writing a character.

The problem, then, isn’t that we can’t visualize a different personality than ours.  On the whole, we can.  What we’re missing are the small details that make it feel whole – otherwise, it’s like painting the same room six different colors and trying to pass it off as six different rooms.  Different dominant traits can’t hide the fact that you’re working with one template!

So the question we’re left with: what are the traits we’re missing?  And how can we change them to create a unique and whole personality?


Three Types of Character Traits

There are, as the title suggests, three major categories of personality traits as I see it: fundamental traits, acquired traits, and detrimental traits.  A well-rounded character needs some of each to be three-dimensional and realistic.

Fundamental Traits

The fundamental traits of a person’s character are not as simple as interests and preferences; they are the very base of all decisions and desires.  They are either learned in early life or developed over a long period of time, rooting deeply into the personality.  A few examples of fundamental personality traits include:

  • Upbringing – The word choice here is conscious, as upbringing encompasses many different aspects of a person’s development.  Consider who raised them, and with what morals and practices they were raised to adulthood.  Consider their influences, both familial, social, and in media; consider the relationships that were normalized during their development, as well as the living conditions (financially, emotionally, environmentally, etc.).  The people, places, emotions, and conflicts made common during a person’s developmental period are essential to their personality in adulthood.  This is why psychologists often draw present-day problems back to a person’s childhood memories – because those formative years can subconsciously dictate so much of a person’s future!
  • Values – These may not coincide with the values a person is raised to hold, but upbringing certainly has an influence on this. A person’s values will direct the course of their life through every decision, large and small.  You don’t need to outline everything your character believes is important – every moral and every law they agree/disagree with. But those values which stand above others will give your character purpose.  A few of my favorite examples are: Jane from Jane the Virgin (whose initial storyline is heavily based on her religion and desire for a beautiful love story, as well as her childhood influences who inspired these values) and Han Solo from Star Wars (whose character development rested upon his values shifting from money and gratification to more honorable things).
  • Beliefs – Different from values, beliefs are a more general set of guidelines for how a person believes things are supposed to be.  Beliefs can also be a source of great conflict, as a character tries to stay aligned with their beliefs despite other values or desires.  These beliefs can be established systems, like religion or politics; they can also include more personal belief systems, like nihilism or veganism.  A characters beliefs, like their values, can change over the course of the story – but even if a character is questioning one system of belief, like religion or pacifism, they should have other belief systems in place to govern some of their activity.
  • Reputation – A lot of human activity, whether consciously or not, is dictated by how others perceive them (or how they believe others perceive them).  There are two types of reputation: personal and passing.  For instance, a woman named Sally who gains a personal reputation of sleeping around will behave in reaction to this reputation – either sleeping around because everyone already expects it of her, or specifically not hooking up because she wants to shake this reputation, or developing a thicker skin to deal with the rumors until it passes.  A man named Billy who, because of his tattoos, bears a passing reputation as an intimidating man will either try to soften his demeanor with strangers, own up to the image, or at least learn to expect judgment from strangers as a consequence.
  • Self-Image – Also relevant to a person’s behavior is the way they perceive themselves, which can often have little to do with their reputation.  A lot of self-image is based on definitive moments or phases in the past.  For instance: for several years after I started wearing contacts and cutting my hair, I still saw myself, in dreams at night, with long hair and glasses.  One of my friends, similarly, could not seem to notice when boys would flirt with her during sophomore year – because she still saw herself as an awkward middle schooler with braces, and not as the charming cheerleader with the great smile.
    Inversely, self-image can be inflated, causing character to behave as though they are funnier, smarter, or more prepared than they truly are (see: the rest of my sophomore acquaintances).  This can be an overlooked character flaw opportunity – or flawportunity…

Originally posted by alliefallie


Acquired Traits

Now we move on to the acquired traits of personality, which are the ones you’re more likely to find on a character sheet or a list of “10 Questions for Character Development”, alongside a million other things like their zodiac sign and their spirit animal.  But the traits I’m about to outline are a little more relevant to a character’s behavior, and more importantly, how to make this behavior unique from other characters’ behavior.  The following traits will be learned by your characters throughout their life (and their story), and are more likely to shift and grow with time:

  • Interests – I know, I had to reach deep down into my soul to think of this one.  But it’s true!  Interests, both in childhood/adolescence and in adulthood, are an important part of a character’s personality and lifestyle.  Childhood interests both reveal something about the character (for instance: my nephew loves trains, Legos, and building, suggesting a future interest in construction or engineering) and create values that can last for a lifetime.  Current interests affect career choice, social circles, and daily activity for everyone.  Forgotten or rejected interests can be the source of pet peeves, fears, or bad memories. There’s a reason I’ll never play with Polly Pockets again, and it 100% has to do with bloody fingertips and a purse that wouldn’t open.
  • Sense of Humor – This can be a little hard to define, understandably.  If you were to ask me what my sense of humor is, I’d probably start with a few stupid memes, pass by Drake & Josh on the way, and somehow wind up telling you bad puns or quoting Chelsea Peretti’s standup comedy. A person’s sense of humor can be complex and contradictory!  Sometimes we just laugh at stuff because someone said it in a funny way.  But anyway, to help you boil this down to something useful: take a look at a few kinds of comedy and relate it to your character’s maturity level.  Do they laugh when someone lets out a toot?  Are they the kind of person to mutter, “That’s what she said,” or simply try not to laugh when something sounds dirty?  Can puns make them crack a smile?  Do they like political humor?  Do cat videos kill them?  Is their humor particularly dark?  Can the mere sound of someone else laughing make them laugh?  Figure out where your character’s sense of humor is, and you’ll feel closer to them already.
  • Pet Peeves – For every interest a person may have, and everything that makes them laugh, there’s something else that can piss them off, large- or small-scale.  Are they finnicky about their living space and neatness? Do they require a lot of privacy? Do certain sounds or behaviors drive them crazy?  What qualities are intolerable in a romantic interest for them? What kind of comments or beliefs make them roll their eyes?  If you need help, just try imagining their worst enemy – someone whose every word or action elicits the best eye-rolls and sarcastic remarks and even a middle finger or two – and ask yourself, what about this person makes them that mortal enemy?  What behaviors or standards make them despicable to your character?  That’s all it takes.
  • Skills – Everybody has them, and they’re not just something we’re born with.  Skills can be natural talent, sure, but they’re also cultivated from time, values, and interests.  What is your character okay at?  What are they good at?  What are they fantastic at?  Maybe they can cook.  Maybe they have a beautiful eye for colors.  Maybe they have an inherent sense of right and wrong that others admire. Maybe they’re super-athletic or incredibly patient or sharp as a tack or sweet as a cupcake.  Maybe they know how to juggle, or maybe they’re secretly the most likely of all their friends to survive a zombie apocalypse.  Where do they shine?  What would make someone look at them and think, “Wow, I wish I were them right now”?
  • Desires – A good way to “separate” one character from the next is to define what it is they want, and then use every other detail to dictate how they pursue that goal.  Every real person has a desire, whether they’ve defined it or not – whether it’s something huge, like fame or a family of five with triplet girls and a beach house on an island, or something small, like good grades for the semester.  These desires can cause a person to revise their values or forsake their morals; and these desires can conflict with other people’s desires, influencing how people interact with each other.  Remember that every character is living their own story, even if it’s not the story you’re telling.
  • Communication Style – A majorly overlooked character trait in pop fiction is unique communication styles.  Having every character feel comfortable arguing, or bursting out with the words, “I love you,” is unrealistic.  Having every character feel paralyzed at the idea of confronting a bully or being honest to their spouse is also unrealistic.  There should be a healthy mix of communicators in a group of characters. Some people are too softspoken to mouth off at their racist lab partner.  Some people wouldn’t see their girlfriend kissing another guy and just walk away without saying something.  Some people just don’t react to conflict by raising their voice; some people enjoy sharing their opinions or giving the correct answer in class.  Boldness, social skills, and emotional health all have a part to play in how people communicate their thoughts – so keep this in mind to create a more realistic, consistent character.
  • Emotional Expression – Along the same lines but not the same, emotional expression is more focal on feelings than thoughts.  If you’ve ever heard of the fight-or-flight response, the different types of anger, the stages of grief, or the five love languages, then you’re aware of different “classifications” of emotional expression and management.  Read up on some of those things, and think about how your character handles emotions like happiness, sadness, fear, anger, loneliness, paranoia, and so forth.

Detrimental Traits

While acquired traits are certainly more enjoyable to brainstorm during the creation process, detrimental traits are as important – or even more important – to the character’s wholeness as well as their role in the story.  Not only do these negative or limiting traits make your character realistic, relatable, and conflicted – they create a need for other characters and their strengths to move the plot forward.  A few examples of detrimental traits include:

  • Flaws – Character flaws are probably the first thing that came to your mind while reading this, but they’re the essence of the category.  Flaws in a character’s personality, morality, or behavior can be a source of character development; they set an individual on their own path and provide a unique motivation for them.  Having Character A struggle with sobriety while Character B learns to be a more patient mother can do a lot to separate their stories and personalities from each other.  Even if certain flaws don’t reach a point of growth, they create a third aspect to personality and force us, as writers, to be more creative with how our characters get from Point A to Point B, and what they screw up along the way.
  • Fears – Everyone has fears, whether we’re conscious of them or not – and I’m not talking about phobias or “things that give you shivers”.  Just like everyone has a primary motivation throughout life (romance, family, success, meaning, peace of mind, etc.), everyone has a fear behind that motivation (loneliness, failure, emptiness, anxiety).  We all have something we don’t want to happen places we never want to be and things we never want to do.  We’ve all been in situations that mildly bothered others but wildly affected us at the same time.  For me, it’s a lack of autonomy, or in any way being forced to do something or be somewhere against my will.
    What does this mean for me?  It means that when other people have nightmares about being chased by an axe murderer, I have nightmares about being kidnapped and locked up.  It means that I’m continually aware of my “escape plan” if something goes wrong in my living situation, and I’m hypersensitive to someone telling me, “You have to do this.”  It means I struggle to follow rules and usually don’t get along with authority figures because I have to assert my independence to them.  It’s irrational and continual and doesn’t just affect me in one situation; it subconsciously directs my steps if I let it.  That’s how real, guttural fears work. Phobias are only skin deep, and they don’t make you feel any closer to the character.

Originally posted by giantmonster

  • Secrets – Even goody two-shoes Amber from the swim team, with her blonde blonde hair and her good good grades, has a secret.  Everybody does, even if it’s not a purposeful, “I have a deep, dark secret,” sort of secret. We have things we don’t tell people, just because they’re embarrassing, or painful, or too deep to get into, or they don’t paint us in a good light.  While the secrets themselves tell a lot about a person, so do the reasons a person keeps a secret.  Hiding something out of shame suggests a person is prideful, or critical of themselves, or holds themselves to a higher standard than they hold others.  Hiding something painful suggests that the person struggles to handle sadness or regret, or that they feel uncomfortable showing raw emotion in front of loved ones. And so on and so forth.
  • Conflict – Whether internal, interpersonal, legal, moral, societal, or what have you, conflict will limit your character’s actions at every turn.  A story is nothing without conflict driving the plot in different directions and causing your character to rethink both their plans and their lifestyle.  Without Katniss’s moral conflict over killing other tributes, The Hunger Games would be the story of a girl who entered an arena, killed a lot of people, and lived the rest of her life rich and comfortable.  If Luke Skywalker didn’t have interpersonal conflict with Darth Vader, Star Wars would be the war-story of a guy who joined a rebellion and then… yeah.
  • Health – Physical, mental, and emotional health is a huge limiting factor for characters that often goes untouched, but it’s valuable nonetheless.  Not everyone has a clean bill of health and can jump off trains without pulling a muscle, go through a traumatic life experience without any hint of depression or anxiety, or watch a loved one die in gunfire and shove right on without emotional repercussions. Consider creating a character who’s not perfect – who isn’t perfectly in-shape or abled, or neurotypical or stable day-to-day, or completely clean and clear of residual heartache, unhealthy relationships, or bad emotional habits.  Don’t define them by these traits, of course – but don’t feel that you can’t write a character with health issues without writing a “sick character.”

So this post got ridiculously long, but I hope it works as a reference for you when creating unique characters.  Remember that you don’t need to outline all of this information to create an individual, realistic character.  These are just some relevant ideas to get you started!  It’s up to you, as the writer, to decide what’s necessary and what’s excessive for your creative process.

Still, I hope a majority of this is helpful to you!  If you have any more questions, be sure to send them in and we’ll get back to you :)  Good luck!

- Mod Joanna ♥️


If you need advice on general writing or fanfiction, you should maybe ask us!

I really find it deeply unfair that Beyoncé continues to be shut out of the major categories and be delegated to “Urban Contemporary Album”. I just feel like there is some clear bias against R&B music in general at the Grammys and I find it to be a part of the deeper systemic issue the Grammy’s have had for decades. Beyoncé just happens to be caught in the middle of genre politics and it’s unfortunate because she is creating some incredibly boundary pushing work that should be recognized. That’s all.

LGBT book list

Hey! I’m the anonymous who sent you an ask earlier about having an LGBT book list. I don’t have tumblr, hence the message :) So I’ve broken it into two major categories, and tried to include books from as many different genres as possible, so that there’s a wide variety for people to choose from.

Books whose major characters are LGBT and/or have LGBT themes:

Basically anything by David Levithan (YA)

If I Was Your Girl: Meredith Russo (YA)

Symptoms of Being Human: Jeff Garvin (YA)

The Perks of Being a Wallflower: Stephen Chbosky (YA)

Carry On: Rainbow Rowell (YA)

Aristotle and Dante Discover the Secrets of the Universe: Benjamin Alire Saenz (YA)

Every Heart a Doorway: Seanan McGuire (YA)

I’ll Give You the Sun: Jandy Nelson (YA)

Basically anything by Poppy Z. Brite (horror and general fiction)

The Raven Cycle: Maggie Stiefvater (YA)

Simon vs. the Homo Sapiens Agenda: Becky Albertalli (YA)

Ask the Passengers: A.S. King (YA)

The Pants Project: Cat Clarke (MG)

The Song of Achilles: Madeline Miller (fiction)

Basically anything by Sarah Waters (fiction)

Nightrunner series: Lynn Flewelling (fantasy)

Valdemar: Last Herald-Mage series: Mercedes Lackey (fantasy)

None of the Above: I.W. Gregorio (YA)

Middlesex: Jeffrey Eugenides (fiction)

One Man Guy: Michael Barakiva (YA)

More Happy Than Not: Adam Silvera (YA)

The Art of Being Normal: Lisa Williamson (YA)

Gena/Finn, Not Otherwise Specified: Hannah Moskowitz (YA)

This is Where it Ends: Marieke Nijkamp (YA)

Tonight the Streets Are Ours: Leila Sales (YA)

The books in this part of the list have characters that are LGBT, but play only minor roles, or you don’t know about it until late in the book etc.

Books featuring minor LGBT characters:

Lola and the Boy Next Door: Stephanie Perkins (YA)

American Psycho: Bret Easton Ellis (fiction)

Garden Spells, Lost Lake, First Frost: Sarah Addison Allen (fiction)

Ready Player One: Ernest Cline (science fiction)

Emmy and Oliver: Robin Benway (YA)

The Millennium trilogy: Stieg Larsson (mystery/thriller)

Noggin: John Corey Whaley (YA)

Extraordinary Means: Robyn Schneider (YA)

Elusion, Etherworld: Claudia Gabel (YA)

Sarah’s Key: Tatiana de Rosnay (historical fiction)

Passenger, Wayfarer: Alexandra Bracken

And these books are ones I haven’t read but I believe have LGBT characters:

The Miseducation of Cameron Post: Emily M. Danforth

Rubyfruit Jungle: Rita Mae Brown

Keeping You a Secret: Julie Anne Peters

Fun Home: Alison Bechdel

Girl Walking Backwards: Bett Williams

Ash: Malinda Lo

Beautiful Music for Ugly Children: Kirstin Cronns-Mills

The Bermudez Triangle: Maureen Johnson

How to Repair a Mechanical Heart: J.C. Lillis

Annie on My Mind, Holly’s Secret: Nancy Garden

And the Band Played On: Randy Shiltz

Am I Blue?: Marion Dane Bauer

Maurice: E.M. Forster

Tell Me Again How a Crush Should Feel: Sara Farizan

Lies We Tell Ourselves: Robin Talley

The Price of Salt, or Carol: Patricia Highsmith

Everything Leads to You: Nina Lacour

Luna: Julie Ann Peters

Written on the Body, Oranges Are Not the Only Fruit: Jeanette Winterson

From the Notebooks of Melanin Sun: Jacqueline Woodson

The Color Purple: Alice Walker

More Than This: Patrick Ness

I am J: Cris Beam

For Today I am a Boy: Kim Fu

Hero: Perry Moore

Brokeback Mountain: Annie Proulx

Blue is the Warmest Color: Julie Maroh

Okay, I think that’s all I have for now, though I know I am missing a lot of books. This is a good start though for people looking for something to read. I’ve read all of these except for the last list, so any questions or recommendations, I am happy to provide. Also, I’m always up for chatting with a fellow johnlocker. The only friend I have who watches Sherlock is firmly in the ‘Sherlock is asexual, but if he loved anyone it would be Molly’ camp >_< Anyway, I love your blog. Keep up the great work. Cheers!

Kami


(referencing this post)

Wowee! Thanks for the fabulous list, Kami! I hope this will help out all of my followers looking for some literature!! :)

Sassy, sarcastic characters who typically come off as cold, unfeeling jerks who intentionally isolate themselves from society but occasionally slip up and have a total mental/emotional breakdown (in either canon or fanfiction) where they really need a friend are my kryptonite. I just want to give them all a hug and help them find their happy endings.

Semiotics in Fandom Texts

A brief lesson on media decoding for the Check Please! Fandom

Semiotics is the study of signs/symbols and their use/interpretation. It’s basically how is meaning is created and expressed. Stuart Hall, notably, had a preferred reading theory. 

There’s encoding and decoding in all media. The content creator (an artist, journalist, etc) makes a piece with an intended meaning. They encode a message into their work. It’s the job of the audience to take that piece and decode its meaning.

 Now, it’s not often that straight forward. It’s not just like you have an audio jack straight from the brain of the creator into your mind so you can download their exact intended message. You have things like ethnic, racial, regional and religious backgrounds. You have how old you are, the generation you were raised in, and  the kind of education (formal or otherwise) that you’ve received. Whether you’re nuerotypical or allisitic sometimes comes into play. What privileges, or lack thereof,  and experiences you carry with you heavily impact how you interpret media. And even when a creator comes out and says “this is exactly the lens through which I want you to see this piece,” that can still be ignored or disregarded. 

Hall broke down how an audience decodes meaning into three major categories: 

Dominant reading- you’ve hit the nail on the head. This is exactly how the creator intended you to consume this media. You figured out the message and have accepted it as such. 

Negotiated reading - you’ve taken the message, and there are parts of it that you accept. You’re negotiating your bias with how much you believe that the intended message is indeed the message. Perhaps you see how it could be interpreted differently, but you’ve chosen to accept your interpretation as THE message. 

Oppositional reading - you’ve basically rejected the entire message in favor of something more aligned with your beliefs. This is like when global warning deniers refuse to look at facts and figures because they’ve been conditioned to believe that “the science is still inconclusive”. (just one example, more on this later)

Typically, the way people read media messages is more on a spectrum. So I’ll be using qualifying terms such as “more”, “less”, “closer to” and “further from” in order to describe placement on this spectrum. 

Case Study: In Universe Meta Meta 

Keep reading

muchadoaboutannie  asked:

If I come to FL will you teach a fellow bisexual cubana how to figure out which girls also like girls? Because I am like a lost little rabbit!

luckily miami wlw are easy to spot. there’s 2 major categories. The one that’ll fight u if you look at her girl wrong: wife beater, basketball shorts, backwards hat, 5 bitches with them, optional eyebrow slit. or The one that may or may not be an art student: hipster looking chick with the different colored hair. Both categories will have girls with one side of their head shaved so look out for that overlapping feature that’s a dead giveaway green light and she ‘bout it. go get ‘em. dale

  • Me, in the middle of Filibustering: I will get to my point in good time, Mr Speaker, but perhaps I would be able to better illustrate my point with a short story that I'm sure everyone will find both relevant and illuminating. People often say that politics is a game of influence and I believe that influence can be accrued in three major categories, those categories being wealth, fame and power, which is where I shall forthwith start my story.
  • Wealth, Fame, Power...
  • The man who had acquired everything in this world, the Pirate King Gold Roger. The final words that were said at his execution, sent people to the seas.
  • "My wealth and treasures? I'll let you have it. Look for it, I left all of it at that place!"
  • Men now, chasing their dreams head towards the Grand Line. The world now enters a Great Age of Pirates!"
  • ありったけの夢をかき集め
  • 捜し物を探しに行くのさ
  • ONE PIECE!
5

The “British Oscars” just took a bold step toward ensuring diversity in film — take note, Hollywood

  • Films looking to compete in two major categories at the BAFTA awards must now demonstrate a commitment to diversity in order to be nominated
  • Starting in 2019, films will have to demonstrate they have worked to improve representation of marginalized groups in front of and behind the camera — or even in the film’s audience.
  • The groups specified by the academy include people of color, people living with disabilities, women and LGBTQ people. 
  • Here are the ways they can demonstrate this diversity of talent, per the academy:
    • On-screen representation, themes and narratives
    • Project leadership and creative practitioners
    • Industry access and opportunities
    • Opportunities for diversity in audience development
  • Read more

follow @the-movemnt

*Please don’t delete text or self-promote or else you will be disqualified

Hi everyone, I hope you are all having a great day or night!! Elisabet and I have decided to make an awards on constellations after we both realized how nice constellations are. So I now present to you the constellations awards!!

Rules:

  • Check out Elisabet’s blog (@s-tyled) and my blog (@fheel) you don’t have to follow but it will increase your chances of winning
  • Reblog this post (likes will count as bookmarks)
  • Don’t delete text or self-promote

Categories:

  • Ursa Major - Best overall 
  • Orion - Best extras
  • the Northern Cross -  Best theme 
  • Lyra - Best under 1K (Please submit proof here or here)
  • Ursa Minor - Best discovery 
  • Aquila - Best posts
  • Cassiopeia - Elisabet’s favourite
  • Phoenix - Derica’s fave

Perks:

  • A follow from the two of us!!
  • Possible queues from the both of us :)
  • You will be featured on this beautiful page (under construction) 

Higher Chances:

  • Reblog this post a lot so we will notice you
  • Enter our other awards here and here
  • Talk to us!!

Others:

  • The beautiful banner was made by Elisabet (@s-tyled)
  • Have an amazing day/night and have fun reblogging!!

~ Elisabet and Derica❤︎

“The human appetite for animal flesh is a driving force behind virtually every major category of environmental damage now threatening the human future—deforestation, erosion, fresh water scarcity, air and water pollution, climate change, biodiversity loss, social injustice, the destabilization of communities, and the spread of disease.”
— World Watch Institute

Welcome to my Star Trek style corner

all the visual media i consume is filtered through the lens of shitposty fashion hot takes i tend to notice clothing details in stuff (my friends: what did you think of wonder woman? me: *a shrill uninterrupted cryptid scream that only dogs can interpret and it’s saying “diana’s impeccable navy blue coat at the end made me feel inadequate”). SO my many many years of watching star trek have given me one huge Hot Take on its costuming: non-uniform 90s-trifecta star trek clothing falls into one of two major categories. 1. 90s modernism will apparently have a huge revival in the future, and 2. everything is costumes from a batshit period drama set in no discernible era that takes place in a circus college and stars a bunch of liberace impersonators

so like, here’s some examples from ds9 season 7 (what are you talking about i definitely don’t have a folder on my computer that’s just screencaps from netflix of outfits i think are good)

exhibit a: tasteful 90s business casual but in space

honestly? i love this type of star trek civvies. so clean. so modern. who needs lapels? not captain benjamin sisko. and honestly not anyone. most jackets are improved by not having huge fucking flaps on the front. i find myself staring predatorily at strangers’ giant lapels in public, like “soon, you little fucks. give it three hundred years and you’re out.” don’t ever give me a jacket to alter. oh this is the tuxedo you’re supposed to wear to your sister’s wedding? too bad pal, now it’s the cool-ass acne studios shit you’re going to wear to a gallery opening in 1995. you’re welcome. also falling into this category is picard’s collection of asymmetrical pastel wrap blouses/lightly futuristic seinfeld pirate shirts. High Fucking Aesthetic, my dudes. sorry, every vaporwave boutique on etsy. you got outdid by sir patrick stewart 25 years ago.

exhibit b: clown college

aka everything quark wears. this is A Look. and i am here. for. it. *reinhardt voice* i live for this. it’s like if louis xvi had blown all of his hedonistic french bourgeoisie cash on wall-mounted clipart from the floor manager’s office of a fresh choice instead of like 300 houses. what are those colors? i love them, why are there so many of them. those inexplicable pieces of metal hardware? yes. also in this category: everything my personal style icon lwaxana troi wears. also also in this category: those people in that early episode of voyager where half their hair is a bird. half your hair being a bird is a bold choice? all of this is a bold choice. give no fucks, dress like quark.

so anyway. send me any outfit from any trek and i’ll give you my (probably very un)professional opinion on it.

Last year’s Tony’s were great because while there was still some competition, we all knew Hamilton was going to win a majority of the categories, regardless what we personally thought of the show. This year - too much talent. Too much competition. I’m attached to literally every cast for different reasons and I want them all to win for different reasons. I’m glad I’m not making the decisions, Good luck to the American Theatre Wing for making these hard decisions - I’m glad I’m not in your shoes.

On the other hand, I’m most likely going to be happy however the chips will fall when the noms are released because I’ll be routing for every cast member in every show, most likely, and several of them are bound to be nominated.

ZoSan Fic Rec - One Piece

Finally (yes again), I’m doing the fic rec you’re all waiting for (esp you @sleepydrarry​, please stop harassing me lmao)

There will be a lot of Unda’s work on here but what can I say, I’ve fallen in love.

  • Vitriolic Best Buds - Unda : Or: why I shouldn’t read TV tropes late at night. Wanted to have a little fun with this trope that fits the boys to a T. Vague hostile romance if you squint a little or just a hostile bromance. Your choice. One shot. - Over protective Zoro and Sanji in a One Shot and so much cuteness, I can’t. Also Sanji and Zoro and not explicitly in a relationship but come on, everybody knows.
  • Memories - Stark_Black : Sanji has been in a coma for eleven months, but he’s lost his memory of the past two years. Now, he doesn’t remember Zoro, or the life the two of them had built together. - Apparently, in every fic rec that I do, I MUST have a fic with reserve. So here it is. The fic is great and the angst at the start is a KILLER but, I think it’s an old fic (like 2008), I mean, come on, there is BlackBerries and How To Save A Life. Also warning about some nearly sexist comments and not enough lube/prep.
  • The Roronoa Fruit - Stark_BlackTo Zoro’s surprise, Sanji takes a step towards friendship, using food as his cover. Now their new friendship is deepening fast and Sanji almost can’t keep up. - Oh, another one by Stark_Black ! Okay, I may have reserves about Memories but, The Roronoa Fruit is AWESOME. Just go read it, so much pining, I CAN’T. Kinda wish I could Obliviate myself and read it again.
  • The Not-So-Romatinc Tale of the Swordsman and the Cook - donutsandcoffee…as witnessed, told, and suffered through by the Bravest Warrior of the Sea, Usopp.Sanji loves Zoro. Zoro loves Sanji. They are also, somehow, obliviously, infuriatingly, in an unrequited love with each other.Usopp thinks he can do something about it. He really should have had more self-preservation instinct than that. - THIS ONE, this one, I died laughing in the floor. Luffy and his “It’s a Mystery Plan” and everybody is so on-character, I can’t even. It’s so awesome, and so funny and just go read it, mood-lift is assured.
  • Aural Pleasure - Unda : “It’d be almost funny if it weren’t so terrible, out of a whole sandy beach the directionally challenged Zoro manages to find the one rock to land head first on.” Zoro has to learn to talk again and in the process learns a bit about listening to Sanji. - OMG this one (yes I’m excited about every single fic on this rec, fight me). The angst in the fic is horribly good, I legit cried. 92k words and every single one of them is on point. It’s the fic that made me fall in love with Unda, All praise the ZoSan genius. Serisously, if there is only one fic to read in this rec, it’s this one. Also happy ending so… ;)
  • Once More With Feeling - Aviss : Sanji is given a second chance to set things right. And a third. And a fourth… - This one is the pure definition of angst. I cried A LOT. It’s super well-written and heart breaking and please, do read it.
  • Prison Blues - donutsandcoffee : Zoro gets lost, Sanji gets captured by the marines, the Strawhats break into the ship’s prison, and they all escape with a bang.Not exactly in that order, much to the confusion of Sanji’s cellmates. - 3rd person narrator, only one chapter, and incredibly funny. One of the first ZoSan fic I read and I also fell in love with the author.
  • Reactions - Unda : Sanji is happy to report that his food has never hurt anyone… until now. - Another Unda work, what can I say. This one is also awesome, and please go read it, I don’t even have the words to say how good it is. Just read it omg
  • go back to sleep - itsmylifekay : His skin tingles with an unfamiliar sensation and he shifts, mind becoming more alert as he takes in his surroundings and the strange, lingering warmth on his arm. If he concentrates hard enough, he can feel the fading shape of long fingers pressed into his skin.“Go back to sleep, stupid marimo,” he hears. Sanji is standing close by, pulling on the last of his clothes and straightening his tie. His voice is low in the softness of the early morning and Zoro grunts at the words. - This one is just fluff and pining and rainbow and unicorns. There’s a little of gore, I don’t remember it being bad but I’m not phased by it, so maybe you should be careful..
  • Fix Me - LunaStories : A story of despair, loss, and healing. An alternate scenario in which Sanji is the one who takes the damage from Kuma, rather than Zoro. Thriller Bark Arc.And even as there were shouts of horror around him, Zoro dashed to the blonde’s side, determined to give him a scolding (and then a beating after he healed) for the stupid stunt he had pulled.They all watched with varying degrees of surprise as Zoro reached Sanji, and with one tap on the shoulder…he fell. - OKAY SO. Everybody that knows me, know that I actually enjoy hurting myself and making myself cry to sleep and this fic goes into that category. Major Character Death, I’m warning you guys. But for the ones of you who have the same tastes as me, just go read it and enjoy. it’s fricking awesome and I keep reading it again and again, I can’t get enough of it.


Okay there’s already quite a lot of fics and I’m only half through my list of what I wanted to rec. So that’s means….. THERE’LL BE A 2ND PART (yes Em’, you’ll be able to harass me again, nice right ? lmao)

Anyway, I hope you guys enjoyed it and please don’t forget to leave kudos and comments to the authors ;)

Deck Review - First Light Tarot

This is the deck set the husband got me for my birthiversary gift and I LOVE him for it! @thecrownedcrow mentioned posting a review for it, and I think it’s a good idea, too!

For starters, a few basics. The deck images are taken via the Hubble Telescope and are all 100% images of our universe..or at least what we can capture of it. The images are beautiful! Lots of nebulas, so if that’s up your alley then this is for you. I love it.

The deck comes in a fold top box that is closed with a magnet, which is super handy. I prefer boxes like this. You’ve got your guide book, a fold out easy guide, and your cards. The cards are in 3 different categories: 22 Majors, 22 Insight Cards (which are pretty much Oracle cards), and a set of spread cards (think Deck of 1000 Spreads). I personally wish it was a 78 card tarot deck, but I can live with what I’ve got here. I DEFINITELY wish the cardstock was a bit heftier, as it’s rather thin. Also, the cards are larger than a typical deck. Their size are more like an oracle deck.

The spread cards are super handy to have, but not a necessity. They ARE pretty, though, and who doesn’t love pretty things?

The Insight cards are a really nice oracle deck. I like that none of the images are SUPER alike, and they hold prompts/keywords in the bottom left corner.

Oh baby, these Majors. They’re effing GORGEOUS! The colors really pop out from the black space. Again, there’s keywords on the bottom left corner. 

All in all, I’m happy with them. I’m eager to work with them more, especially during the spring/summer on a clear night on a blanket in the backyard under the stars. These are really quenching my childhood thirst of wanting a telescope. ^.^

archiveofourown.org
we'll grow old together - SpankMyAstonMartin - Supergirl (TV 2015) [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Rating: Teen And Up Audiences
Archive Warning: Major Character Death
Category: F/F
Fandom: Supergirl (TV 2015)
Relationship: Alex Danvers/Maggie Sawyer
Characters: Alex Danvers, Maggie Sawyer
Additional Tags: POV Second Person, Angst, I am so sorry, sometimes i like to make myself and others upset
Language: English

Summary: "A house on a hillside,“ you say and smile when she giggles and says, "Sure thing, babe.”

Character Development: Part 1

The Basics

Character development can refer to the actual creation process in which you decide your character’s strengths, flaws, goals, features, etc, or it can refer to a character’s progression/transformation throughout a story, which is also known as an arc.

Your Character: How Much Do You Need to Know?

Some will say you need to be aware of everything when it comes to a character, including miscellaneous minutia, but when you follow that advice you’ll find it’s all too easy to get bogged down. In order to make things easier, it’s best to have an outline (or at the very least a general idea) for your story, and then consider your characters within that context. Make sure you flesh out these basics:

  1. Features and Identifying Characteristics - Consider what makes them unique in both physical appearance and personality.Their voice and mannerisms are also important here.
  2. Goal (s) - What does your character want and how does it drive the conflict in the story? How does your character’s goal, and the lengths they’ll go to accomplish it, affect others?
  3. Strengths and Flaws - You can divide these into major and minor categories. Some will affect the character and those around them more than others. It’s important to try to find a balance between the two, even if it’s not initial. The character can find a balance during the story.
  4. Fears - These are very important to know because they’ll influence your character’s behavior. Fears can be internal and external, major and minor.
  5. Reactions - How does your character handle situations that occur within your story, and what do those reactions say about your character to themselves, other characters, and the audience?
  6. Interactions - How does your character conduct themselves around other characters? Why?

Static vs. Dynamic Characters

Simply put, a static character is one who does not change in a story while a dynamic character does. Dynamic characters tend to have legitimate, major growth, whether it be over the course of a single story or over many. Their personality, beliefs, perspective, or even goals may be altered by their experiences, and they learn something, whether it be good or bad. Both kinds of characters will appear in stories, and it’s alright to have either in the main character role.

You may also see static characters referred to as flat and dynamic characters referred to as round.

Static Character Examples: Sherlock Homes, Hannibal Lecter, Indiana Jones, Han Solo, Robin Hood, James Bond, Tarzan, Huck Finn, Long John Silver, Classic Superheroes (Batman, Superman, Spiderman).

Dynamic Character Examples: Harry Potter, Ebeneezer Scrooge, Bilbo Baggins, Batman (Batman Begins), Buzz Lightyear, Darth Vader, and Aladdin (Disney).

Character Arcs

The key to writing a good character arc is maintaining believable change in the eyes of the audience. If your character is a pretty nice guy for most of the story, then suddenly decides to do something vile, like kill a kitten for no good reason (other than your Master Plan to make him a villain), your audience is going to be confused. Character arcs aren’t just about the beginning and the end, but how you get to that end. They are a progression.

There are three basic types of character arcs: positive, negative, and flat/no change.

Positive: Your character begins at a low point, and by the end of the story reaches a high and is better off than where he was when he started. An external force causes a change within the character. An example would be The Hero’s Journey (Shrek) or overcoming an internal obstacle.

Negative: Your character begins at a high point, and by the end of the story hits a low and is worse off than where he was when he started. An external force causes a change within the character. An example would be The Fall from Grace (Anakin Skywalker into Darth Vader).

Flat/No Change: The character, at some point, has already found their truth, accomplished their goal, come to terms with their struggles, or had a major change at some point prior to the story and already knows how to handle things. These stories tend to focus on how the character can affect his world, and not the other way around.

There are, of course, different degrees of severity to these arcs, and depending on how long your story is, or if it’s over the course of a series, a character may go through multiple arcs.

Remember to treat your characters like people. Force them into situations that expose them, and make them show who they really are.

Happy writing.

-Morgan