I mentioned in this post how Eli’s transition from what was basically the antagonist to being best friends with everyone in muse would have been really rough, and that part of it would be because of leadership issues. I’ve only watched a few episodes past where she joins but her takeover really is absolute. She’s leading practices, she’s coming up with ideas to boost their popularity (and enacting them with only nozomi’s knowledge, not honoka’s), and she’s the one deciding on the no-senpai rule. Eli comes up with ideas and then she does them, and there’s no backlash at all.
I guess it makes sense, given the characters. Most of them will follow any leadership, as long as they’re having fun. Umi might argue, but Eli shares the exact same ideas as her. Maki would argue but she already stop caring after Honoka stopped her from fighting Eli the first time. Nico will complain to herself and anyone in earshot, but for all her talk she hasn’t actually challenged Eli - possibly because she knows Eli is right, possibly because she knows Eli could instantly take her out in a fight, who knows. In the end this basically gives Eli free reign to do whatever she wants, and that probably helps her fit in with the group better. If she had to follow some other person’s leadership and stay quiet about her own ideas I don’t think she could do it.
Basically: it’s really good that the “who’s the leader” question came up before Eli joined. Otherwise it would have been an instant “oh, it’s Eli, end of story” and Eli would shrug and agree as she steals the club’s paperwork to do for fun in her free time
Guys, I’m reading your hysterical reviews and they make me sad.
TFP WAS SHIT BECAUSE JOHNLOCK HASN’T BECOME CANON. How stupid must one be to honestly think so???? Hey, maybe you haven’t noticed in 13 episodes, but this show doesn’t have canon pairings. It has fanservice scenes for each one, for shippers of every pairing could be happy. This is sort of the trick? Johnlock? They fucking live together. Two men. Raising a daughter. Sherir? That SMS, plus Eurus insisting Sherlock had sex when heard him playing her theme. Sheriarty? A whole damn kiss (well almost), and a whole blank page of how Sherlock survived. Look, isn’t it cool: all shippers have space for maneuvers. For me, it is enough. Hating TFP and series 4 in general because you wanted to see John and Sherlock banging and you haven’t got them banging is fucking childish.
THE PLOT IS UNREALISTIC AND TWISTED. WHY COULDN’T EVERYTHING BE LIKE IN SERIES 1? okay, you know who would start whimpering first if everything would as nice as pretty as in series 1 and 2? YOU. We have four seasons, each brilliant in its own way, and each unique. Yes, season 4 was nervous, mind-crushing, unexpected in so many ways, but it was fresh, I would even say, refreshing. We got Sherlock as a human, Sherlock as a crazy drug addict, Sherlock as a brother, Sherlock as a friend. This series is absolutely amazing in terms of his character development, the MAIN character development. Remember the first scene we meet him? He’s beating a dead body. In TFP, he’s breaking a fucking coffin. Would you like Sherlock to stay as in series 1 forever? Really?
EURUS IS A SUE. Great, now why wouldn’t we take a look at the concept, not at the character from the point ‘are they are realistic enough to meet them at the grocery?’ Eurus is what Sherlock could become. Dangerous, sociopath, playing wicked games, super clever…lonely. Eurus is what he would be if not for his friends. John, Molly, Lestrade. Moriarty and Irene. Mycroft and mrs. Hudson. Sherlock has them; Eurus has no one. Locked in prison, alone with her mind, she must seem a cliché of an Evil Genius to you, but to me, she seems a dark side of Sherlock himself. A dark side that he confronts, and wins. The scene where they play violins, it’s amazing. I cried. From this perspective, Eurus is a striking, fantastic character. A Sue? Ah, I forgot, you need to meet her in the grocery to believe in her.
I’ve ranted here for too long, but I hope you got me. Sherlock has never been a show where the writers chew everything for us. It has never been a story with one dimension. And it has never been, and was never supposed to be boring. You may yell about how unrealistic and bad-written s4 is, but of we’d had three copies of s1 instead, you’d long for action and twists. There may be another season after it, maybe not (I believe there will not, but Moffitiss are so good at violating people’s expectations), and yet I am happy about what I’ve seen.
Sherlock is a wonderful show. And I don’t need to see two male characters banging to say so.
Honestly I would do anything for Alice Cooper The way she stormed into Thornhill because she thought Polly was in danger being with the Blossoms
And having the gun ready and telling Betty to get behind her when she thought someone had broken into the house
What a fierce mama bear!!
I’m so glad she’s had this character development over the series especially since so few supporting characters have had any character development
(Mbti pt2) but then I remembered connie’s character development and what it meant to me even before I took the test. The concept that grew on her that ‘with my short existence I can make a difference.’ That she is and can be strong. Connie’s development now means more than anything to me because it shows that someone that thinks like me still turns out ok. I hope she ends up happy. I hope I end up happy. -Anonymous
A tip for people who either get a really good idea in their head for writing and then only end up writing one sentence to a page
I used to really struggle with this so I thought it would be good to post ways of getting through the first page.
I will go through the different kinds of ways this can effect people.
First things first. The first ten pages are the most tricky in my opinion, because you have no idea how to begin. Or it is the other way round. You can write the first ten pages easy but then struggle to think what to write afterwards.
Honestly, the best way to get over this kind of problem is planning. I AM NOT TALKING ABOUT PROCRASTINATION PLANNING. I have found that knowing who you characters really are and really knowing your plot line means that you could practically write a story you know so well you could type it (or write it) in your sleep. Above is a PowerPoint presentation of character development help, and it has helped me so much with character development. It explains the five Ps and has a mind map with all the things you actually need to plan. Our might what to do it when you has time on your hands because it take s me between an hour to a hour and 45 minutes but I am telling you, it is so helpful.
The second thing you can do is plan out your plot ON PAPER. I can’t stress this enough. It is often the case that your plot is quite mixed chronologically wise so it is vital that you write it down to disintangle your thoughts.
Another thing I know people struggle with is what is known as your inner crtic. Your inner crtic is that voice inside your head telling you that what you are writing is not good enough and holds us back, limiting us. Most people have an inner crtic. They usasally are an echo of what other people have said that have been perticularlly hurtful. The best way to deal with this is befriend your inner crtic, as no one can get rid of it as it is so desperate to be heard, but you can change what it is saying. The best thing you can do is notice what your inner critic is saying and then nutralise it with an alternertive truth. For example if your inner critic is saying ‘this is too hard’ say outloud ‘I can do this’. If you do this on a regular bases your crtic will become your ally and you will start hearing it encourage you to write
The final problem that people have is just simply coming up with an idea. The best way to with this is to start small. Start by using the ever so cliche 5Ws. They are well known because THEY WORK:
When is your story set? Is it in a different world? A different era? What challenges will they face depending on the era e.g. if it set in the 1920s, then they may have trouble being taken seriously if your character/s is/are female.
Who is your story about? (This for me is the most important. Again, use the presentaion above. You use have good characters, you will find they come to life in your head, and they come to make their own plots, and where there is good characters, good plots and stories follow.) Also, remember that character development is very important. How do they change and grow from their adventures? Do they become a better person? Do they get a redemption arc?
Why is your person doing what they are doing/going on this journey? What are their motives? This is also good for chracther development.
Where is your story set? This is very similer to the When? question. Is your story set in the rolling hills of England? The beautiful beaches of California? Or maybe in a entirely different planet. It’s entirely up to you, that is the best thing about writing your own book. You control what happens to the chracthers, storyline and how it ends. This is your adventure.
What is going to happen in your story? This is the one that is most challenging for people. This is why we deal with this question LAST, so you have a basic idea who your characters are, when the story is set? If you still have not a clue what the story is going to be about, use the beginning, middle and end stragey. Every good story needs a good beginning middle and end. Try writing a list of the key events that happen in your story and puting them in order.
Once you have your plan, set a goal to how much you are going to write a day. Remember that 500 words = approximately 1 page. I know some full time writers who aim for 10,000 words a day, but remember they have it as a full time job, so if you are just starting as a part time writing and have a different job, then you might what to aim for 1 - 2 pages a day. You can even write half a page if you feel like that is a real strench. As long as your writing, it doesn’t matter how long it takes you to write the story, do it your own time. Best selling author Chris d’Lacey (the Fire series - I highly recommend reading it) took almost 15 years to write the first novel in the series, The Fire Within. Take your time and don’t rush. Also remember it is quality not quanity, 39 Steps by John Buchan (Again - highly recommend it) is only 108 pages long and it has become an absolute classic.
DISCLAIMER: I was given this presentation 3 years ago by a friend before I even knew Tumblr existed - if someone knew it’s source that would be great so I can tag them.
There’s a difference between writing a strong character and writing a morally strong character. There’s a difference between writing a good character and writing a character that sometimes does the wrong thing. It’s very rare that you will go through your life without upsetting people or choosing to do the wrong thing, so why should we expect our characters to? When we put restrictions on characters and what they should and shouldn’t be teaching readers, we end up with poorly developed and unrealistic characters.
Here are few things to remember when building your characters:
Your protagonist won’t always do the right thing.
Great character development is when your character grows in some way throughout the novel. It’s very important to remember that great character development for your protagonist DOES NOT mean that they will turn out perfect and wonderful in the end. Maybe they will learn to be more selfish. Maybe they will learn that doing the right thing all the time has only brought them misery. Maybe they will become hardened in some way. The protagonist does not only represent good things about human nature. They do not have to have perfect morals to be the protagonist. They also do not have to be a hero or role model. The protagonist is simply the main character of your story, the one we are told to focus on. They have the potential to represent all aspects of human nature, not just a “good” and “moral” perspective.
Characters that do “bad things” are not always brought to justice in the end.
The antagonist will not always pay for their actions at the end of the novel. This isn’t an injustice or something the writer screwed up. Not everyone who does awful things in this world will have to pay for it. It’s important that you tell your story how you want to tell it because it’s not your job to preach to your readers about good vs. evil. Sure, readers will hate it if there are no consequences for your characters’ actions, but not every character needs to be systematically punished for bad deeds. Maybe the antagonist learns something in the end, maybe they’re captured, maybe they get away, or maybe they work with the protagonist. This is really all up to you and the story you want to tell.
We do not have to preach to our readers through our characters.
Writing a novel never has to be about teaching your readers a lesson. If you’re writing a novel about good vs. evil, good doesn’t always have to triumph in the end. If a writer decides to end their novel in a negative way, that doesn’t mean they believe the antagonist was right, that’s just how they felt the story should go. On the other hand, if you want to teach a lesson or talk about an issue—do it. It does not have to be your main focus, however.
Our characters really don’t owe our readers anything, except to be themselves.
Characters aren’t supposed to act a certain way or learn certain lessons to satisfy readers. IT’S IMPORTANT THAT YOUR CHARACTER’S ACTIONS MAKE SENSE TO YOUR CHARACTER AND THE WORLD THEY’RE LIVING IN, but they don’t need to be something in particular to be a good character. For example, I personally believe Daenerys from Game of Thrones is a great character. She doesn’t always do the right thing. She doesn’t always know what she’s doing. She might not be a good person. But she’s a skillfully developed, interesting character that I like seeing progress. Daenerys doesn’t owe it to us to be anything but herself, flaws and all. She’s not good and she’s not evil. She doesn’t have perfect morals, but as we learned from Game of Thrones, that doesn’t really matter. The books don’t really make a statement on who’s right and who’s wrong—the author leaves that up to us.
This isn’t to say that the choices you make as a writer don’t have any consequences. You still need to do your research and be responsible for the choices you make. The choices of your characters might still reflect on your choices as a writer. You can’t get away with saying offensive things or excluding diverse characters by explaining that “this is just how my character is!” I’m just saying that your characters don’t need to fall into a certain category to be a good character.
You know I’m actually rather excited for “Slade the Superhero.” Bracing myself for some emotional rollercoaster moments and waiting for reasons behind some WTF? elements but overall Priest is a capable author who can make this work: it’s probably going to be a study on morality as well as another convoluted plan by Slade to spend time with his kids (which is another reasons I’m pumped: Wilson bonding). And you know it’s not going to be permanent but it will be interesting. Especially the reasons for all those people have for joining Slade.
And Terra. How? Is this your redemption too? Are you the Terra or a Terra? It does suck Wally left TT already when he was one of the few not deaged NTT members. Also remember when Joey and Rose were allowed to be on superhero teams and have friends? Good times, good times. And I’m happy Tanya is being remembered and her character being developed. That’s another thing I hope from this is that DC might entertain the notion of another Titans branch for the characters who have outgrown TT or don’t fit the TV synergy requirements for current TT or don’t belong to whatever generation Titans is focusing on and ultimately have no other place to go. After Slade goes back to being the World’s Deadliest Assassin that is.
Also laughing at how this is probably one of the more diverse team line-ups DC has so far: team consisting even number of guys and ladies. Half of the members are PoC and two of them are biracial to boot (Tanya could be too even). The two white guys on the team are both disabled in different ways and one of them is bi.
Clara changed her message from “remember me” to “be a Doctor” because she knew the Doctor had forgotten her. But it just occurred to me that how much Moffat enjoyed playing with words and setting up book ends, and his book ends always involved a progression, things didn’t just go back to the start, nor fall back. Those two messages were almost the same with a few words replaced. Or maybe, it’s not a replacement. They were parallels. The latter was the former’s counterpart. An equation. That’s what really happened to 12th memory. He seemed can’t recognize waitress Clara, but he still remembered her, in a way. The whole Hell Bent story was his version. Although he couldn’t recall what Clara said to him in the Cloister, he remembered those rules he told Clara right before he fainted. Rules to be a Doctor. Words Clara Oswald reminded him again and again. To remember Clara is to be a Doctor. The change of words wasn’t an erasing nor rewriting. That’s an addition and the final development. To be a Doctor is to remember Clara Oswald. She doesn’t leave, even if he can’t remember her face, he will always remember her by who he was, is, and will be. The Doctor.
do you remember that one time where haru said he didn’t want to teach rei because it was too much effort but he ended up teaching him anyway and then he tried to give him a pep talk and talk to him and then sat next to him and watched butterflies and wow