separately as characters

Bold is queued, not matchups in list.


Gerard surviving the assassination from Widowmaker, morning the relationship and becoming happy again with a new s/o?

Could you do a Doomfist and s/o when his s/o loses her ar and has to grt a metal one. With doomfistconferting her after losing it, and then going through surgery for thr new arm?

Widowmaker, Sombra and Mercy with a s/o that gets incredibly excited over Halloween and always goes all out on decorating.

Can I request one where McCree is actually insecure about every little thing about himself and tries not to take his shirt off whenever his s/o is around but they walked into him taking his shirt off.

If your open!! Can I request reaper, gabe, jack, and 76 reacting it their s/o was found tied to a chair and beaten up, and their s/o is more focused on cuddling them

Can I get some Junker boys (separate), Mei, and two characters of your choosing helping an s/o with anorexia and depression?

Widowmaker getting proposed to by Reader?

Touched starved reader and Mei?

Zarya with an s/o who took in an orphaned wolf pup and got caught by her with the wolf pup.

Hello can I request genji comforting his s/o who is woken up by flashback nightmares from trauma?

Hello! I just adore your writing! How about Doomfist reuniting with an old crush, who becomes Talon’s new healer, since they desperately need one?

Could you continue the Sombra and mercenary!soulmate drabble, with Sombra deciding to ‘hire’ them in order to get to know them better?

Only if your open)) gabe anon! (½ but 1 is a request and 2 is what I love about this blog) Gabriel’s s/o showing him Archiveofourown and and leaving to pick up ordered food or something to see him in the explicit category??

i love your work! ❤️ can i have some dva dominating a fem reader?

Can I have some headcanons with Roadhog and his s/o who is at most half the size of him?? And most people are immediately concerned about his s/o during their ~fun times~??

U still open? I’m afraid I missed it because i just woke up from a nap :( If u still open what about reaper or mccree comforting reading who’s being stalked? Based on recent experience. I’d rather send it as a request than to bother you with an emergency one since I feel like that abusing of your writing.

Okay bit off an oddball request but if you can, can you do jack Morrison in skyrim au with his s/o showing him spiders(frostbite, albino, poison, shock,mind control, oil, frost, fire)

Mondotta with an s/o who made him a zen garden with a small trail of flat rock to a big sitting rock??? Please

Hiiii may I please request reaper, hanzo or mccree staying awake with a reader who’s afraid of storms?

76 finds a child in a lab thats freaking out trying to get wires off her and when she revals her family gave her up to the lab 76 is internally like ‘this is my kid now’ but the child can turn into a wolf??

Blackwatch genji nsfw where his s/o is really into biting if you don’t mind? 

Mercy taking you under her wing to teach you her doctor ways

Character(s?) of your choice braiding readers hair? (I’m not sure that’s the word so let’s go with readers hair being played with) thanks <3

Mondotta adopts child s/o and they love meditating with him and just goofing off and when they hear something about robots not being equal to humans from a school mother they go up to mondotta and say ‘my dad is a robot and he’s the best!“

A 4'7 reader asking the talon team for directions?  (Like reader just joined talon and are lost), And reader gives them a hug for helping them?

How would the Overwatch boys react to their s/o revealing that they have the power to make others see their greatest fear? Many thanks

Love your writing! If you don’t mind can I get a nsfw first time scenario with Soldier 76 and whoever you would like?

Could I please request Genji, Hanzo, and Junkrat with an s/o who’s really loose and free-spirited, and spends their free-time drawing or writing or being generally artistic? Thank you so much!

Some wholesome poly Roadrat x reader. I want a story, *please*

McCree surprising his s/o with tickets to a haunted house

Ok So Hanzo is short. How would he feel about a potential fem s/o that’s taller than he is? ( I can’t remember if you’ve done this already or not, if so just something hanzo maybe please) Ps thanks for letting me know i sent it wrong. It just said open and i was really confused for a second. 😅

Hello! May I request McCree, Zenyatta, and Genji with at a con with their s/o?

Deadlock!McCree saving a forced prostitute Reader from the gang. Please??? Thank you, aaahhh.

Reinhardt with a dfab werewolf lover. Like her wolf form is humanoid. Id love to see him react to being easily pulled back to bed by a big furry babe thats as big as him

Headcanons for Junkrat with a crush on a cop he thinks is cute

Your choice of heroes, Ma'am. Could you tell your HC on everyone’s favourite doughnut?

I was wondering if you could write Poly Genyatta comforting their s/o who has recently seen their abuser while out and about and pretty much their just upset that the person that really hurt them is out there living their own life while it seems like they’re just unable to move one from what happened. Thank you, have a nice day

Sombra with a child reader who can control electronic devices with her mind?

HCs for Young Ana with a photographer/journalist s/o? Pls and thank you~

Genji with a female s/o who has photokenises (the ability to control light) and creates light hardened weapons (like Symetra’s) to aid him in battle?

Helllllo! The albino reader who has scars is amazing! I was wondering if their could be a continuation where Genji and she manage to heal from the encounter with Reaper and are back on the field, stronger than ever?

Reader leaving kisses on reapers, dva and lucios neck?

Genji and s/o fluff soulmate au please?

Can I request Mondatta receiving a kiss from his s/o for the first time? it makes me so happy that you write for him!!

I’m sorry if you already done this but what about some nsfw and sfw poly symmbra headcanons with reader?

Hei! How are you? I was wondering if it’s okay to request a prompt where Doomfist has a female s/o who has water powers and they are kicking ass on the battlefield?

Lucio, mercy and mccree taking care of sick reader please as thank you <3

The talon falling for the rescue team reader?

Reaper and female reaper like s/o is so cute! Could I ask for a prompt where they’re out on like a stroll through the nighttime streets, just enjoying each other’s company?

Can I have some Soldier and Reaper getting tickled by their crush? I adore your writing :)

Reaper, sombra or mercy with an s/o who cries very easily?

HIIIIII ITS YOUR NEW KEWL CANCEROUS ANON HERE TO ASK (if its okay if not just ignore) But can you please right some hcs about genji, mccree, hanzo and lucio finding out that their “innocent” little s/o has a trampstamp? Sfw and Nsfw (if you can lel) pleeease thank you very much!

reinhardt with a very short/small S/O whos easily frightened/bruised, just in general?

Headcanon Time. (HISTORY CHANGED from Archived Blog) 

      Sans was known as a bit of a trouble-making, prank-pulling, too-smart-for-his-own-good brat back in his youth. This is more or less true no matter what Universe you happen to find his childhood self. 

       In his default Universe, though, there is one distinct difference: Sans was not born Underground. 

       Rather, he was born on the Surface using alternative reproduction from Dr. Osteo (a character separate from Gaster, who would have been younger at this time). He was an independent scientist who was known for taking on peculiar projects and was occasionally given work from the Royal Family, prior to their own scientist team being fully established. Due to a very real future of impending war and monsters possessing a significantly lower birth rate than humans, there was a fear that monster species as a whole did not have the numbers to survive. 

       Dr. Osteo was tasked with boosting those numbers by creating the alternative reproduction method, which allowed previously single child homes to more easily have multiples. He was not, he was told rather explicitly, allowed to alter the genetic makeup of developing monsters due to a conflict in moral ethics. 

       He did so anyway, though it was never truly discovered. Still, the fact that Sans and Papyrus seem to have extremely compatible magic in terms of battle, nearly inescapable if used together, is no coincidence. It’s very possible that he altered the genetics of monsters not related to himself as well, but unfortunately, no record exists. 

       Sans was the human equivalent of 9 years old when monster kind lost the war. Papyrus was still an infant at the time. This is the true reason why Papyrus questions common Surface things, while Sans has knowledge on what the sun is, what birds are, and what true stars look like. It’s not the Resets he’s remembering. 

        It’s his childhood. 

THE FOUNDING FATHERS WERE RACIST SHITBAGS WHO DID OBJECTIVELY GOOD THINGS FOR THE UNITED STATES. DO NOT ROMANTICIZE THEM BECAUSE OF THIS MUSICAL. DAVEED DIGGS IS HOT AND WOKE BUT THE REAL THOMAS JEFFERSON WAS NOT. SEPARATE THE CHARACTER FROM THE REAL PERSON. DO NOT DEFEND THE REAL FOUNDING FATHERS’S ACTIONS BECAUSE YOU LIKE THIS MUSICAL. SLAVEOWNERS ARE NOT CINNAMON ROLLS.

2

1x06//2x20

you’ve unlocked something in me

{let’s talk about the fact that alec lightwood went from being afraid of touching magnus bane to putting his heart out on the line for the boy he loves}

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!

5

wanted to share my fav gayest official art of kurama and hiei

Thirteen Reasons Why - Explained

Thirteen Reasons Why

I’ve seen a lot of posts about Hannah being a ‘drama queen’ or overreacting to small things everyone did so I thought I’d explain a bit about what I understood.

1. Justin - Justin exaggerated what he and Hannah did. While this seems mild, it set Hannah up for a terrible high school career because she earned the reputation of 'slut’. This happens so often in schools and in the adult world and can RUIN someone’s life in a certain, if not all areas.

2. Alex - Alex put Hannah as having the best ass against Jessica as the worst. It is clear that the internet is doing its thing again and not taking time to understand things properly; this was NOT A COMPLIMENT AND HANNAH HAD EVERY RIGHT TO BE ANGRY. It was a clear violation of friendship and an obvious example of men pitting women against each other for their own benefit.

3. Jessica - I’m going more by the book here, but Jessica was on the tapes because she didn’t believe Hannah and abandoned her when she needed her. A clear example of how people can easily be lead by others and girls turning on each other because of guys. Jessica deserved to be on the tapes because she didn’t hear Hannah’s side of the story and instead took her anger out on her first friend at the school.

4. Tyler - I don’t think I need to explain much about this, but he abused his position as a photographer in school to violate boundaries for his own pleasure similar to how a lot of people in a power exploit those below them. He made Hannah feel vulnerable and took the lack of comfort she felt at school to her own bedroom.

5. Courtney - I suppose this is kind of harder to understand. Courtney was a closeted lesbian and therefore it is understandable that she was upset at the thought of her being outed before she was ready, but Hannah confided in her to help her expose someone else and instead she protected herself by further ruining Hannah. This shows the selfishness of those who feel the need to protect themselves by harming others.

6. Marcus - I haven’t seen much on Marcus honestly, but I dislike him immensely. He took advantage of Hannah because of the impression of her he had put together from rumours created by other reasons (Justin, Courtney) which is an expression of how men feel owed something from women, especially those who are seen as 'slutty’.

7. Zach - At first glance, Zach doesn’t seem too bad. At half a second glimpse, this changes. Hannah rejected him because he said something silly, a mistake, and if he had made an obvious effort to explain and apologise, he could have helped Hannah. Instead, he chooses to punish her by preventing her from receiving happiness from others. This is one of the clearest examples of how men can’t handle a woman’s right to say 'no’ and reject him…

8. Ryan - This tape is similar to that of Tyler in that he made her feel unsafe. What Tyler did was worse than Ryan, however the effect of Ryan’s actions had (in my opinion) worse consequences that Tyler’s. Ryan published her poem because he thought it was something that needed to be shared, a selfish and naive action (when considering the maturity of high school students), which meant that Hannah’s personal thoughts were no longer her own. She was not comfortable at school, home or in her own mind.

9. Clay - Though I agree when Hannah states that he shouldn’t have been on the tapes, Clay does represent 'everyone else’ who stands by and watched people like Hannah slowly fade and retreat into themselves because of the actions of others. The 'bystanders’ if you will, whose lack of part in our stories can be just as important as those who intrude on us.

10. Justin - It is evident in the series that Justin was extremely haunted by the rape at Jessica’s party and this is probably why he is gaining so much sympathy… this is also why I recommend you all READ THE BOOK. Justin stood by and watched his friend rape his girlfriend, why is he receiving more sympathy than I’ve seen for Jessica? Of course it was hard for Justin to witness that, but staying friends with Bryce and staying with Jessica without telling her is reason enough for him to be on the tapes again.

11. Jenny - Jenny was kind to Hannah, offering her a lift home, but she didn’t take responsibility for knocking down the stop sign which lead to someone’s DEATH. The guilt that Hannah was left with from this (because she was in the car) was understandably overwhelming, especially as the victim was a classmate who was blamed for drunk driving. Jenny is an example of how our reckless actions and lack of responsibility for them can destroy other lives; is that not the entire plot?

12. Bryce - Lord help you if you need an explaination.

13. Mr Porter - A perfect example of how there is not enough support out there for students (and people in general, honestly). The counsellor advising Hannah to 'move on’ after she confides in him that she was raped is one of the most haunting moments in the entire series, solidifying her reason for suicide- she had no comfort amongst her classmates, in her own home, in her mind and now, the specialist designated for dealing with situations like this bore no real interest in her problems and told her to 'move on’.

It’s extremely important for us when watching shows with topics like this to remember many things.

First, the show is not just this situation. Everything represents something more in society; each tape side is a problem in the world that leads to suicide, not only a small action by one character leading to Hannah Baker’s suicide. If you need help in understanding this, or want something else similar to this story, I recommend watching or reading 'An Inspector Calls’ by J.B. Priestly- a masterful piece tackling classism/sexism and how each person’s seemingly small actions lead to a girl’s suicide.

Second, memes are sometimes funny. The 'Clay every time he sees Tony’ memes are really funny, the 'fuck off, Courtney’ memes are funny, but the 'welcome to your tape over a slight inconvenience’ memes, they’re not. The show is raising awareness for the seriousness of suicide, not to create a fanbase of jokes about it. Promoting these after you watch the show, is a clear statement that you haven’t understood why it was made and is completely unacceptable.

Third, separate the character from the actor. Justin Prentice is NOT Bryce Walker, do not spam his comments with disgusting name calling or threatening- this is CLEARLY wrong and unnecessary. This also works the other way: Brandon Flynn is NOT Justin Foley. Just because Brandon is attractive and nice, doesn’t mean his character becomes as such.

Please don’t turn 13 reasons why into another generic element of pop culture. I love pop culture, don’t get me wrong, but we have a tendency to begin digging for meaning and giving up halfway; overusing the profound starting points of progress we find by loosely throwing them around, emptying them of all meaning.

The 5 Elements of a LIKABLE Main Character

“I don’t like your main character. He’s kind of obnoxious.” my beta reader laughingly told me, after reading the first chapter of my novel.

On the surface, I looked like this: 

Inside, I looked like this: 

Aloud, I said “Oh, well, he’s kind of hard to understand. He changes by the end.”

Inside, I screamed “How could you not like him?! Do you have a heart?! Is there a void where your soul should be?! Are you actually a Dementor that’s really good at makeup? Well, I guess this is what the Dementors are doing after getting kicked out of Azkaban!”

Outside: “But I really enjoyed it!” *Hugs between broken writer and Dementor in disguise* “Thank you for reading!" 

But you know what? That person that might be a soul-sucking cloaked demon creature? They were right. The character was unlikable, or more accurately, there was no reason to cheer him on. There was nothing to make the reader connect with him, relate to him, transfer themselves into his story, feel affection towards him. 

And if the reader doesn’t connect with the character through empathy? Nothing else in the story can work. Everything relies on this one fictional person. The basic definition of story is "A flawed hero with a goal overcoming obstacles to reach that goal, and how that journey changes them.” So without character, you don’t have story. Without empathy from the reader, you don’t even have character. 

So what is empathy when it comes to characters? 

It’s the process of a reader transferring their own lives onto the character. When this happens, the character’s goal and inner desires, values and weaknesses, everything about them, become proxies for our own. We learn of a shared piece of human nature between us, something we have in common on a significant inner level, and suddenly we want to see this character succeed. Because now, they are us – and we want to see ourselves succeed in real life. We feel what they feel, we experience what they experience.  

The best way to sum up character empathy in my opinion, is this quote from C.S.Lewis: “Friendship is born at the moment when one person says to another ‘Really? You too? I thought I was the only one!’”

That’s empathy. 

Which doesn’t mean the character has to be an angelic little cherub …

There are characters that operate in a moral gray area, there are characters that are downright awful, there are characters that shouldn’t be lovable …but we love them. So this is NOT saying that a main character has to be a perfect angel that rescues baby squirrels when they’re not busy volunteering at the local soup kitchen, it just means there’s something WORTHWHILE in the character that persuades the reader to stick around. We need a reason to relate with that at-first-glance unlikable character. Just as we have flawed people in our own lives who we can forgive and love.

A good quote for this one would be this, by G.K.Chesterton: “That’s the great lesson of Beauty and the Beast; that a thing must be loved before it is lovable.”

So how does a writer accomplish a good empathetic connection?

Luckily for us, establishing this only takes a little planning in the beginning of the story. Certain elements foster empathy, elements which you can give to your character and display in the story. Making sure to incorporate a few of these will ensure that first connection between reader and character. A connection which you, the author, will then be able to grow. It’s this tiny first note of shared humanity which deepens into those important links we hold with characters. We’re living people, they’re imagined and comprised of words on a page; yet these people can be friends to us, family, mentors, role models, and become some of the most influential people in our lives. 

And how does that begin? Evoking empathy. 

And how do you evoke empathy? Well here are the characteristics that human beings instinctively identify with and admire … 

– Courage (This is the one EVERY main character should possess. Gumption to pursue what they want separates main from background characters.)

– Humor (Wit charms us without fail.)

– Goal-Obsessed 

– Hard-working  

– Noble motivations

– Loving

– Loved by others

– Kind 

– Treated unfairly

– In imminent danger, physically

– In imminent danger, emotionally

– In a sorrowful situation

– Smart/Expert at something

– Suffering from psychological weakness  

– Haunted by something in their past

– Dissatisfied with current state of their life

– Lacking something like love, friendship, belonging, family, safety, freedom, etc

It’s a good plan to give your main character at least FIVE of these empathetic little “virtues.”

If this sounds like a resume, that’s kind of what it is. “Dear Potential Reader, I’m applying for the job of Main Character of this book series. I aspire to consume your every waking thought and drastically change your life, for better and worse.” It’s a diagram of the worthwhile traits of the hero, the characteristics that win us over, which promise the reader “If you follow my story, knowing me – and experiencing the story through me – will be well worth your time.”

These traits will be displayed in the set-up of the story, the first ten pages or so. But the story CANNOT stop to let the character exhibit these winning behaviors; the story must KEEP PROGRESSING, every empathetic element must be shown with a story reason for existing within a scene. Like exposition, empathy needs to be added in subtly, as the story motors onward, slipping into the reader’s knowledge without them noticing. If it’s a scene created for the express purpose of convincing the reader “This character is lovable! Love them! I said love them!” then it will be glaringly obvious and the reader will feel the exact opposite. (They’ll also feel that way about the author, incidentally.)

Now! How does this work? 

Harry Potter: 

Harry is the poster child for being treated unfairly. Yet in the face of the abusive treatment of his childhood, Harry is courageous. He does not succumb to the Dursley’s relentless campaign to stamp the magic out of him, and become a proper Dursley; though this would’ve won their approval, put him in their good graces, and made his life exponentially easier – but he didn’t do it. He knew they were wrong, knew what was right, and refused to become like them. So heck yes Sorting Hat, there is “plenty of courage, I see”. He was loved by his parents, by the three that dropped him off at his Aunt and Uncle’s, and by the majority of the Wizarding World. He’s also snarky, loving, and in constant danger. 

Judy Hopps: 

Every reason why we care about Judy is established in the first few scenes. She’s courageous. She’s funny. She’s loved by her parents. She’s motivated by noble values. Definitely goal oriented, hard working, and smart. She’s also in imminent danger, and being treated unfairly.

If we took out the pieces of the story meant to evoke our empathy, what would happen? 

Nobody would care. Judy Hopps would have been an annoying, smug, and consumed by ruthless ambition. Harry Potter would have ceased to exist because everything about him is empathetic. 

Establishing these early allows us to begin the process of temporarily transferring our lives into a story. Or in the case of some life-changing stories, not temporarily transferring, but letting them become part of our souls forever. 

Yup, having your story connect with a reader forever starts with just a little empathy. Pretty useful.

Oh, and speaking of souls, give me mine back, Dementor reader. I learned how to make people like my characters. Now you’re out of the Azkaban job and the beta reading job. 

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Super old BnHa fanart I drew last summer. I decided to clean some up because I caught up with the manga today. It’s one of my favorite series!

Random Writing Advice

If your story is character driven (which most are), don’t make a huge chunk of it plot driven. The plot should be character driven. Plot and character aren’t two separate entities. The character is the driver and the plot should be the annoying passenger that keeps trying to change the radio when the driver says not to. But in the end, they both exist in the same car.

It’s when you let the plot backseat drive that things become a total mess.   

“You Fly and Dance With the Staff” - Lorelai-4, Arcstrider

I’m loving these new subclasses. I think Arcstrider really fits little Lorelai with her gymnast twists, jumps, flips and kicks, lol

Complete character profile here: https://yourspunkpunk.tumblr.com/post/161544115518/name-nickname-lorelei-4-lore-eh-lie
The Destiel blanket of 13x01

So… I’m rewatching 13x01 and I just have to say. Wow.

Dabb has no chill.

I know I’ve said this a lot but come on, I mean COME ON Dabb. I watch this episode and see all the other excellent meta and plot points of course, but over the top of it is just this blanket of Destiel that affects pretty much every other meta reading in some way or another but especially around Dean and especially when you put it back into chronological order. You can see how the grief over Cas specifically leads his story forwards in this episode and how this will affect him moving forwards and…I’m just stupidly in love with this episode.

There is an undercurrent of Dean’s feelings for Cas present throughout this whole episode, strongly romantic in the Dean scenes and present as a plot mirror even in scenes that Dean is not in. This is the episode that sets up the season. This is the episode that sets up Dean’s arc for the season and in the future, it takes what has been built in the last 12 years subtextually, textualises it and is the foundation for the season to move forwards.

I just… I want to wrap myself in a blanket but I feel like I have to write about the Destiel blanket over this whole episode that tore my heart out and left me needing my own blanket to curl up in a ball on the sofa so, here goes :)

We have an opening sequence that parallels Sam/Eileen again to Dean/Cas and the music, dammit the MUSIC. Literally in the first few seconds of the season we have “Nothing Else Matters”, a Metallica ballad, referring back to Dean in season 1 and linking it to later aspects of Dean’s character growth. Metallica is a part of his performance facade from 1x04, the “scared of flying so humms Metallica” episode, they then show Dean literally blowing down the metaphorical walls of the bunker whilst “never opened myself this way” plays over the top. I MEAN COME ON!

So, performing!Dean’s facade coming down and parallels to the canon romantic couple (and Chuck dammit Dabb you are bringing Eileen back or so help me). 

We end the sequence with this 

Just to remind us, you know, that this is Dean’s key emotional drive for the episode and season.

We then start with Jack/Sam and this again, of course

Dean’s face goes from grief to angry determination. He runs in and immediately tries to shoot Jack in the face. This is the set up of his emotional arc over 01-06. He is angry and enraged because of his grief. This is not a good hark back to good old Dean hunting and being badass, this is utterly devastating.

At this point he’s enraged, sure, he can barely say what happened, but he does. Because he still has a smidgen of hope that there could be a way back. He doesn’t want to face the fact that he might be gone for good yet so he’s just angry that he’s dead in the first place and wants revenge on Jack who did this.

So then we have the search for Jack. But after the prayer scene which chronologically happens here, we see the shift from rage to despair after his prayer goes unanswered. 

We had grief then rage 

And now…hopelessness.

Keep reading

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“You don’t see us, so we are everywhere. 
And we will rise up, red as the dawn