so defined!

So remember that one post going around about how Hunk is probably colorblind. (I forget which specific type of color blindness it was) but basically everything was really dull. And you know how there are now glasses you can get that lets you see colors. I was think that Alteans or some other alien race would probably have something like that.

So when Allura and Coran find out that Hunk can’t see some colors they find him a pair of glasses or something like that that’ll let him see colors. And holy shit could you imagine how happy and emotional Hunk would be??? The lions are so brightly colored!!! How did he sometimes mix them up?? And wow Coran’s hair is really more orange than he realized. (They stop at a planet for a supply run and Hunk is just in awe of the grass and the sky and the trees it’s all so bright and defined and beautiful)

2

…what are you looking at? 

I’ll say it once again, Valentina is intelligent af, she knows there’s a drag race outside the show and you have to form a fanbase to last out there; she’s avoiding drama, she’s staying calm, minding her business, doing her thing the best she can… even if you don’t like her, you gotta admire her, many queens would’ve cracked by now, she knows what she’s doing. Bitch came P-R-E-P-A-R-E D - that’s a kid that’s going far. 

One thing that fucked me up when trying to figure out my sexuality was the fact that you can experience attraction to different genders in different ways and nobody told me that.

So I’ll say it. If you experience attraction to different genders in different ways, that’s totally okay. Sexuality isn’t black or white, it’s grey and that’s okay. The terms “asexual” or “bisexual” or “gay” or anything else are just generalizations for us to use to categorize ourselves if we so choose!

You define your label. Words are there for us to utilize, they don’t define you.

  • Me: *despises thinking about myself in sexual situations
  • Me: *finds other people pleasing to look at but gets wierded out at the thought of sex
  • Me: *is generally uncomfortable when it comes to sex
  • Also me: but am i really asexual
7

Neurodiversity is the diversity found in the human brain and mind. A neurodiverse person, then, may have PTSD, anxiety, be autistic, etc. These are LGBTQ identities specific to neurodiverse folks. 

prongswhatthefuck2  asked:

What are some good tips for getting started with writing a book? I have a concept but i can't put it into place.

Getting Started with Your Story

There’s no one way to start writing a book. For some people, it’s enough to just jump in and start writing to see where the story takes them. If you’re not too keen on that idea, then here is one process (as in, not the only process) that might help you move beyond your concept. 

  • Concept ≠ Plot

Many writers mistake concept for plot, but they’re actually two very different things. A world where everyone grows up with superpowers is a concept; the plot is what you decide to write about within that concept - the specific characters and what happens to those characters; who your antagonist is and what conflict arises when that antagonist goes after what they want. All of these things contribute to your plot. 

So first, define what it is you actually have at this particular point. Do you just have a concept? If so, you’ll need to take the necessary steps to develop that concept into a plot. 

  • Concept >>> Plot

If you’ve decided that all you really have is a concept, then how do you take it and turn it into a plot? You brainstorm. All brainstorming really amounts to is expanding your ideas. All you’re doing is asking questions about the concept and delving deep into the answers. 

The most simplistic way to start this process, especially if you’re struggling, is to ask one of two questions (or both, if applicable). These two questions: What could go wrong? What could go right?

Going back to my example about a world where everyone grows up with superpowers. If I were to ask the question “what could go wrong,” I’d end up with a whole list of possibilities. 

  • The powers suddenly disappear
  • People start abusing their powers
  • Someone figures out how to steal powers
  • A hierarchy of strong vs. weak powers develops, creating superiority/inferiority dynamics
  • Someone is born without a superpower

There are many more possibilities I didn’t even think of here, but any one (or more) of these could become a plot. Choose one that sounds interesting, and then ask yourself “and then what?” 

Say I choose: Someone figures out how to steal powers. Then what does that person do? Do they recruit people to do the dirty work for them? Do they work alone? Do they hoard these powers and barter them for other goods? Do they attempt to enslave people? Do they attempt to take control of institutions? What do they do?

Your goal is to take your ideas and turn them into actions taken by characters. People doing things. And each piece you add will usually lead into another. If you went with the idea that this character is stealing powers and essentially selling them for other goods, you’d have to ask yourself follow-up questions. First, who are they selling to? Why would anyone buy a new superpower if they already have one? What uses would they have for additional ones? What is the key demographic that this person is trying to reach? Secondly, what are they selling them in exchange for? Money? Favors? Souls? What is this character getting in return?

Now that you’ve examined potential actions that the character takes, you’ve also exposed potential new characters. 

  • People they’re stealing from
  • People they’re bargaining with
  • People that try to police these crimes
  • People that try to copy this character’s process

At the beginning of this section, I talked about using “what could go right” as another optional jumping off point. This is a good path to follow if your concept is already really negative. For a concept where someone is killing people for some pointed reason, you might ask “what could go right” and explore ideas where the killer is caught and brought to justice. 

The point of all this is to think about change as a means of taking your idea from concept to plot. A concept is static - it doesn’t move, evolve, or change. By developing a plot, you’re forcing the concept to be challenged in some way. If you think about it that way, you’ll be able to formulate conflicts, and the people that orchestrate and fight against those conflicts. 

On that note, I think we’re ready to move onto the third piece of my graphic above. 

  • Plot = Character Actions and Consequences

At this point, you have sketches for characters. You’ve got this nameless, faceless person that is stealing the powers, and all these other nameless, faceless people that I listed above. In essence, we have character concepts. And just like we turned our initial concept into a plot, we have to turn these character concepts into actual characters. 

The basics are the easiest way to start. You figure out their name, their gender identity, their age, their appearance, some brief backstory and personality traits. I personally prefer the simplest questionnaire that I put together back in the early days because it hits on the poignant pieces of a character without overwhelming you with 100s of questions. 

Now that you’ve given your character concepts names and faces and potential behaviors, you start to consider how one character’s view of the world inspires them to take certain actions, and you then think about how those actions affect your entire story. 

We already kind of talked about the motives of the power thief in our example, but definitely delve deep here. On the surface, this character seems bad - stealing from people and then selling what they steal. But depending on what it is they’re getting in return, could we not argue that this character is a supernatural Robin Hood? Maybe instead of selling, they’re giving, and maybe the characters they’re stealing powers from are people that abuse and misuse their powers. Character motives can take a plot and turn it on its head, forcing you to reconceptualize everything. And that’s okay! That’s part of the process.

But separate from that idea, if we have a character concept of someone whose powers were stolen, and after developing their basic backstory, we discover that person’s name is Rose, and she has an especially close relationship with her brother. So when her powers are stolen, how does this affect her life? Was she using her powers to keep her brother alive and protected? What she using them to keep a roof over their heads? Was she using them as part of her job, as a means of providing? What happens to her life when her powers are stolen? And what will Rose do about it? Whatever Rose does will impact the story. If she does nothing to get her powers back, how does she solve her problems and does that make for a good story? If she does decide to act, then you’ve moved onto a new plot point to dive deeper into.

My point is, character concepts come from plots, but characters themselves often create plot, as their decisions and mistakes and successes create new outcomes. So if I could modify my original flow chart:

Before you develop something, you conceptualize it. You have a concept, then you make it a plot. You have concepts for characters, then you make them characters. And those characters end up driving your plot, to the point that this happens:

Plot inspires character. Character inspires plot. And it just keeps going around and around and around. Breaking it down into these pieces helps organize the process, but developing a story is rarely this neat and tidy. You’ll get ideas that don’t make sense, ideas that aren’t cohesive, characters you don’t need, characters that piss you off, problems you can’t solve, or plot points you’ve committed to that you no longer like…it will be messy. But it’s your mess, and the more you work on developing your own process, the more it’ll make sense to you. And it’ll become easier to know how to go about fixing it when something’s not right. 

Have fun with this process! It’s supposed to be fun. When the pieces start to become clearer, you’re able to put them together in a rough outline. And once you have a rough outline, you can start writing, and really see it take shape. 

-Rebekah

It’s like you took a bottle of ink and you threw it at a wall. Smash! And all that ink spread. And in the middle, it’s dense, isn’t it? And as it gets out on the edge, the little droplets get finer and finer and make more complicated patterns, see? So in the same way, there was a big bang at the beginning of things and it spread. And you and I, sitting here in this room, as complicated human beings, are way, way out on the fringe of that bang. We are the complicated little patterns on the end of it. Very interesting. But so we define ourselves as being only that. If you think that you are only inside your skin, you define yourself as one very complicated little curlique, way out on the edge of that explosion. Way out in space, and way out in time. Billions of years ago, you were a big bang, but now you’re a complicated human being. And then we cut ourselves off, and don’t feel that we’re still the big bang. But you are. Depends how you define yourself. You are actually–if this is the way things started, if there was a big bang in the beginning– you’re not something that’s a result of the big bang. You’re not something that is a sort of puppet on the end of the process. You are still the process. You are the big bang, the original force of the universe, coming on as whoever you are. When I meet you, I see not just what you define yourself as–Mr so-and- so, Ms so-and-so, Mrs so-and-so–I see every one of you as the primordial energy of the universe coming on at me in this particular way. I know I’m that, too. But we’ve learned to define ourselves as separate from it.
Listen Up

You are under NO OBLIGATION to make excuses for your abuser

No matter what is going on in their personal life, they have NO RIGHT to use you as an outlet, emotionally, physically, psychologically, or sexually

No matter what they may have done for you in the past, YOU OWE THEM NOTHING now

YOU DO NOT HAVE TO FORGIVE; YOU DO NOT HAVE TO FORGET

YOUR ONLY OBLIGATION IS TO YOURSELF

To your recovery

To saying to yourself every day, over and over until you believe it

That you did not deserve what they did to you

That you are valid

That you are allowed to feel this way

That you do not have to get better overnight

That you are perfect and deserve to take your time to believe in yourself again

That you will get better

That you will get stronger

Until one day you can look them in the eye and tell them that

YOU DESERVE BETTER

AND THAT YOU ARE BETTER THAN THEY CAN EVER HOPE TO BE

anonymous asked:

Just gonna say this real quick, Melissa has the broadest shoulders

I’ve already explained this here, but her shoulders aren’t actually broad. It’s just the little coat she wears. It has wide shoulders.

Here’s Melissa with her coat on:

And here she is without:

Her shoulders look broad, but they’re actually not. Her little coat sort of has padding, like shoulder pads in some suits women wear. Boy characters often don’t have shoulders (or you know, anything that would make them stand out like padding on a uniform), so because Meli is always hanging out with Milo and Zack, and not around other girls, it’s easy to say she has the broadest shoulders. 

Sometimes the animators will follow the character constructions to a tee and make sure to show the difference between Meli with the coat and Meli without, and sometimes they won’t get it right. But humans aren’t perfect, and whether her shoulders show as broad or not when wearing the coat is not a pressing matter lol. Not unless the show was focused on her shoulders XP

tl;dr: Compared to other boys, Melissa has the broadest shoulders. But she has shoulders as wide as any other girl on the show her age; the coat she wears is deceiving XD

The Reader and the Writer (Part 4)

Originally posted by jugheadly

Part one here    Part two here    Part three here

Anon requests: Please tell me there’s going to be a part 4 to The Reader and the Writer. Its amazing!!

WHAT’S MY REAL NAME??? PART 4 4 4 4 4

THEY CALL ME Y/N, THEY CALL ME L/N THATS NOT MY NAME THATS NOT MY NAME PART FOURRRRRR PLSSSS 💜

Can you do a part four to reader and the writer?

PART 4 to reader and the writer omh it’s amazing

Pairing: Jughead x Reader

Description: A part in which we get to read what the writer has written, and we learn what happens to both the reader and the writer.

Warnings: none

Word count: 1,206

A/N: ok so this is gonna be a bit choppy at first because we’re just taking glimpses of Jughead’s writing, but bear with me here. I hope you guys like this part, enjoy!


Jason’s death had been announced a week ago.  Our small town was buzzing with the news, and right when things couldn’t get any more puzzling, a new girl arrived in Riverdale.  A new mystery to be solved.

She entered Pop’s for only a minute, and I heard an unfamiliar last name.  Is she involved in Jason’s murder?  Probably not, but strangers are always a good plot twist.

Three days later, I found this mystery in my booth reading Wuthering Heights.  Normally, I would kick her out, but because of my undying curiosity, I let her stay.  Maybe with her sitting across from me, I could learn where she fits in the story of Riverdale.  I had an enigma sitting right across from me and I didn’t even know it yet.

(Y/N).  Her name is (Y/N).


It’s difficult to notice because of her constant reading, but her eyes are like stained glass, tinting the morning light in a church.

She has a new book almost every day.  Today it was Emma

We haven’t spoken in three days.  She’s here, I’m here, but we haven’t spoken.  Although I crave to hear her voice, somehow I’m satisfied by this comforting silence.


Today it was To Kill a Mockingbird.  She asked if I read it, to which I replied yes.  I thought she’d begin a discussion, talk about the ghosts that occupied the small southern town, or the unjust prejudice people carry.  Instead, she smiled, nodded, and turned back to her book.

“Good,” she muttered under her breath.  I smiled.


What makes a person do foolish things?  Is it because of the flawed spontaneity of humans?  Or is it because maybe they were trying to impress someone?  I read A Tale of Two Cities last night.  As I read through the dull writing, I asked myself why I was reading literature that did not interest me.  I could not answer my own questions; all I know is that the next night in Pop’s, I subtly quoted the book during a conversation with (Y/N).  She was smiling for the rest of the night, and so was I.


I tried to tell her about my book.  She started talking about The English Patient.


When two worlds collide, do you praise the workers of fate for taking two dearly loved universes and combining them into one, or do you curse the forces of nature for creating such an impact?  Betty and Veronica met (Y/N), and a week later, so did Archie.


She was reading Macbeth that night. Our silence was comforting, but I wanted to talk to her more. I offered for her to help me with my book.  I wanted her to be a part of something that was important to me.  She refused and stormed out of the diner.  I didn’t know it then, but that would be the last time I saw (Y/N) (Y/L/N) in that light ever again.

After extensive research, I came to a shocking conclusion: (Y/N) (Y/L/N) is not a girl living in Riverdale in the 21st century. She is a writer from the 1700s, with four published works.  She is not the girl who has been sitting across from me in my booth for months.


One day after the truth: she isn’t here.  I called her, but she didn’t pick up.

Two days after our argument: I am in this booth alone.  I called her again.

Three days after she was reading Macbeth: she probably finished the book by now, but I wouldn’t know.  She isn’t here, and she still isn’t answering her phone.

It’s been a week.  She hasn’t returned, and my calls always go to voicemail.

Two weeks: Archie asked what’s wrong with me.  I said nothing, but my eyes didn’t leave the entrance of the diner. She didn’t come.

Three weeks later and Veronica and Betty checked on me.  They blabbered about what could be wrong, why I was brooding more than usual.  I didn’t reply, but my head perked up when they mentioned (Y/N).  They noticed.


She’s here.

She was born in Riverdale.

And so, a little light shined on the dark mystery of Riverdale’s (Y/N) (Y/L/N) like the calm before the storm.  The writer becomes the reader, the reader becomes the read. I found myself hooked on her just from a little information, like a drug addict craving his fix.  New girls can never hide in a small town like Riverdale, but God, I knew (Y/N), in all her enigmatic splendor, would lurk in the shadows of this town for as long as she possibly could.

As soon as she walked out of Pop’s that night, I told myself she would never return.  I told myself that she would probably leave Riverdale for good, and it’d be all because of me.  But lo and behold, 24 hours later, a familiar face entered my booth.

What is her name?

We haven’t spoken in two weeks; she’s still here, but we don’t talk.  Her real name remains a mystery to me.


A name. Everything is given a name, but a name does not define anything.  We call the number two so that we can define a value, but we could call two a horse and it would still have the same value.  I refer to (Y/N) as (Y/N), because that is the girl who sat across my booth.  That is the girl who I spent months developing a relationship with, and that is the girl I grew to love.

She told me her real name.  She said it with tears blurring her vision and a trembling lip, and when she choked it out I moved next to her and held her as she cried.  I enveloped her in a hug and I held her as all the sadness that she carried with her spilled out, and once it was all out of her system I wiped away her tears.  I kept holding her.  With a shaky voice she asked me why I was still there, why hadn’t I left?  I replied that I could never leave her. After all, I called her every night she was gone.

Then I told her I love her.

And she smiled, because I think deep down she knew.  She kissed me so softly, it felt like my lips were brushing up against flower petals.  I knew that was her way of telling me she loves me too.  We broke apart and I stared into her stained-glass eyes, and I remembered how it felt looking into them for the first time.  But this time was different.  Because now I knew the story behind those eyes, now I knew what those eyes have seen, and now I knew what emotions those eyes hid.

Now I know.

I whispered in her ear, my lips barely brushing against her skin, and told her I would call her by the name I knew her by.  I would call her (Y/N) (Y/L/N) because that is the girl I fell in love with, and that is the girl I want to continue to love.  She was no longer the enigma sitting across from me, nor was she the strange new girl in Riverdale.

Her name is (Y/N), and she is the girl I love.