so i just mainly ones that i've seen around a few times

incandescent-creativity  asked:

So I have a novel that I've polished quite a bit, and it's been seen by an author couple who really know what they're doing, and they said to make my dialogue unique to each character. This book does have quite a few main characters in it, so I'm struggling to come up with ways to jazz up their dialogue while keeping it unique to the characters. Any advice?

Hi! I’d be happy to help.

Firstly, let your characters’ dialogue reflect their personalities. If one character is very cynical and another is optimistic 24/7, they’re not going to speak the same way or refer to things the same way; if one character graduated from college cum laude and another barely made it through the tenth grade, they won’t necessarily use the same words, or the same grammatical structure in their sentences. If your character teaches English, they’ll probably be accurate in use of verb tenses and negative agreement (either-or, neither-nor, “no one did anything” as opposed to “no one did nothing”). Let your characters’ worldviews and characteristics shine through in their speech.

I’ll try to list a couple of ideas for you:
- maybe one character cusses more than others
- maybe one character has a tendency to repeat himself
- maybe one character constantly jokes around
- maybe one character speaks very properly
- maybe one character loses their g’s at the end of -ing words (e.g. “fuckin” instead of “fucking”, “workin” instead of “working”)
- maybe one character is awkward when speaking and finds it difficult to phrase things correctly, so their speech often doesn’t make sense
- maybe your character repeats a certain phrase

(Don’t use any of the above just to give your characters some differences in dialogue – if you feel one or more fits your character, then by all means use it, but don’t put them in just to add pizzazz. That won’t help.)

Mainly what I have to recommend is listening to people talk – not on TV or on the radio, but in real life. Sit in the park or the airport and just wait for people conversing to walk/stand/sit within earshot. You’ll notice that some people repeat certain phrases as an affirmative (I, for example, say “yuh” at least five times a minute and I kind of hate myself for it), some drop their g’s (“that girl’s frickin weird”), some speak properly/politely by nature. Listening is really the only way to improve your dialogue, just like reading/writing is the only way to develop your style. Writing is a game of observation and practice.

I hope this helps! If you need anything else, please feel free to ask! - @authors-haven

Good For You pt.4

a/n: i’ve been procrastinating. anyway here’s part 4 of a series no one asked for (and was originally meant to be more sin less plot but turned out more plot and less shitty sin bc im trash) unedited i have to go sleep


Summary: He needed you as some sort of stability, you needed him as some form of rebellion.

Word Count: 2.5k+

Pairing: Lance Tucker x Reader

Warning(s): none besides usual shitty writing

“Who would’ve thought?”

You jumped and immediately leaned back up away from the mirror, running your hands through the ends of your hair, trying to play nonchalant despite being caught red-handed.

“Here.” Hope smiled, reaching inside her bag for something before extending her hand to give it to you.

You blinked at the tube in her hand, still red in the face and not knowing how to react.

“You’re as red as your goddamn fuckin’ hickeys, take it.” She laughed out loud, shaking her hands for emphasis. You hesitantly reached out to grab the tube, finding out that it was concealer.

“T-Thanks.” You nodded lightly, examining the tube.

“You got yourself a boyfriend?” she asked, crossing her arms.

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anonymous asked:

(1/3) Any advice you could give me? I'm an INTJ and I've been in quite the Se grip for quite a few months, and being aware of it makes it even worse. I stress-eat and so I've gained quite some weight as well. The main reason for this is that I've been thrown off my "juju" (if that makes sense) and failed to make my intricate schedule prior to this college sem (For various reasons. Mainly guys. This is why I cannot date. I cannot focus my energy on two things at once. Also emotions ???)

(2/3) I’m quite stressed in result of the lack of structure and also, I’ve been lacking in performance lately. Simply put, it’s a matter of “I’m going to fail, it’s not going to be perfect. So why should I even try?”. I understand this mindset isn’t healthy, and it’s not how I usually am. I hate not being at my best and not doing anything worthwhile. So I am under constant stress, stress-eating and over-indulging to cope, hating myself for not taking action, and the cycle continues.
(3/3) I’ve tried to come up with ideas myself but… I think it’d be better and more comforting even, to hear from someone else how I can get myself out of this horrid rut? Thank you for your answer, I appreciate it and your blog.


INFJ: Hey there, INTJ. So when I get this type of questions, I end up talking about what has worked for me or what has work for people around me, since that’s the best mark of quality I can offer. However, I understand different people work differently and maybe not all of this helps. But if there is something in my words that help you regain your steps, I’ll be a happy camper.

First things first, something you already know: you’ve made some not-so-good choices that took you were you are now. I am quite sure that some circumstances had a bad effect on you, which mix in the rut you are talking about. I’ve seen that in my INTJ. So my first advise is to understand one thing, without falling in the next one:

  • Understand that your present self is a product of your past choices.
  • Understand that hating on your past and present self isn’t gonna help your future you. (In the end, we are here to try to make things easier to future you).This is harder than what it looks like. 

[Geek example, ignore if you don’t need it(?): There is this thing in games called Random Number Generator, that makes things a little random sometimes. When you are playing an strategy game and you get your fair amount of bad luck. Maybe your attack didn’t hit your opponent three times in a row and you loose because of it. That sucks. Would things had been different in other circumstances? Probably, yes. But you see, you can’t control RNG, the same way you can’t control some of the things that happen to you. What you can do, is prepare the best strategy you can possibly make, and try your very best every moment. Okay, geek off].

The second thing I’d recommend is reading my last post about overthinking if you haven’t already. You can find it here. 
There are some points that might help, and for starters, I really, really, really recommend you to go for a walk everyday. It’s a great predecesor to create the habit if exercising. It does sound like there is a little too much serotonin in your brain at all times lately and not quite enough endorphins there. Going for a walk everyday can be hell, but I am confident you can do it. At lest ten minutes. As they say in Bojack Horseman: “It gets easier. You have to do it everyday. That’s the hard part. But it does get easier”. This might take a while, but exercise helps with:

- Sleep problems.
- Training your will.
- Making you feel better.
- Keeping your mind at a your very best.

As I said, this might be difficult at first. Don’t beat yourself if the day ends and you haven’t gone for a walk. That is like blaming RNG, won’t help. Just plan the walk you are gonna take first things first the next day, and do it.

This brings me to my next point: your J is frozen. So let’s bring some warmth! I want you to find a place where you can write. A piece of paper works, but if you have a notebook you can use, that might be better. I want you to stop reading this when I give you directions, and come back when you are done, okay? For around five minutes, try to put in this piece of paper every task you’d been procrastinating that is making your mind feel shitty. It might be laundry, it might be signing up for a gym, it might be buying one particular text book.

Do it now. I’ll wait here till you are done.

Are you done? (If you just want to keep reading that’s okay too, just do it later, alright?) Now, I want you to do one of two things (even both). This is since I’ve watch that one works for some people and the other one for others:

  1. Divide each task in one of each of this pairs: important-not important, urgent-not urgent.
  2. Put next to each task how long it’s gonna take you. If you are not quite sure, try to switch it in “5 mins, 10 mins, 30 mins, one hour, unknown”. 

If you completed the first instruction, you’ll have a list of things you need to get done right now (important-urgent). This is your fire zone (my INTJ gets dizzy after dealing with this one for too long). If you feel in a constant feel of urgent things, where everything is important, you’ll eat out your willpower and then it will be hell to seat down and make an action plan because your mind will be burn-out. This is probably the case, so we are gonna take things slow. Don’t put in your plate more than you can eat. As well as going for the walks I talked about, you are going to do one thing of this category each day. You can do more if you feel like it, but for a start, every night before (or every morning of the day in question, whatever works for you) you are gonna choose which task you wanna get done the next day. And then, try to get it that the day in question. At the same time, I recommend doing as a secondary quest, one of the tasks in the important-non urgent category (this is the category I feel like you should be in). But this is a secondary mission. Do it only if you can, or if one day you feel like you can’t do your primary mission and there is a task for the secondary you could get done.

When the first week is over, how about you come back and talk to us? Maybe we ca try a little review of your week. Has this worked? Do you have any suggestion? Do you want further advise? I’ll be glad to help if I can, and give out more tips if I find some that might help. Sorry if it this was weirdly written. You really got this, okay? Just follow the first step and keep going.

PS: You can obviously talk to us before one week goes by. I mean, whenever you need. 

Now, up with you!


INTJ: I don’t feel like there’s much for me to offer other than my own personal experience. That stage was hell for me, too, and I know it sucks hearing that it’s not so important because our future and aspirations are important. But you can handle this. And it does get better. 

jimin; mine back then, yours until now

❝jimin had asked you to be his when he was ten. he repeats the same question when he’s twenty. 
*late christmas present for @nerdjimin ((love you boo, now suffer))
►+/- 4329 words // scenario, heir!jimin 
© (photo credit)

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Ego Vesco, Ergo Sum - a KHR/TG au

(i consume*, therefore i am)

* eat. feed. devour. enjoy. live.

canon-typical warnings apply below. implied cannibalism, mild gore, off-handed violence, etc etc it’s Tokyo Ghoul that should be it’s own warning. not a full write up, just some Stuff.

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megmerilees  asked:

Hi, I'm a hairstylist (and I'm also autistic, though I don't have a paper diagnosis) and I've seen lots of posts from autistic people about how getting a haircut is sensory hell. I was wondering if you or any other autistic people would be willing to offer up any advice on how I could make it a less traumatic and triggering experience for autistic people? I know that there are some things that are unavoidable, but having the tools to improve the experience would be really great.

This is a really good idea!

If my mum took me for a haircut when I was little I would have a meltdown. It was mainly because of the sensory issues, and unfamiliarity, and certain things that didn’t make sense to me. For example, someone making my hair wet when I was otherwise dry and fully clothed (I associated wet hair with being completely wet in a bath or swimming pool), and going into the building and not knowing where I would have to go and sit and there being too many chairs and people and smells and noises. I wouldn’t even make it into the chair, and my mum used to get really angry with me. I didn’t get a proper haircut until I was about 16 because of this and I still put it off or even end up trimming my hair myself rather than having to go through the ordeal of booking and getting a haircut. When I do, the same person has to do it every time and if they’re not available I just won’t get my hair cut. I also get a bit confused about whether to tip and how much to tip but I’m not sure how that could be fixed without it just being like you’re upping the price of the haircut (by specifying a reasonable amount).

The following might have helped me, and would still help me now especially if getting my hair cut in a new place:

- Being able to do a virtual tour.
- Being able to book an appointment online or by email, but still know who it’s with.
- Maybe having some example videos of what happens during a haircut (examples of clippers being used, scissors being used, to show what’s happening and also to help prepare for the noises).
- Being able to see photos of different areas and the staff and maybe examples of haircuts they’ve done.
- Quieter periods for autistic customers to get hair cuts (or perhaps booking autistic customers at the beginning of the day before things start to get busy, noisy, smelly).
- Some kind of timer to show when the haircut or when aspects of the haircut should be finished. Even if it’s impossible to say, a limit before being able to take a break might help (for example if someone hates the sound of the scissors, only using them for a few minutes and letting the person have a break to move around if they need to). This might also mean that an autistic person needs a longer appointment time to accommodate any breaks they might need to have.
- Encouraging the use of any aids that might help someone with sensory difficulties (such as earplugs, etc., just to make sure that all your customers are aware that they can use them without judgement, and to help them remember to bring them).
- Limiting the smells/amount of product used on certain days to avoid sensory overload from the smells.
- Radio on/off optional, or letting the customer bring music to put on or choose music (there might be legal issues with this, I suppose).
- Asking if they like to talk or prefer not to talk, and if not don’t ask questions or chat to them needlessly but perhaps stick to just explaining what’s happening as you are doing it.
- Be prepared to use pictures to explain things or to give options, and it might also be helpful to give the person time to think about the choice even if it seems like a fairly simple one (which might involve giving a choice and then leaving them alone for a little while to be able to think without any pressure). 
- Allow the person’s companion to sit with them, so that there’s a familiar person nearby to help with communication and to be a calming presence. 
- Using forms instead of verbal communication if preferred (so the person can specify anything they know they want (a trim, for example) and can also specify whether they’d like a drink and can choose from whatever is available.
- Make a note of what the customer had done, so that next time they can use that as a reference point (to have the same thing done, or to pick and choose which bits they liked, and to know whether they need to ask for it to be a little bit different (longer, shorter, etc).

Followers, any suggestions?

- Ben

bailci  asked:

I've been reading your headcanons for the hogwarts au and they are amazing! I wish I could contribute with something, but I never have any idea of what :3 but i wanted to ask if you have any headcanons for solangelo in this au :)

solangelo headcanons…..wELL…….I HAVE A FEW…… ( ͡° ͜ʖ ͡°) but MAINLY THIS:

nico is absolutely abysmal at herbology and care of magical creatures. generally LIVING THINGS are not that great around him, and it bugs him EXTREMELY. but he tries his best to be good at these subjects and more often than not just ends up getting scratched and bitten by whatever animal/plant he’s being introduced to. it happens so often in his first three years (after 5th year he dropped BOTH those subjects–they weren’t required subjects, by then then) that he got very well acquainted with the matron/healer in the hospital wing–and in his third year, the healer’s voluntary assistant, will.

will solace, who’s in the year above and in hufflepuff. he’s a muggleborn and very, very interested in magical remedies. nico sees him fairly often (he’s in the same year as/is friends with, jason and reyna!) but hasn’t actually spoken to him since he started at the school. so he’s kind of wary of having someone not-yet qualified to practice medicine trying to heal him, but the hogwarts healer assures him: will knows the basics, and is very good at healing charms. so nico, however reluctantly, lets will do his work. 

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The signs as I know them
  • <p> <b><p></b> <b><p></b> <b>Aries:</b> I am actually not supposed to get along with Aries but two of my best friends are both Aries. You guys have so much energy it's amazing. You always come up with new things to do. Though you tend to tease the people you like a lot, if anyone else tries to do that you will break their face. If you have an Aries in your life, nothing will ever be boring.<p/><b>Taurus:</b> I know so many Tauruses and I really like them all. My general friends group are mainly Tauruses. In my experience they are all quite different from the stereotype but they are all generally really relax and good hearted people. Stubborn and enjoy chilling with a smaller group of people, they are no party goers. They have a very comforting nature.<p/><b>Gemini:</b> contrary to popular belief Geminis are lovely people. Very smart, great listeners and talkers and always fun to be around. They are very social and have a lot of friends. Life of the party and very influential. They can snap out at you but they never mean to hurt you. Geminis are a great friend to have.<p/><b>Cancer:</b> I don't know many Cancers but they are very emotional people which they either let out or try to hide with a lot of sarcastic remarks. They can really be quite mean when they try to hide their feelings. Needy but they have a lot of love for you and you need to learn how to deal with that. A Cancer's love is the warmest you can receive.<p/><b>Leo:</b> my sister is a Leo. Leos are beautiful people. In my experience they are very artistic and warm hearted, even the boys. They love luxury and being spoilt. They are quite popular and maybe a little conceited sometimes but they have a soft spot for people they love. Will destroy you if you mess with them.<p/><b>Virgo:</b> I get along really well with Virgos. My other two best friends are Virgos. In my experience they are very smart and ambitious. Are both ridiculously messy and organized at the same time it's confusing. You can always trust a Virgos jugement. They can hide their feelings well so they can come off as fake but take time to get to know them. But once you earn a Virgo's loyalty they will be there for you forever.<p/><b>Libra:</b> Libras are so versatile. I've seen lots of different Libras. But generally they are all social and chatty especially if they feel comfortable around you. Have the sweetest laughs. Don't get on a Libras bad side, their death stares are terrifying. They tend to be a little clingy but that only means that they care and want to keep you safe. They have this calming nature about them, if you feel stressed go to a Libra, they'll sort you out.<p/><b>Scorpio:</b> okay ngl Scorpios are difficult for me. They tend to be drawn to Capricorns a lot. Though they are charming and very deep, they get jealous very quickly. They don't mean it badly, they just care a lot. I feel like they tend to drown in their own sadness a lot, because they're scared no one will give them the love they need. Are very misunderstood, and very emotional. But once a Scorpio falls in love with you, you will be loved forever.<p/><b>Sagittarius:</b> Sagittariuses are really beautiful. In my experience they want so much more then than most people. Crave freedom and adventure. Though they have very individual thoughts, I feel they sometimes follow the crowd a lot. They are scared of rejection but there really is no need to fear that. Go out there and think for yourself! Stand up for what you believe in, you won't regret it.<p/><b>Capricorn:</b> though I am a Capricorn myself I know a lot of other Capricors. Capricorns are really hard to read, they seem to have the same expressions most of the time. They are really deep though, have a lot on their mind. Highly ambitious, they judge themselves more than anyone else. Always seem distant, Capricorn is the guy or girl in school everyone knows but no one really knows anything about.<p/><b>Aquarius:</b> my boyfriend is an Aquarius. You guys are so aloof, always seem to be dreaming. Get caught up in their own world a lot. Very artistic and seem to love the past on which they built the present. But they can be so detached. Never seem to say anything real to you, don't feel genuine but I know you don't mean it like that. Let the important people know how much you care, it would mean so much to them.<p/><b>Pisces:</b> I know quite a few Pisces and I really like you guys. You are so genuine and smart. Have their goals set and know exactly where they want to be. Good listeners, trust a Pisces when it comes to advice on relationships. I honestly just wanna cuddle you. But Pisces can be a little selfish sometimes but with all the love you give, you can get away with that.<p/></p><p/></p><p/></p>

lahatmahal  asked:

saw your birthday post for kenn (yay!) and i saw the bullet point for kenn and maeno being super close and im like a total beginner when it comes to seiyuus so could you share more about them? lol when i read kenns interviews he mentions maeno alot so i got curious :3

Hi there! First of all, welcome to the seiyuu fandom and I’d love to tell you all about these lovebirds besties ^^

Kenn and Maeno got close through the VitaminZ series, which is an otome game produced by D3P that was released back 2009. The two voice the main posterboys for the series, Ten and Sen, and so they had a radio show which ran from 2009 to 2011. That’s pretty much where their whole ‘relationship’ started cause before that they knew of each other but had never really talked to each other much. Up to that point Maeno called him ‘Kenn-san’ and in the first episode asked if he could call him ’-kun’ which he found embarrassing, but Kenn replied he doesn’t particularly mind how people call him and so they started calling each other by ’-kun’.

That’s also the episode where they established their nicknames for each other which are now pretty much universally used by fans. Kenn already had the nickname ‘Kennu/けんぬ’ from his musical days, and so when they were trying to think of a nickname for Maeno, Kenn immediately suggested ‘Maenu/まえぬ’ and now it’s stuck really hard lol. If you search either of their nicknames in google or twitter you’re pretty much guaranteed to get the other’s name pop up immediately after XD

So yeah, that radio show is heaps of fun and I highly recommend you listen to it if you’re a fan of either Kenn or Maeno, since they generally act like dorks the entire time and after even the first few episodes you can feel them getting super close to each other. Nowadays when they’re asked about how they got close they normally say it’s because of that radio show, and they found out they both have similar hobbies - well, mainly video games XD

Throughout the VitaminZ events the cast was always teasing them for being close and acting like they were dating as well LOL. Like, they’d tell stories about how they were always seen together and meeting up like they were going on dates, and lending each other stuff. And so the audience loved to shout ’Congratulations!!’ to them d(ゝω・´)

Even after VitaminZ they continue to be super close and mention each other in radio or at events even when the other isn’t present or even in that series to begin with. For instance, in Tsukiuta their characters are the representatives for the month in which the other’s birthday is in (Kenn’s character Aoi is for May and Maeno’s character Haru is for March) and so in the cast interviews when asked about what was an important event which stood out in those months they answered each other’s birthday was important and how they gave each other birthday presents that year. In the cast comment of the first Ten Count drama CD, Maeno said that the only seiyuu who’s visited his house is an ikemen seiyuu whose name has four letters and starts with K. Maeno also admits to being a bit mysophobic but the only person who he’s okay with letting them go to the toilet at his place or sharing food with is Kenn. And finally (cause if I list every other time they’ve mentioned each other this post will be double the length it already is), in Starmyu radio when asked what he liked about Maeno, Kenn said that Maeno’s image is pretty serious but he also has a lot of cute sides to him as well (人´∀`*)

They’re so close now that fans always look out for their interactions and even other seiyuu/kouhais comment on it. Like last year in Arslan Senki radio Hanae Natsuki randomly brought up Maeno and said, “Do you love Maeno-san?” to which Kenn got embarrassed and said, “Well, it’s not like I hate him!” and Hanae-kun replied, “But you’re ALWAYS going Maenu, Maenu!” LMAO. Also, sometimes it now feels like they get cast in certain characters because they’re known to be close in real life - I find it in no way a conincidence that Maeno plays Kuga Shuu who’s one of the main characters in Starmyu and Kenn just so happens to be cast as Toraishi Izumi who is Shuu’s childhood friend.

tl;dr Kenn and Maeno have been super close for a long time now, to the point where it’s not even just a running joke or a fan thing, they’re actually married besties. I’ve noticed that people who are biased to one of them tend to also be biased to the other, cause whenever they’re around each other they end up bringing out the best in each other and being even more precious and adorable than normal ^^

theavengers-chef  asked:

I had a sudden urge for female T'challa and she's a bamf and maybe does something really awesome and catches Tony's eye and I'm not really sure I just know I've seen Tony be a girl but so far not T'challa and I'd like to see that.

A/N: Since I’ve mainly been supplying the fem!Tony I felt it was my civic duty to supply some fem!T’Challa too. Girls in STEM are super bamf so I hope you enjoy! - Taylor

You can also read this on Ao3!

It takes nearly a year before Tony even realizes that T’Challa is a girl. And yes, he realizes how horrifyingly sexist that is, that he reads a scientific article she co-published in 2003, saw “Dr. T’Challa” and assumed it was a guy, he gets it, he’s sorry, but in his defense it takes him another decade and a half before he figures out she’s the princess of Wakanda.

He never really follows her work very closely, that’s his excuse. Tony prides himself on keeping as updated and educated in the science community as possible, but as a weapons developer his focus is pretty limited to things that go boom. Then in 2004 she publishes an article on the theoretical physics of teleportation, expanding on the 1997 success in teleporting the spin of a photon. Her article has nothing to do with weapons, and Tony can’t really find a way to apply her theoretical physics to artillery shells, but he’s a huge Star Trek nerd and the article is fascinating. He looks into her a little further, reads a few more of the rare articles to leave  Wakanda’s borders, discovers she’s female, finds her contact information.

Tony shoots her an email because she’s brilliant and she snuck in a subtle joke about Star Trek in her article. It’s relatively short, a quick thing to let her know that the great Tony Stark thinks she’s pretty swell and all that. He’s not really expecting a reply, but he gets one, full of dry wit and subtle digs at his manhood. Later, Tony will think that’s the moment he starts to fall in love.

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With the release of Risky's Revenge on PC I finally realized something that I've been pondering for awhile now.

I think Wayforward’s Shantae might be my most favorite character design of all time and one of the best female character designs I’ve ever seen

Now both of her games, Shantae on the Game Boy Color and Risky’s Revenge are pretty rad. They’re metroidvania style platformer-adventure games in which you explore, find loot, use your special abilities to beat bosses and find treasures. It’s good stuff. There’s some annoying aspects to them but all around they’re pretty solid games.

But yes, the titular heroine. Out of all the comic books, cartoons, anime, manga, etc. I’ve ever seen I think she is one of the best designed characters I’ve ever come across.

Why’s that?

For starters, she’s probably one of the only female characters I’ve ever seen who manages to perfectly mold cuteness and sexiness without going overboard on either front.

Ya see, in all official art she kind of got a bit of an anime thing going on; a small body with a slender frame, but with a big head and big expressive eyes with big eye lashes that give the character a lot of expressiveness.

Then you’ve got her sexy side.

A lot of the times in various artistic mediums like sequential art, animation, or video games artists will attempt to draw character with sex appeal through details of their cloth, or lack there of, in most cases.

Often times it can get pretty nonsensical due to a disconnect between the way the character is written, how the scenario she’s engaged in is written or just real life sense.

I’m not going to be one of those puritan types who says something like, oh say, bikini armor is bad because it’s unrealistic, and nobody would wear that. I know it’s completely idiotic, even if the writer tries to lampshade it in some clownish way. Cheesecake can be fine if you aren’t willing to take everything so seriously.

Yet that can be damaging to your narrative if you feel the need to forcibly include cheesecake to pander to a specific audience.

As for Shantae on the other hand, she totally gets away with it. I can really believe she runs around in basically a bra and poofy pants.

Because it all coincides with her character and that’s the big thing, everything about a character that we see and don’t have to end up reading on some wiki or something should all mesh together.

She looks like a genie (which she is) and a stereotypical Arabian Belly Dancer (which she also kind of is).

Going back to the whole cuteness thing for a minute, I always thought it was adorable when she crouches and wiggles her butt like a cat.

Anyway, my point is that even though she looks sexy, it’s not overpowering. It’s not the one thing I could use to describe her, and it’s not even the first thing I could use.

Probably because her design is so open with her sex appeal, and she moves around freely with no real reference to it that I don’t pay that much attention to that aspect of her character, particularly when I know she has other facets.

Besides, how could your attention be drawn away from this face?

Wayforward seem to have a knack for making female characters who can be both cute and sexy.

Moving away from heavily opinionated reasons over why I love Shantae’s character design, lets look at some technical aspects of why her design is the best.

Now, when you look at Shantae, what would you say are her primary colors?

Red, Purple, Brown, and Gold.

There are 2 things that are very important when designing a character; color and iconography.

In video games, when you think of a color, usually certain characters come to mind.

When you think of Red, you think of Mario.

when you think of Blue, you think of Sonic the Hedgehog or Mega Man

when you think of Green, you think of Luigi or the Master Chief

When you think of Pink, you think of Kirby.

Color is extremely important. It’s also important to have a good balance of color so the character is visually appealing.

Shantae’s balance of color is perfect. Absolutely perfect.

Even better that the colors are all placed in a way that help you to remember aspects about her character.

The red is on her clothes, dancer’s clothes.

The gold is on her bangles, hair tie, ear rings, and headband; this part is interesting because it infers a number of uses. Not only is gold considered to be a symbol of richness but it’s also a symbol of magic, and can also serve to remind of the bondage that comes with the territory of genies as well as her primary role as a guardian of the town she watches over.

Her brown skin, again, it lends to her sex appeal as girls with bronzed skin look ravishing but it also serves to remind us that she is from a tropical/desert region.

And finally, purple which is a highly dominant color for her because it’s the color of her most dominant and iconic feature, her hair.

As I was saying about iconography, it’s also important to give your character a recognizable icon or symbol that people can associate with them.

Superman has the S, his Kryptonian family symbol.

and Batman has the Bat symbol

If there’s one thing you’re probably drawn to when it comes to Shantae’s design, it’s her hair, something that also serves as her primary attack. Wayforward always seems to go to great lengths to make her hair stand out

and in fact, way back during her conception that was what they mainly wanted to focus on most.

Even fan art and fan animations focus most on her hair

In the end, that is all why I believe Shantae is one of the best designed characters ever made.

She has the perfect balance of cute and sexy that few female characters have obtained. The most likable features she has all mold well together and make sense for her character, her actions, and the setting she’s in. She has a superb and well balanced color scheme. And she has dominant characteristics and features that are unique to her and no other character.

Thank you for reading, I hope you enjoyed



I admit I’m a bit of a victim in the worldwide system too
But I’ve found my sweet escape when I’m alone with you

At school Luke was who everyone looked up to, who everyone wanted to be friends with. Who everyone wanted to be. He was basically the hottest guy in your school. Football player, a little bit of a bad boy, in a band; thank kind of stuff. He was a typical teenager. Everyone you knew had a crush on Luke (you had a pretty huge crush on him too, but you never liked to admit it).

You had always thought Luke wasn’t quite a distant person. Whenever he was with his friends he never seemed comfortable. But since everyone else believed he was you decided to too.

One day, your whole view on Luke Hemmings, the not-quite-perfect-teen, changed. You were in your last lesson of the day, English. Instead of sitting in his usual seat Luke sat on the other side of the room from you but one row in front. You dismissed this because you thought he was purely trying to get attention. Half way through the lesson you noticed someone staring at you, you glanced over in their direction, it was Luke. You tired to forget about him staring at you but it was impossible, you knew your cheeks were burning. So the only thing you could think of to stop him from staring was to stare straight back at him. You gave him a sharp stare as he just laughed and flashed a smile, revealing his dimples. Instantly, ashamed that your plan didn’t work, you looked down. Another 5 minutes later, Luke had stopped staring and was writing. In 2 minutes the piece he was writing was handed to you by the person next to you. Pretending not to care, you opened this letter as you read:

hey, i noticed you staring, maybe you’d like to stare at my face some other time, like after school. maybe we can get to know each other…

luke xx

A smile crept onto your face as you shook your head slowly, still staring at Luke’s scrawly hand writing. You scribbled down a quick okay then, see you after class… on the paper, folded it and handed it back to your neighbor.

You couldn’t wait till after class. You kept looking at the clock in hope that it would be the end of the lesson. Then finally, the bell rung out over the school, you glanced over at Luke who had a huge smile on his face. You waited till your teacher dismissed you to walk over to Luke. You didn’t want to seem too eager. but before you could even blink Luke was out of the classroom, this confused you. You felt a sinking feeling inside of you as the sad realization of the whole ‘Luke thing’ being a joke. You left school with your head held low. It was when you reached the gates when you saw Luke again, beaming, leaning on his crappy car. He walked up to you and kissed your forehead. You were, again, confused. What the hell was he playing at?

'Hi,’ he smiled looking down at you

'Hey,’ you half-smiled

'So-um-(Y/N) I was thinking if we could go back to my place for a bit and just-er-chill?’ he seemed so nervous. it was strange how someone so confident with everyone else could be so nervous in a certain persons presence you thought.

'Yeah sure,’ you giggled. He lead you into his car.

The two of you arrived at his place and his parents weren’t in, thank god! You followed him into his room as he told you to sit anywhere. He disappeared downstairs and and reappeared within 3 minutes with a tub of ice cream, cookies and a selection of films. Wow this was a different Luke to what you’d seen all these years at school. The cool, calm boy now seemed all precious and nervous. 

'I was thinking we could just watch a few films, chat and eat until you have to go…’ he looked at the floor then up to you.

'Yeah that sounds great Luke,’ you beamed. Luke and you sat/lay enjoying each others company for hours/ It had been quiet for a good 20 minutes when Luke said

'You know you really are something. I always see you at school, I think you’re gorgeous and amazing…’ he barely whispered looking at you. You turned your whole body to face him as you cupped his face in your hand and kissed him hard, passionately. In the end you both pulled away, speechless and giggling. Before kissing him again he said something that shocked you

’(Y/N), when I’m with you time stops, it feels like everything is beautiful and I never want my time with you to end. You know I only act like a bit of a dick at school to fit in. But when I’m around you, I feel I don’t need to pretend.’



You are my getaway
You are my favorite place

Touring with Calum had been hard, incredibly hard. The two of you had never got time together any more. Even though it was better then being away from each other all the time it was still hard. He was either on stage, locked away in a security room before their concert, meeting fans, or too tired. It was chaos but he was dealing with it. You weren’t. You missed the old Calum. The old easy-going Calum.

It was another day of touring and meeting fans, but it was the last day of touring and meeting fans. The boys and you were happy, everyone could tell. Even though they loved touring sometimes it got too much for them at times. The tiredness would always defeat them, sometimes Michael fell asleep whilst eating breakfast. When the last show was over you could not contain your happiness. Cal got off stage, a massive grin on his face and filed his arms open to embrace you. Giggling the pair of you went to spend your last night in the tour bus before you left for home.

Two days later you and Calum were in Australia, lying in your shared bed staring at the ceiling.

'God I’ve missed this,’ Calum whispered

'Same, the past month has been so hard on the both of us,’

'I feel sorry for you babe, never seeing me,the reason you came on tour with me was to be with me, you hardly saw me!’ you knew he was getting angry and upset but you didn’t know why exactly.

'Calm down Cal, it’s okay. we’ve got each other now and that’s all that matters. My moments with you on tour meant a lot to me. Even though they were short lived, I enjoyed every second of them.’ You turned on your side, facing him, hoping Calum would do the same.

'I suppose…’ he turned over to face you, ’(Y/N) I just love you so much and I never want to lose any more time then I have to with you. In the middle of all this madness you and the boys. You mainly,’ he smiled 'are the only stable things in my life at the moment. When I see you or when I’m with you everything seems 10 times more beautiful then it already it. The madness stops and all I can think about is you.’ You planted a quick kiss on his cheek and laughed and said a quick 'I love you, Calum Hood,’ before being enveloped into Calum’s chest, his arms wrapped around you. And the two of you fell asleep, in a tangled mess of arms and legs.


Turn off the radio
Those late night TV shows

You and Michael were caught up in your own lives at the moment, you never saw each other a lot anymore. You used to see each other every day, if it was at his house, your house, the mall, the park, anywhere. Michael and you had been best friends for over 7 years and you had been through everything together. You never saw each other as much anymore because as soon as his band hit the jackpot he was only home around 30% of the time and you were busy with college so when he was home you never had time or no one told you. You were happy for him though, ever since the day you met him you knew what he wanted in life and you knew that he would get there. Life, for you without Michael was boring. You never wanted to call him in case of the time zones or maybe it seemed like you were being clingy. You had almost got to the point where you didn’t care if it seemed clingy anymore, you needed to talk to your best friend. But there was always this horrifying thought in the back of your head that he would have forgotten about you.

You were sitting in your dorm, studying, when your phone started to ring. You immediately pounced on it. It was Michael, you let it ring once more before you answered it.

'Hello?’ a deep rasp called from the other line

'Michael?’ you answered

'Yes?’ he laughed

'Oh my god it’s you!’ you laughed. You were giddy with excitement and happiness.

’(Y/N), I’m so glad to hear your voice. I can’t remember how long it’s been since we last talked…’

'It’s been a while Clifford,’ you retorted with a sharp edge to your voice

'I know, it has been a while. I’m so sorry (Y/N),’ he sounded apologetic 'But I’m going to make it up to you this week!’

'Wait-What? Michael? What do you- oh my god I get it now!’ you laughed

'We got there eventually… Yeah so anyway this week, starts from now. Be at my place in 15 minutes.’ Before you could reply the line went dead. You got changed so quick and practically jogged to Michael’s house. You checked the time when you got to his door 11:05 pm. 'Quite late,’ you mumbled but you didn’t care; and of course to Michael the night was still young. You rang the bell and within an instant the door swung open to reveal a smiley Michael Clifford. He pulled you into a massive bear hug as you both laughed and smiled uncontrollably.

The night was spent watching films and catching up with each others life.

'I missed this and you,’ you said as The Breakfast Club came to an end.

'So have I (Y/N), so have I…’ he repeated

'We should do this more often you know,’ you blurted out 'watching films and ignoring everything else that happens in the world.’ you whispered

'Tuning out of everything else and just enjoying being with one another,’ he replied

'I couldn’t have put it better myself,’ you smiled as you looked up at him to reveal that he was wearing a smile on his face too.


And just be here with me

You were called into the Principles office, your stomach churning because you had no idea what could be wrong. You knocked three times on the door and the principle opened the door, looking grim. He told you to take a seat nervously wringing your sweat drenched hands. 

'Right (Y/N), I’ve got someone who needs to pick you up. Your mother has been taken into hospital after an attack. We, as a school are not aware of her medical position but you need to go. Your aunt is here to take you.’ You felt as if you had been punched in the gut. Still, you got up and walked shakily out of the school towards your aunt’s familiar car. The car journey was awkward, and to be honest you were relieved to get out the car.

In the hospital your aunt gathered most information. You weren’t allowed to know much but you knew her condition could be critical. In an hour or so you were allowed to see her. She was asleep or passed out, you didn’t know but seeing her just ate away your insides. You sat and held her hand, talking to her as if she was awake. The nurse came in 20 minutes later to usher you out, you planted a quick kiss on your moms cheek and left, just about holding back the tears.

As you wearily walked back to the waiting room you saw Ashton, your boyfriend of 6 months. He had obviously left school early to see you. In his hand he held a small bouquet of flowers, as soon as he saw you he rushed to his feet and hugged you. The oxygen was knocked out of your lungs as he squeezed you. You sat down and he sat next to you.

’(Y/N),’ he grabbed your hand 'Are you okay? Is your mom okay?’ he wrapped an arm round you protectively and kissed your hair.

'I don’t know, I don’t know anything…’ you sobbed as Ashton held you tighter

'Do you want anything?’ he whispered

'Just stay with me Ash, stay with me and don’t leave me.’ You looked up at him wiping away your tears

'Sure, anything for you (Y/N),’ he said calmly 'Everything is going to be okay. whatever happens you have me. I’ll always be here.’

okay so i hope you liked it, it took a while to write so yeah request and everything. ALSO idk should i do a part two???? send me a yes or a no please i just want to know (p.s sorry the ashton one was a bit sensitive i hope i didnt offend anyone i just ran out of ideas towards the end sorry) but yeah ily 

on gratuity (again), and its real world implications

okay, i’ve sort of been staring gobsmacked at this for the last five minutes, tabbing back to it occasionally to stare more; if for whatever reason you can’t open the link the summary is that this is a professional published author who made a post saying “please pay for my books” and someone tagged it “just be happy you’re being read” like ??? i cannot even begin to get inside the mind of someone who would say something like that??? but this brings to mind several recent conversations and articles i’ve seen discussing fan entitlement, the rapidly breaking barriers between fans and creators, and broader trends within fandom communities.

here’s the thing: this is the exact same rhetoric used by people who aggressively demand things (usually faster updates) of fanfiction writers. “but i like this, so you should be listening to my request!” i’ve written before about the gratuitous nature of fandom communities, and why this isn’t necessarily a bad thing, but the danger is when gratuity bleeds into entitlement. 

i can’t be bothered beating around the bush anymore. fandom is a cesspit of entitlement. those of us who’ve been around the track a few times have a lot of experience with it; i can’t count the number of times i’ve had someone comment on my fics telling me to work faster. you get used to it. thankfully this doesn’t happen as much anymore, or maybe i’m just writing for a different demographic, but a big part of being a fanauthor has always been dealing with people telling me what to do, rather than opening a dialogue of what they’d like to see.

the really creepy thing is that this used to be pretty much confined to fandom. unfortunately, dealing with entitlement is one of the pitfalls of being a fan creator. i’d like to add that creators aren’t exempt from this indictment, by the way—i have dealt with some pretty entitled creators in my time. (mainly back in one Big In 2012 fandom that will remain nameless.) as fanauthors we deal with some shit, but at the end of the day we’re still putting our work out there for free. and yeah, gratuity breeds entitlement.

but now? seeing this line of thinking applied to someone who literally makes their living from selling books is a little bit like what goes on in fanart communities. “if i were an artist i’d take it as a compliment that someone likes your work enough to post it somewhere else!” sound familiar? this is exactly what this person is saying. “people like your work! why should it matter how they consume it?” um, because it’s how they make a living?

look, we’re too far down the line for me to say “pirating is bad and wrong,” and also, i would be a hypocrite. but if you read something and like it, buy it! support the author! this is someone’s full time job. you can’t start thinking of this like fanfiction, where we genuinely are just happy we’re being read. you wouldn’t go into a cafe and refuse to pay for your cupcake because the person who made it should just be happy that you’re appreciating their artistic frosting!

you should especially not take this where someone can see it (yes, including tumblr tags—we can all get xkit and easily look at the tags on reblogs of our posts.) i have probably talked about this too, but it ties back to the weird dissolution of the boundaries between fans and the creators, thanks to media like twitter and tumblr where we can talk back. sometimes this is fun, but more often i’ve seen it end in disaster. like in this situation. if you couldn’t afford a book, so you pirated it, would you say that to the author’s face? probably not, even though it’s an understandable situation. so why the hell would you tell an author they should just be happy people are reading their work? why would you say something like that to someone? i still can’t wrap my head around it. the only conclusion i can come to is that it’s a symptom of a much, much bigger problem.

this goes beyond a case of treating a published author like a fanfiction author, because even though it would manifest itself differently in other situations, this attitude of entitlement is bad whoever it’s aimed at. so while you’re at it, keep your bad manners out of fan communities too. unlike published authors, we are doing this for free. but that doesn’t mean you get to tell us how to do it.

benaddictcumberbuns-blog  asked:

What do you stand for? Or I guess, against. Obviously feminism, but why? Is it all feminism or just some aspects? The idea that it exists or what it stands for? I've always been baffled by the fact that there are people who do believe feminism is bad and I'd like to see what makes you have this point of view. I'd like to educate myself of the opposing side's views.

I’m glad you asked. Very hard to squeeze into a single comment reply so you really need to look further yourself but off the top of my head I would say the main thing is that it is demonstrably a lie that causes much more harm than good in the world.

Women have never been ‘oppressed’ as a class in the west & in fact have always been given special provisions, protected & treated as far more precious resources than the men - there is no society which forces its women to go die in war, or do any of the most dangerous jobs in which men die in their thousands every year - men still make up around 94% of all workplace deaths, everywhere in the world today. This is not for the most part because of any hatred of women, or prejudice, but simply the acceptance of the biological reality that women are mostly smaller & weaker than men, & that also all children any society has can only be carried & birthed & (historically) nursed by women, so treating women as badly as every society treats men risks damage to not only the individual women but the survival of the society - & the human race itself - as a whole.

The female of the species is the bottleneck filter of evolution: you only need one bull in a fieldful of cows to replenish the herd in a single summer, whereas a fieldful of bulls & a single cow will still only result in a single calf per year. The lives of women therefore are more valuable to society than men are & all societies therefore behave accordingly: “women & children first”.

All feminism is based on ‘patriarchy theory’, the belief that society has been set up by men to benefit only men & that this can be seen by how few women are presidents, prime ministers, MPs, CEOs of corporations, etc.

But this is due to what has been termed ‘the Apex Fallacy’:

All human systems & groups are hierarchical, with many at the bottom & only a handful at the top. The feminists looking up at the small number of men in high status positions concluded this was evidence of male privilege, but never looked down at the enormous numbers of men down at the very bottom of society: men for instance are 80 - 90% of the homeless everywhere, & there are a hell of a lot more homeless guys than there are Hugh Hefners & Donald Trumps.

Feminists (correctly) observe that when you count up the lifetime earnings of all men & all women, the total in the ‘women’ column, added all together, comes to a little less than that of the ‘men’ column but (incorrectly) conclude that therefore “women make 70cents for every dollar a man makes doing the same job” etc. This is simply not true, & there have been laws making sure that is illegal for over 50 years.

The ‘pay-gap’, where it exists at all, is the result of the different choices & priorities men & women make & have - for instance a married man is much more likely to work longer hours than a single guy with no wife & children to feed, whereas a married woman with kids is much more likely to work less hours, or part-time, or not at all. Again, only women can carry & give birth to children & an enormous number of women take maternity leave from their jobs, many times never returning to work, while men are more likely to continue in their jobs & so gain promotions etc. Women tend to (sensibly) trade off a better life & more time to enjoy it against higher wages & high-stress responsibility/accountability that can only be acquired through single-minded pursuit of career at the expense of everything else. Men work the overwhelming majority of overtime, night shifts, danger work etc, which all pay more than safe, secure day jobs in air-conditioned offices, etc.

The real disparity is mainly between married women & everyone else: childless, never married women in their twenties now make something like 12% more than men their same age, & it’s been that way for quite some time. But by lumping in the vast number of women who don’t ‘work’ at all, or take maternity leave, or staying home to raise children or work part-time (men work the vast majority of overtime, for instance, whereas women do most part-time jobs, & full-time work of course pays more than part-time), the statistics become seriously skewed, as does society’s impression of the situation.

Other common feminist complaints such as ‘100 years ago women didn’t even have the vote!’ completely ignore the fact that 100 years ago the majority of men didn’t ‘have the vote’ either - in my country, the UK, ‘men’ as a class ‘got’ the vote the same year women did: 1918, though I was never taught that at school. The story of women’s suffrage needs to be seen in the context of the hundreds of years of campaigning for the common peoples right to vote & the evolution of human rights in general: the  Chartists, the Magna Carta, the French & American revolutions, the antislavery movement, Thomas Paine’s ‘The Rights Of Man’ etc… Feminism rejects all of this historical context in favour of its own unique patriarchal conspiracy theory explanation of how the world has to work.

Feminism, which publicly states that it is synonymous with equality, has never once worked towards anything which addressed areas in which men are discriminated against or suffering from a gender disparity, such as reproductive rights (men have no reproductive rights of any kind), child custody (men are ruled against in the great majority of cases where they try for it), genital mutilation (rightly illegal to be carried out upon females everywhere in the western world but not only legal but a source of humour everywhere in the western world when carried out upon boys), suicide (80% of suicides are male), boys falling behind in schools & not going on to college (most college campuses are now 60/40 female/male), the enormous gender disparity in prison sentencing for the same crimes etc……

There is no need for feminism to continue in the west any more than for the women’s suffrage movement to have continued past the 1920’s, it keeps on only because of the political power it has acquired & the billions of dollars in private & state contributions it receives every year: there is an entire framework of gender studies departments, domestic violence industry & women in positions only acquired through ‘positive’ discrimination that all rely on its spreading of misandric hate if they are to continue getting paid. Whatever genuine grievances feminists in the west actually had were rectified 30 or even 40 years ago, which means now they can only continue existing through fabricating ‘rape culture’ hysteria & ‘glass ceilings’ & organizing ‘slutwalks’ - complete non-issues that if anything harm women (as much as they do men).

Finally, feminism is a hate movement: every single ‘triumph’ it has won its entire history has only been achieved through the scapegoating & demonizing of ‘men’ as a class, & yet has relied upon men every single step of the way to support it & bring about the changes it has demanded, which ‘men’ have handed over every time. And although probably few feminists would actually come right out & say ‘all men are rapists’, that belief, that way of thinking only originates with feminist thought & was borne out of it. I tend to see the feminist movement now as a broadcasting tower which pumps out misandry 24/7, day after day after day, with no final goal even stated anymore, no end in sight.

I could ramble on about this all day but it’s a lot easier to deal with in smaller bites - if there’s any issue in particular you’d like me to go into I’d be glad to explain more. Thanks for stopping by anyhow.

Conrad Knickerbocker, Interview: William S. Burroughs, 35 The Paris Review (1965)
  • Interviewer: When and why did you start to write?
  • William S. Burroughs: I started to write in about 1950; I was thirty-five at the time; there didn't seem to be any strong motivation. I simply was endeavoring to put down in a more or less straightforward journalistic style something about my experiences with addiction and addicts.
  • Interviewer: Why did you start taking drugs?
  • William S. Burroughs: Well, I was just bored. I didn't seem to have much interest in becoming a successful advertising executive or whatever, or living the kind of life Harvard designs for you. After I became addicted in New York in 1944, things began to happen. I got in some trouble with the law, got married, moved to New Orleans, and then went to Mexico.
  • Interviewer: There seems to be a great deal of middle-class voyeurism in this country concerning addiction, and in the literary world, downright reverence for the addict. You apparently don't share these points of view.
  • William S. Burroughs: No, most of it is nonsense. I think drugs are interesting principally as chemical means of altering metabolism and thereby altering what we call reality, which I would define as a more or less constant scanning pattern.
  • Interviewer: What do you think of the hallucinogens and the new psychedelic drugs—LSD-25?
  • William S. Burroughs: I think they're extremely dangerous, much more dangerous than heroin. They can produce overwhelming anxiety states. I've seen people try to throw themselves out of windows; whereas the heroin addict is mainly interested in staring at his own toe. Other than deprivation of the drug, the main threat to him is an overdose. I've tried most of the hallucinogens without an anxiety reaction, fortunately. LSD-25 produced results for me similar to mescaline. Like all hallucinogens, LSD gave me an increased awareness, more a hallucinated viewpoint than any actual hallucination. You might look at a doorknob and it will appear to revolve, although you are conscious that this is the result of the drug. Also, van Goghish colors, with all those swirls, and the crackle of the universe.
  • Interviewer: Have you read Henri Michaux's book on mescaline?
  • William S. Burroughs: His idea was to go into his room and close the door and hold in the experiences. I had my most interesting experiences with mescaline when I got outdoors and walked around—colors, sunsets, gardens. It produces a terrible hangover, though, nasty stuff. It makes one ill and interferes with coordination. I've had all the interesting effects I need, and I don't want any repetition of those extremely unpleasant physical reactions.
  • Interviewer: The visions of drugs and the visions of art don't mix?
  • William S. Burroughs: Never. The hallucinogens produce visionary states, sort of, but morphine and its derivatives decrease awareness of inner processes, thoughts, and feelings. They are painkillers, pure and simple. They are absolutely contraindicated for creative work, and I include in the lot alcohol, morphine, barbiturates, tranquilizers—the whole spectrum of sedative drugs. As for visions and heroin, I had a hallucinatory period at the very beginning of addiction, for instance, a sense of moving at high speed through space. But as soon as addiction was established, I had no visions—vision—at all and very few dreams.
  • Interviewer: Why did you stop taking drugs?
  • William S. Burroughs: I was living in Tangier in 1957, and I had spent a month in a tiny room in the Casbah staring at the toe of my foot. The room had filled up with empty Eukodol cartons; I suddenly realized I was not doing anything. I was dying. I was just apt to be finished. So I flew to London and turned myself over to Dr. John Yerbury Dent for treatment. I'd heard of his success with the apomorphine treatment. Apomorphine is simply morphine boiled in hydrochloric acid; it's nonaddictive. What the apomorphine did was to regulate my metabolism. It's a metabolic regulator. It cured me physiologically. I'd already taken the cure once at Lexington, and although I was off drugs when I got out, there was a physiological residue. Apomorphine eliminated that. I've been trying to get people in this country interested in it, but without much luck. The vast majority—social workers, doctors—have the cop's mentality toward addiction. A probation officer in California wrote me recently to inquire about the apomorphine treatment. I'll answer him at length. I always answer letters like that.
  • Interviewer: Have you had any relapses?
  • William S. Burroughs: Yes, a couple. Short. Both were straightened out with apomorphine, and now heroin is no temptation for me. I'm just not interested. I've seen a lot of it around. I know people who are addicts. I don't have to use any willpower. Dr. Dent always said there is no such thing as willpower. You've got to reach a state of mind in which you don't want it or need it.
  • Interviewer: You regard addiction as an illness but also a central human fact, a drama?
  • William S. Burroughs: Both, absolutely. It's as simple as the way in which anyone happens to become an alcoholic. They start drinking, that's all. They like it, and they drink, and then they become alcoholic. I was exposed to heroin in New York—that is, I was going around with people who were using it; I took it; the effects were pleasant. I went on using it and became addicted. Remember that if it can be readily obtained, you will have any number of addicts. The idea that addiction is somehow a psychological illness is, I think, totally ridiculous. It's as psychological as malaria. It's a matter of exposure. People, generally speaking, will take any intoxicant or any drug that gives them a pleasant effect if it is available to them. In Iran, for instance, opium was sold in shops until quite recently, and they had three million addicts in a population of twenty million. There are also all forms of spiritual addiction. Anything that can be done chemically can be done in other ways, that is, if we have sufficient knowledge of the processes involved. Many policemen and narcotics agents are precisely addicted to power, to exercising a certain nasty kind of power over people who are helpless. The nasty sort of power-- white junk, I call it—rightness; they're right, right, right—and if they lost that power, they would suffer excruciating withdrawal symptoms. The picture we get of the whole Russian bureaucracy, people who are exclusively preoccupied with power and advantage, this must be an addiction. Suppose they lose it? Well, it's been their whole life.
  • Interviewer: Can you amplify your idea of junk as image?
  • William S. Burroughs: It's only a theory and, I feel, an inadequate one. I don't think anyone really understands what a narcotic is or how it works, how it kills pain. My idea is sort of a stab in the dark. As I see it, what has been damaged in pain is, of course, the image, and morphine must in some sense replace this. We know it blankets the cells and that addicts are practically immune to certain viruses, to influenza and respiratory complaints. This is simple because the influenza virus has to make a hole in the cell receptors. When those are covered, as they are in morphine addiction, the virus can't get in. As soon as morphine is withdrawn, addicts will immediately come down with colds and often with influenza.
  • Interviewer: Certain schizophrenics also resist respiratory disease.
  • William S. Burroughs: A long time ago I suggested there were similarities in terminal addiction and terminal schizophrenia. That was why I made the suggestion that they addict these people to heroin, then withdraw it and see if they could be motivated; in other words, find out whether they'd walk across the room and pick up a syringe. Needless to say, I didn't get very far, but I think it would be interesting.
  • Interviewer: Narcotics, then, disturb normal perception—
  • William S. Burroughs: And set up instead a random craving for images. If drugs weren't forbidden in America, they would be the perfect middle-class vice. Addicts would do their work and come home to consume the huge dose of images awaiting them in the mass media. Junkies love to look at television. Billie Holiday said she knew she was going off drugs when she didn't like to watch TV. Or they'll sit and read a newspaper or magazine, and by God, read it all. I knew this old junkie in New York, and he'd go out and get a lot of newspapers and magazines and some candy bars and several packages of cigarettes and then he'd sit in his room and he'd read those newspapers and magazines right straight through. Indiscriminately. Every word.
  • Interviewer: Marshall McLuhan said that you believed heroin was needed to turn the human body into an environment that includes the universe. But from what you've told me, you're not at all interested in turning the body into an environment.
  • William S. Burroughs: No, junk narrows consciousness. The only benefit to me as a writer (aside from putting me into contact with the whole carny world) came to me after I went off it. What I want to do is to learn to see more of what's out there, to look outside, to achieve as far as possible a complete awareness of surroundings. Beckett wants to go inward. First he was in a bottle and now he is in the mud. I am aimed in the other direction—outward.
  • Interviewer: Mary McCarthy has commented on the carnival origins of your characters in Naked Lunch. What are their other derivations?
  • William S. Burroughs: The carny world was the one I exactly intended to create—a kind of midwestern, small-town, cracker-barrel, pratfall type of folklore, very much my own background. That world was an integral part of America and existed nowhere else, at least not in the same form. My family was southern on my mother's side. My grandfather was a circuit-riding Methodist minister with thirteen children. Most of them went up to New York and became quite successful in advertising and public relations. One of them, an uncle, was a master image maker, Ivy Lee, Rockefeller's publicity manager.
  • Interviewer: Earlier you mentioned that if junk had done nothing else, it at least put you in contact with the carny world.
  • William S. Burroughs: Yes, the underworld, the old-time thieves, pickpockets, and people like that. They're a dying race; very few of those old-timers left. Yeah, well, they were show business.
  • Interviewer: What's the difference between the modern junkie versus the 1944 junkie?
  • William S. Burroughs: For one thing, all these young addicts; that was quite unknown in 1944. Most of the ones I knew were middle-aged men or old. I knew some of the old-time pickpockets and sneak thieves and shortchange artists. They had something called The Bill, a shortchange deal. I've never been able to figure out how it works. One man I knew beat all the cashiers in Grand Central with this thing. It starts with a twenty-dollar bill. You give them a twenty-dollar bill and then when you get the change you say, “Well, wait a minute, I must have been dreaming, I've got the change after all.” First thing you know, the cashier's short ten dollars. One day this shortchange artist went to Grand Central, even though he knew it was burned down, but he wanted to change twenty dollars. Well, a guy got on the buzzer and they arrested him. When they got up in court and tried to explain what had happened, none of them could do it. I keep stories like this in my files.
  • Interviewer: Do you think of the artist at all as being a con man?
  • William S. Burroughs: In a sense. You see, a real con man is a creator. He creates a set. No, a con man is more a movie director than a writer. The Yellow Kid created a whole set, a whole cast of characters, a whole brokerage house, a whole bank. It was just like a movie studio.
  • Interviewer: What about addicts?
  • William S. Burroughs: Well, there will be a lot of morphine addiction. Remember that there were a great many addicts at that time. Jesse James was an addict. He started using morphine for a wound in his lung, and I don't know whether he was permanently addicted, but he tried to kill himself. He took sixteen grains of morphine and it didn't kill him, which indicates a terrific tolerance. So he must have been fairly heavily addicted. A dumb, brutal hick; that's what he was, like Dillinger. And there were so many genteel old ladies who didn't feel right unless they had their Dr. Jones mixture every day.
  • Interviewer: What other character types interest you?
  • William S. Burroughs: Not the people in advertising and television, nor the American postman or middle-class housewife; not the young man setting forth. The whole world of high finance interests me, the men such as Rockefeller who were specialized types of organisms that could exist in a certain environment. He was really a moneymaking machine, but I doubt that he could have made a dime today because he required the old laissez-faire capitalism. He was a specialized monopolistic organism. My uncle Ivy created images for him. I fail to understand why people like J. Paul Getty have to come on with such a stuffy, uninteresting image. He decides to write his life history. I've never read anything so dull, so absolutely devoid of any spark. Well, after all, he was quite a playboy in his youth. There must have been something going on. None of it's in the book. Here he is, the only man of enormous wealth who operates alone, but there's nobody to present the image. Well, yes, I wouldn't mind doing that sort of job myself. I'd like to take somebody like Getty and try to find an image for him that would be of some interest. If Getty wants to build an image, why doesn't he hire a first-class writer to write his story? For that matter, advertising has a long way to go. I'd like to see a story by Norman Mailer or John O'Hara which just makes some mention of a product, say, Southern Comfort. I can see the O'Hara story. It would be about someone who went into a bar and asked for Southern Comfort; they didn't have it, and he gets into a long, stupid argument with the bartender. It shouldn't be obtrusive; the story must be interesting in itself so that people read this just as they read any story in Playboy, and Southern Comfort would be guaranteed that people will look at that advertisement for a certain number of minutes. You see what I mean? They'll read the story. Now, there are many other ideas; you could have serialized comic strips, serial stories. Well, all we have to do is have James Bond smoking a certain brand of cigarettes.
  • Interviewer: In some respects, Nova Express seems to be a prescription for social ailments. Do you see the need, for instance, of biologic courts in the future?
  • William S. Burroughs: Certainly. Science eventually will be forced to establish courts of biologic mediation, because life-forms are going to become more incompatible with the conditions of existence as man penetrates further into space. Mankind will have to undergo biologic alterations ultimately, if we are to survive at all. This will require biologic law to decide what changes to make. We will simply have to use our intelligence to plan mutations, rather than letting them occur at random. Because many such mutations—look at the saber-toothed tiger—are bound to be very poor engineering designs. The future, decidedly, yes. I think there are innumerable possibilities, literally innumerable. The hope lies in the development of nonbody experience and eventually getting away from the body itself, away from three-dimensional coordinates and concomitant animal reactions of fear and flight, which lead inevitably to tribal feuds and dissension.
  • Interviewer: You see hope for the human race, but at the same time you are alarmed as the instruments of control become more sophisticated.
  • William S. Burroughs: Well, whereas they become more sophisticated they also become more vulnerable. Time, Life, Fortune applies a more complex, effective control system than the Mayan calendar, but it also is much more vulnerable because it is so vast and mechanized. Not even Henry Luce understands what's going on in the system now. Well, a machine can be redirected. One technical sergeant can fuck up the whole works. Nobody can control the whole operation. It's too complex. The captain comes in and says, “All right, boys, we're moving up.” Now, who knows what buttons to push? Who knows how to get the cases of Spam up to where they're going, and how to fill out the forms? The sergeant does. The captain doesn't know. As long as there're sergeants around, the machine can be dismantled, and we may get out of all this alive yet.
  • Interviewer: Sex seems equated with death frequently in your work.
  • William S. Burroughs: That is an extension of the idea of sex as a biologic weapon. I feel that sex, like practically every other human manifestation, has been degraded for control purposes, or really for antihuman purposes. This whole Puritanism. How are we ever going to find out anything about sex scientifically, when a priori the subject cannot even be investigated? It can't even be thought about or written about. That was one of the interesting things about Reich. He was one of the few people who ever tried to investigate sex—sexual phenomena, from a scientific point of view. There's this prurience and this fear of sex. We know nothing about sex. What is it? Why is it pleasurable? What is pleasure? Relief from tension? Well, possibly.
  • Interviewer: Mary McCarthy has characterized you as a soured utopian. Is that accurate?
  • William S. Burroughs: I do definitely mean what I say to be taken literally, yes, to make people aware of the true criminality of our times, to wise up the marks. All of my work is directed against those who are bent, through stupidity or design, on blowing up the planet or rendering it uninhabitable. Like the advertising people we talked about, I'm concerned with the precise manipulation of word and image to create an action, not to go out and buy a Coca-Cola, but to create an alteration in the reader's consciousness. You know, they ask me if I were on a desert island and knew nobody would ever see what I wrote, would I go on writing. My answer is most emphatically yes. I would go on writing for company. Because I'm creating an imaginary—it's always imaginary—world in which I would like to live.