Australian mass shooter Martin Bryant being interviewed following the Port Arthur massacre

On April 28th 1996 Martin Bryant opened fire at the Port Arthur historic site, a popular tourist destination in Tasmania, Australia. He was armed with a .223 calibre Colt AR-15 SP1 Carbine and a .308 calibre L1A1 SLR battle rifle. Bryant murdered 35 people and injured a further 23 others making it Australia’s deadliest mass shooting to this day.

The massacre caused a national outcry and Prime Minister John Howard introduced new gun control legislation. The National Firearms Programme Implementation Act of 1996 was passed the same year restricting private ownership of high capacity semi-automatic rifles and shotguns as well as pump-action shotguns. Uniform firearms licensing was also introduced. These measures passed with bipartisan support from the entire Commonwealth and Australian states and territories.

The people killed by Martin Bryant were Winifred Aplin (58), Walter Bennett (66), Nicole Burgess (17), Sou Leng Chung (32), Elva Gaylard (48), Zoe Ann Hall (28), Elizabeth Howard (26), Mary Howard (57), Mervyn Howard (55), Ronald Noel Jary (71), Tony Kistan (51), Leslie Lever (53), Sarah Kate Loughton (15), David Martin (72), Noelene Joyce Martin (69), Pauline Masters (49), Alannah Louise Mikac (6), Madeline Grace Mikac (3), Nanette Patricia Mikac (36), Andrew Bruce Mills (39), Peter Brenton Nash (32), Gwenda Joan Neander (67), Moh Yee William Ng (48), Anthony Nightingale (44), Mary Rouse Nixon (60), Glenn Pears (35), Russell James Pollard (72), Janette Quin (50), Helene Salzmann (50), Robert Salzmann (57), Kate Elizabeth Scott (21), Kevin Sharp (68), Raymond Sharp (67), Royce William Thompson (59) and Jason Bernard Winter (29).

Although his true motive remains largely unknown, it is claimed by his lawyer that Bryant was fuelled by a desire for notoriety and infamy having been inspired by international media reports of the Dunblane school massacre in Scotland, United Kingdom. Following his capture Bryant was fixated on finding out how many people he killed and was reportedly impressed and pleased with the number.

A monument and memorial garden were constructed in Port Arthur to be opened on the fourth anniversary of the massacre in April, 2000. Bryant remains in prison today age 50 in the Wilfred Lopes Centre near the Risdon Prison Complex.

nikkilbook  asked:

I'd like to know how to effectively/efficiently braid together subplots such that the reader can get to know/get invested in the main players without me driving this story completely off the rails. Specifically, how to work in details about other plot threads when a character is present but not POV, how to let create a strong subplot without having to spend a ton of time in a character's POV, etc. Thanks!

My ‘multiple plots’ tag is [HERE].

Developing subplots is something that gives your story meat; subplots are often complications to the main plot, or distractions, stuff that your characters have to deal with in order to move on with the main plot, or they can be unexpected sources of help.

I’d like to know how to effectively/efficiently braid together subplots such that the reader can get to know/get invested in the main players without me driving this story completely off the rails.

The thing about subplots is that often they lead back to ‘the rails’, it can be a real treat to read a story where the main character gets swept along on some seemingly irrelevant side-quest while being aware that their main plot is ticking away without them and they need to get back to it, only for them to then discover that they’ve learned/ gained something vital from their involvement in the subplot that is going to help them in their main goal.

Of course, sometimes subplots are there to ‘derail’, and they can create conflict in that perhaps the character is leaving their current responsibilities in order to deal with a problem that seems very important, only to get back to their ‘main’ responsibility and discover that through their distraction Bad Things have happened.

It depends entirely what you want to do with the subplots that determines these kind of things.

how to work in details about other plot threads when a character is present but not POV, how to let create a strong subplot without having to spend a ton of time in a character’s POV

I’m going to guess that you’re working with one focalising (POV) character, and you’re writing in either first person or third person limited perspective, your story is coloured by what this character sees and hears and knows.

So say for instance, your Main Character is toiling away on Main Plot Point A (MPPA) and is waiting for really important help from Secondary Character, who is currently embroiled in Sub Plot 1. Without leaving MC’s POV, we can show very clearly the impact that SP1 is having on the main plot, by how SC’s absence at a critical moment affects MPPA.

- MC is waiting at the bus stop, they want very badly to get into town in order to meet up with Love Interest, but need SC to go along with them

- MC is highly aware that there’s a time limit, LI finishes work in an hour, so if they want to meet up it’ll have to be THIS BUS ONLY

- MC watches the bus roll up, stop, people get off and on, they’re looking around desperately for SC, who needs to bring -important object- or else there will be dire consequences

- MC watches the bus depart, a few minutes later SC shows up, hot and sweaty and out of breath, with -important object- clutched under one arm, asks if they’ve made it in time, says breathlessly that it was a struggle to get away from SP1, but they made it!

So in this example there are some clear objectives that the character feels need to be reached in order to keep going on the main plot – they need to meet up with SC, they need to catch a particular bus, and have a particular object with them in order to meet up with the LI.

With SC being late because of SP1, this means that the bus is missed (a temporal conflict), the important object is not available (a material conflict), and without SC bringing the important object in time, the MC’s plans are put off to your preferred degree of disaster (interpersonal conflict). These are all direct results of the Subplot, and the secondary character’s explanation of why they’re late can give as much or as little detail as to the whys and therefore the events of that subplot as necessary.

The other thing is ‘how much of my subplot do I need to show in order for it to work for the story?’

And the answer, as with so many things, is ‘it varies’.

A subplot can involve your main character actually physically detouring into something tangential to the main plot, it can involve them suddenly being met with a rush of problems or people to deal with who’ve just been involved with your secondary plot, or it can be their plans being upset by the outcomes of the subplot that they hadn’t been aware of until it started causing them issues.

It does often help to have at least one character show up who was personally involved in the subplot, to be able to pipe up at vital moments with information such as ‘that happened because the baddie did x!’, or to otherwise be able to provide contextual clues as to what happened in the subplot to be causing these effects on the main plot.


There are some great subplots in the Harry Potter series, and that’s probably one of my favourite things about JKR’s writing, that she can lay in subtle hints and clues extremely far in advance and then have them become relevant as Harry learns something new and is able to put together the information he has.

For instance, it blew my mind as a kid when the Grim turned out to be Sirius Black – y’know, the guy who was mentioned by Hagrid in an offhanded line in the first book? If you read back over Harry Potter you’ll notice a lot of this sort of thing, Harry doesn’t know anything about the world he’s going into, and a lot of subplots are revealed by more knowledgable characters who are immersed in the wizarding world saying things like “well everyone knows that –” and dropping some information that they think is commonplace but which to Harry changes a lot.

A great deal of the Marauders’ backstory/ the Scabbers/ Peter Pettigrew subplots are revealed when Harry and friends eavesdrop on some of the teachers at the pub in town. Or by Hagrid slipping up and saying more than he’s supposed to. Or by Hermione deciding that she needs to tell them a vital piece of information that she’s known about and either has been told not to share or thought would be obvious.

Doctor Who, especially the first new season (9th Doctor and Rose) is an interesting one, because essentially the episodes are a bunch of adventures in subplots while the main plot (the Bad Wolf arc) happens around them while they’re mostly oblivious until the last few eps and the relevance of Bad Wolf becomes apparent.

The Lord of the Rings has a whole bunch of great subplots that intersect with the main plot in various degrees of importance and influence, especially after the party splits, because at that point while Frodo and Sam’s journey to Mordor is harrowing and dark and dangerous, it’s also … kind of boring? And the subplots involve things like leading nations into battle and defending strongholds and fighting industrialisation. Before the party splits you get gems like Tom Bombadil and Goldberry.

In short:

  • Subplots should be linked to your main plot, in that they bring new conflict, characters, information, backstory, etc. Subplots are part of the story, not unrelated things happening to fill time.
  • Subplots can involve your main character, or they can be related to the main character by others who were there, or they can just have a degree of impact on what is happening in the main plot.
  • Subplots can be explicitly shown or they can be implied through events and context.
  • Subplots can be laid in advance and then revealed as important when they become relevant or new information comes to light – the reader can ‘discover’ them at the same time as the character, or you can keep the reader on their toes by leaving enough information for them to figure it out before the main character realises what they’re walking into.
  • Well integrated subplots can go a long way to making the world of your story feel more ‘real’. Because it’s not only the main character and the main plot happening in the whole wide world, that is just one character and one plot that happen to be the focus of the story, while other plots and characters are busy doing their own thing just next door.
Several Shades of Sadism: Chiaki Kira Walkthrough

invitation code: mf5ZE4
SSS WalkthroughsWalkthrough Masterpost

Read before you start:

  • All answers give you affection for Chiaki: either +1;+3; or +5 .If you click on “Change Screens” it will tell you the total affection you have on the top left corner. 
  • You will need a total of 100 Affection Points to get the Happy End.
  • There will be 3 Avatar Missions in the route. You can either use the Gold you earn in the game to buy the item for the Normal Route, or you can use Rewards Points to purchase the item for the Sweet Route. The Sweet Route includes CGs. Yes, you will need to spend real money and purchase Rewards Points. (Like most games, you can earn in-game money, in this case, Rewards Points, by using Tapjoy to install apps. Honestly, I think it’s a hassle and stay away from those, but that’s just me.)
  • Total Rewards Points needed for Sweet Routes (CGs): 14,000
    Total Gold needed for Normal Routes (No CGs): 14,000

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