The deeper I see the real you, the more I see the possibility of getting hurt. The more I read the nearer it reaches me. Yeah, I have these stories of us inside me. The stories I somehow hoped would happen. It’s starting to get deeper, maybe you’ve noticed. Still, I wanted it to be a secret.
Do I feel pity for Maven? Maybe. I suppose I pity the fact that he did not get to live the life he wanted to live, and that his life was technically stolen from him before he even knew what it was. The sad thing, at least in my opinion, is that the minute Elara was pregnant, she had already sealed Maven’s fate. Maven was going to take the crown with her, whether he wanted to or not. He’s almost a representation of what happens when a parent literally forces their child to be something. It’s not so much a pitying thing, as it is tragic. Maven is, in a way, a tragedy, and that is amazing. I feel as if I’ve seen very few villains in my time that are so very tragic. Sure you have the odds or end one that appears once every blue moon, but Maven is almost a work of art, a story inside of a story. He’s the last act of a Shakespearean tragedy. He’s Hamlet begging Horatio to remain alive and tell the story of what happened in Denmark, he’s Juliet running the knife through her chest because she woke up just a little bit too late, he’s Othello realizing his mistake too late, he’s the guard arriving a second after Cordelia was hung to announce that she was innocent. He’s a tragedy that we only see the ending of and the never beginning. In a way, I don’t pity that, I marvel at it. It’s so beautifully crafted, and you don’t pity a beautiful work of art. You admire it, and praise it. I’ve never praised Maven’s actions, but I do praise his character and what it represents. In my eyes, Maven is a flawless villain, and I love him to death for it. He’s exactly what Red Queen needed for a villain. You have heroes who are not always a heroes, and a villain who you care about because he is so fantastically created. I would not say that I pity Maven, I’ve never really pitied a character, but I will say that I adore him as a villain and admire him as character.
Falling Star is the final Special Attack learned by Mario and Luigi in Mario & Luigi: Bowser’s Inside Story. It costs 20 SP to use. It’s one of the most powerful special attacks in the game, while the other is Broggy Bonker, Bowser’s strongest special attack.
Bowser’s inside story is literally like…. my favourite mario RPG game. hands down. huge bonus points bc they introduced starlow.
I also?? love the falling star attack so much? massive destruction power, hell yeah
its taken me like… 3 weeks to finish, and I’m really proud of it! + it was a nice chance to use my crayon brushes c’:
A couple of years ago, I realized that the short
stories I was writing were boring. I was telling stories that were like the
ones other people were telling and I was telling them the way that other people
were telling them. It wasn’t always like that. When I started out, I tried a
bunch of experimental forms (that didn’t work) and had THINGS TO SAY (that read
like a ton of bricks). But when I finally decided that I was just going to
start writing short stories I wished were out there, I think they got a lot
So what I have to say to novelists is that you need to
stop writing your books the way that other people do. You have to stop telling
stories that other people are telling. You need to start writing books that are
unique to you. Try techniques no one else is using. Mix up genres in ways no
one else would do. Put in details that only you can write about. Create
characters that are weird and unbelievable and wonderful and dumb and
vulnerable and smart and courageous and all those things all at once.
Yes, it’s important for writers to learn the craft.
But it can become a problem when learning the craft means doing things the way
everyone else is doing them. It’s not the only right way to tell a story just
because it’s the way that other people have done it. Try telling things out of
order. Try using second person. Or using a different form completely, like a
dictionary or encyclopedia or a youtube script or a dance or an opera. Try
writing your own Rosetta Stone.
Try telling stories about people no one cares about or
people who are overlooked. Tell stories about not-heroes, not-villains. Tell
stories from the inside out. Make stories that make your reader work hard.
Storytelling is sharing yourself, so share how your mind works, how your heart
feels, how you connect and hate and dance and sing along.
I have a character that has a pretty long backstory. She doesn't open up very much so her explaining how she got the way she is is a big moment for her. She doesn't reveal a whole lot about herself until this point so I don't want it to be overwhelming. How do I have her explain her back story to two characters without it seeming like a info dump?
Very good question, I’ve had this problem (am currently having this problem?) myself.
First, info dumps need only be furiously avoided in the beginning chapter(s). Readers need to care about your character before they can care about her back story. Sometimes you can only care about a character after hearing their back story, but not in the first few chapters.
Info dumps can be acceptable once everything else has been established. I’ve read plenty of published, beloved books where one character has a page or two-page long explanation of something with very few breaks. That can be tedious, but depending on how invested I am in the character/book I usually don’t mind it. However, it’s still generally a good idea to trim down that “dump” to only the information pertinent to understanding the rest of the story. Not every interesting detail or isolated event needs to be included in your character’s retelling of her life- even if that’s the way a normal person would talk. Whatever she says to the other two characters, it needs to either explain something the reader has been wondering about or prepare them for something that is going to happen.
Second, give your other two characters a bit of involvement in this retelling. They may sit quietly and listen or they may ask questions throughout (depending on their personalities), but when you’re writing her speech make sure neither you nor your character forgets who she’s talking to. Plus, if one character asks a relevant question now and then (i.e. relevant to the readers), it will remind your character of things she might have left out.
Don’t be afraid to leave some information out so that later on another character might turn to her and go “Why didn’t you tell us this?” If your character is reticent, she might not want to tell everything even at this point in the story.
Since it is a big moment, be careful of trimming her story down too much or of writing her as too withholding and hesitant. How you want to structure her speech is up to you, whether she starts it with a bang, waits until the middle to tell a major secret, or ends it with an experience that leaves her listeners stunned. Her retelling is a miniature story inside a bigger story, and if you treat it that way it will be more impactful.
guys, i think sometimes poeple think i’m crazy ‘cause i love maven, but i’m here to say why. i love him ‘cause he is perfect, victoria made every detail, every line, perfect, maven is so well written, i can’t hate that, he is a story inside a story, yes, i know that he is the villian, and there is no way to justify his actions, but victoria makes you understand why he did it, he is an addict to power, his mom raised him like that, still not right, but you know the why, and there is the fact that he is bissexual, every detail that shows up, makes maven even more complicated and evil, but also simple and sad, that’s why i love him, i understand him, and his history, a he is so well written, i can’t hate that. ( *just saying again, that does not justify the way he treat mare, or his actions)
there are so many stories. there are stories inside of me, stories inside of you. there are real stories, and stories that might not be real but feel real, and there are stories you wish were real (truly, deeply). there are story fragments, little moments and ideas you wish you could fathom into words. i wish, too. i wonder about all those stories. there are our stories, and their stories; stories told and untold and begging to be told. hoping. perhaps stories exist without us, and sometimes we happen to stumble, and stop, and look. and find. tell the story. let it be told. it wants to. every story, every idea, every thought is a universe awaiting. find them. find the stories. and tell them. there are never enough (they are always endless).