the scene that should happen

6

timmy’s secret wish is the worst episode of fairly oddparents i have ever seen :’D - forget about chloe or sparky or season 10 - this is the one where it turns out that timmy is actually 60 years old and cheated his way into never having to let go of his fairies - which results in cosmo and wanda losing Poof.

Naturally, all of this ends with Timmy getting his fairies, Poof and his youth back, without any permanent consequences or punishment whatsoever.

i cannot believe this ;____;

2

A graduation trip to outer space with your friend? What could be better?
Okay, okay I did promise I’d hear you out

I was suppose to do one for the civil war arc but asdfghjkl I couldn’t resist drawing this scene because s p a c e   d a t e

(Caption-less gifs and Phone Backgrounds undercut)

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3
9

Me: *Procastinating*

Me: Stares at Keith and Lance elevator pic

Me: @bibocas-valkiria put the cinderella shoe on Keith rn

Bib:

Bib:

Start your novel (easy process)

So, in this post I’ll help you through coming up with a story idea, outlining and writing the first chapter. Not only that, we’ll also take an easy approach to every step. If you are stuck for months (or years), today is the day you start! 

Originally posted by letsdiscussaboutsherlock

Let’s divide this process into three steps: Story idea (first step), outline (second step) and first chapter (third step). This is, pretty much, all we need right now. 

Story ideas

With your favorite genre and subgenre in mind, create storylines for the following types of plots. You can either choose one plot at random, or try out many of them until you find a good one. This is just a brainstorm, so be open to craziness. Here are 50 simple plots.

1. Hunting monsters

2. Becoming a monster

3. Going on a journey

4. Poor becomes rich

5. Rich becomes poor

6. Good person becomes bad

7. Bad person becomes good

8. Revenge

9. Rescuing something/someone

10. Story of reincarnation

11. Hunted by group/government

12. Attacking a group/government

13. Free persons becomes prisoner

14. Prisoner becomes free

15. Escaping from enslavement/imprisonment

16. Learning a craft

17. Winning a competition 

18. Overcoming a disease

19. Training

20. Group surviving together

21. Becoming famous

22. Investigation of a mystery

23. Escaping from police/justice

24. Survival games

25. Trials

26. Unrequited love

27. Starcrossed lovers

28. Partners in crime

29. Redemption

30. Becoming a family

31. Growing up

32. Generations of a family

33. Surviving wild/apocalypse/disaster

34. Love turns hate

35. Hate turns love

36. Rivals turning friends

37. Friends turning rivals

38. Love triangle

39. Developing superpower/mutation

40. Groups/rivals at war

41. Finding/going home

42. Becoming human

43. Completing a mission

44. Going undercover 

45. Happiness to tragedy

46. Tragedy to happiness

47. Outcasted

48. Creating an ideology/religion 

49. Opening a business

50. Understanding life

After testing the plots above, choose your favorite storyline.

Originally posted by justalittletumblweed

Outline

You’ve managed to pick a plot and a storyline. You already have the hardest part sorted out. Choosing is the hardest part. Now we are developing your story idea. The tip #1 of outlining is…. keep it simple. Don’t try to fit one hundred scenes, and arcs, and fillers to make your story complex. Instead, answer the following topics:  

- How should my story begin?

- How should my story end?

- Define five basic scenes that must happen for my story to go from beginning to ending.

You can either freewrite the answers, or speak to yourself in front of a mirror, or meditate about it. Find your best approach. Once you have the main structure done, you can fill the blanks as you write.

Originally posted by skylerlockerbie

First chapter:

Wow!!! Congratulations. You are awesome. You’ve made through the hardest part. Really. I promise. Because writing is fun. So, here comes the fun part. Starting the first chapter is always a challenge, especially for the perfectionists. So, instead of going straight to the beginning you defined in the previous step, try something different: Start your book before the beginning. One or a few scenes before.

By the time you reach the official first scene, you are already in the flow, you’ll have a certain intimacy with characters, you’ll know them better, not only characters, but also the fictional world and the plot. So, start before the beginning. When editing time comes, you can either delete or keep it.

Originally posted by dailyhappylife

So, are you ready to start??

Beyond the scenes? Nice.

I think we should just accept the idea that there’s a new name to BTS as “Beyond the Scenes” because after all they’re still BTS: they still have the same members, they still have the same music. They chose to add more meaning and depth in the abbreviation, and to us the name bulletproof Boy Scouts will be original in our hearts. Go with the flow, after all it’s their decision to change it.

justpercyjacksonthings  asked:

Hi! So I'm writing a book and two of my protagonists are shapeshifters (one can turn into a tiger and the other a wolf). In the heat of battle, how can I (rather, how /should/ I) write the lines when they're changing so that it doesn't take up a whole lot of time and space on a page, but still seems graceful and fluid?

By remembering that your audience has a memory. Depending on your preferences, you probably want to focus on the transformation in detail, one to three times. After that, your audience is going to have a fairly solid grasp on how it works, and the only time you’d need to revisit the process is if something new was happening.

Revisiting it, with a full sequence, every single time is fetishistic. Now, if that is the point of your story, then, sure, go for it every time. However, as you’ve noticed, that will slow you down a lot. If your character’s transformed into a nine foot tall snarling deathbeast fifteen times, there’s really not much value to writing up the sixteenth, (or the fourth, for that matter).

The basic theory, when I said one to three, is that the first time you’re telling the audience, “hey, this is happening, this is how it works.” The second and third time you’re reminding them, “hey, remember this thing that happens?” After that, it’s enough to say, “yeah, it happens,” and skip the irrelevant details. By the time you’re getting into this stuff happening in fight scenes, it’s something that you should be able to roll over in a sentence or two. Also, depending on your preferences, this can apply to any similar transformations. One protagonist transforming will (probably) count for the other. Though, you may want to make sure each character gets at least one detailed transformation before you completely gloss over what’s happening. It’s a new character, that is something new happening, after that, your audience should be able to keep up. “Ah, that one’s a werewalrus, got it.”

This can get significantly more complicated, if you have characters that can transform into multiple distinct forms. At that point, you’re probably going to be stuck writing it out, or at least spending more time explaining what’s going on, each time.

When you’re walking the audience through the process, the early transformations can chew up a lot of space. That’s okay. You’re laying out the ground rules for how your characters’ powers work. In this sense it’s a lot like establishing exposition. You’re explaining the world so that, later, the audience is up to speed when you need to stick these transformations in tense moments when the pacing doesn’t allow you to stop.

Once you’ve got the transformations nailed down, then you only really want to go into detail when accounting for something that hasn’t happened before. Dealing with wounds that carry over would be one example. Especially if the characters are usually fully healed by their transformation.

As to the graceful bit, that’s a lot more complicated. It ultimately comes down to how you define “graceful” for your own purposes. It’s something you’d bake into the transformations the first couple times you’re using it, or (if the story starts with their first), it might be something that manifests as they’re learning to control their powers. There isn’t a simple solution on that point. It might also be worth the time and introspection to decide exactly why you’re thinking you want the transformations to be graceful; that might help you find a way to better operationalize it.

Once you’re having your characters transform mid-combat, you want to be at a point where you can simply say your character wolfs out, and your audience is already knows what that means and is on board. As you’ve realized, if you have to detail the transformation in the heat of the moment, it will murder your pacing.

-Starke

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Black Honey: Pt. 6 [conclusion]

| Part 1 | Part 2 | Part 3 | Part 4 | Part 5 |

Summary: Starfire and Robin are officially an item, but what does that mean when the resident empath is stuck living between their respective bedrooms? Finding a new bunk buddy in Beast Boy was certainly not her first choice, and when she engages in a strange, night time activity, how long before the changeling notices what she’s up to?


His first instinct was to stop her.

There were so many questions running through his hazy mind, it was staggering.

Nonetheless, it was pure impulse that he acted on, knowing that he had to get to her before she vanished. He needed answers, and they needed to work through this, neither of which would happen if Raven fled the scene, like he knew should would.

“Raven, wait-” His voice was choked up and distant, even as he tried to reach out to her.

The expression on her face betrayed the horror she was no doubt experiencing, the numbing fear. She’d been caught, and so had he.

Beast Boy was shaken, but no where near as jittery and paranoid as the cowering empath. The earth beneath them seemed to come to life, the objects in his room skittering across his floor. The frame of his bed moved, his oak dresser creaked against the tiles in response to an otherworldly force, his toys and figurines clattering to the floor. A few candle jars smashed to the ground in pieces, the glass shards splaying out like dangerous, glittering gems. The candle wax would no doubt stain the wooden panels.

None of it mattered.

He couldn’t bring himself to care, not when the girl responsible for so much chaos was so violently distraught. The blood seemed to have drained from Raven’s already pale face, all the while she clutched at the sides of her skull, her fingers digging into the roots of her violet hair.

Even now, he could hear the others rushing to his room, the heavy, echoing footfalls of both Cyborg and Robin as they raced down the hall.

The lights in his room flickered on and off, until she burnt them out entirely, the bulbs bursting into an ear-splitting smattering of glass.

He tried to get to her, but some invisible force was stopping him, pushing him back.

The Titans banged on his door, their voices muffled by the whirlwind of catastrophe now contained in his bedroom.

She was spinning out of control, and the more damage she did, the worse it became. Bit by bit, she was overwhelmed with a surge of emotion and, thus, her powers raged on in an endless storm of electricity and malevolence.

[THE REST UNDER THE CUT!]

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Implicit Writing

A few weeks I talked about how it’s sometimes preferable to write parts of trans character’s stories implicitly and how both explicit and implicitly writing about trans character’s experiences are powerful tools. This week I’ll be giving you a few more basic pointers about writing implicitly with trans and nonbinary characters.

  • When writing a scene about things like someone’s coming out, aspects of their transition, experiencing transphobia, or suffering from dysphoria - think about what the scene adds to the story before including it. While these are important parts of many trans and nonbinary people’s experiences, they do not have to be a large part of every story about us.
    • When they are, be very careful about how you write them. Particularly if you are a cis writer, because you shouldn’t be speaking about what it’s like to be trans and/or nonbinary.
  • Even if you choose not to explicitly write out a scene, that doesn’t mean it didn’t happen. You should know what happened, and how that affects your character.
  • Even if you don’t explicitly write something out, it’s okay to reference events between characters, even if they happened off screen, and it can and should effect how your character behaves. Implicit doesn’t mean invisible or unimportant,
  • Do not make a character’s gender or identity implicit. Do not leave room for debate, particularly in stories that have trans and nonbinary characters but are not about being trans or nonbinary.

Please feel free to send us your favorite trans authors, a little bit about your favorite trans characters, or any questions or topics you’d like to see me address, too. For some of our new followers, you can find past Writing Trans articles here in the tag.

-Chris/Isabella

You know what should happen in Incredibles 2?

A familiar scene opens up before us with Frozone in his living room, clicking the button on the remote to bring out his super suit. As expected, it’s not there, and just as expected, he begins his legendary spiel.

“HoneEEEEY, WHERE’S M-” he’s cut off as his super suit is flung at his face from off screen.

There’s a cut and now you’re viewing a colorful feminine figure appearing in the hallway.

“I ain’t gonna let you go out without me this time.” Frozone’s wife says, in full superheroine garb, snapping her fingers to produce a few small electric sparks around her hands.