they need to have interactions

Your Character’s Personality

Personality is the most important thing about your character.

So, whenever I see character sheets, most people just put a little paragraph for that section. If you’re struggling and don’t know what your character should say or do, what decisions they should make, I guarantee you that this is the problem.

You know your character’s name, age, race, sexuality, height, weight, eye color, hair color, their parents’ and siblings’ names. But these are not the things that truly matter about them.

Traits: 

  • pick traits that don’t necessarily go together. For example, someone who is controlling, aggressive and vain can also be generous, sensitive and soft-spoken. Characters need to have at least one flaw that really impacts how they interact with others. Positive traits can work as flaws, too. It is advised that you pick at least ten traits
  • people are complex, full of contradictions, and please forgive me if this makes anyone uncomfortable, but even bullies can be “nice” people. Anyone can be a “bad” person, even someone who is polite, kind, helpful or timid can also be narcissistic, annoying, inconsiderate and a liar. People are not just “evil” or “good”

Beliefs:

  • ideas or thoughts that your character has or thinks about the world, society, others or themselves, even without proof or evidence, or which may or may not be true. Beliefs can contradict their values, motives, self-image, etc. For example, the belief that they are an awesome and responsible person when their traits are lazy, irresponsible and shallow. Their self-image and any beliefs they have about themselves may or may not be similar/the same. They might have a poor self-image, but still believe they’re better than everybody else

Values:

  • what your character thinks is important. Usually influenced by beliefs, their self-image, their history, etc. Some values may contradict their beliefs, wants, traits, or even other values. For example, your character may value being respect, but one of their traits is disrespectful. It is advised you list at least two values, and know which one they value more. For example, your character values justice and family. Their sister tells them she just stole $200 from her teacher’s wallet. Do they tell on her, or do they let her keep the money: justice, or family? Either way, your character probably has some negative feelings, guilt, anger, etc., over betraying their other value

Motives:

  • what your character wants. It can be abstract or something tangible. For example, wanting to be adored or wanting that job to pay for their father’s medication. Motives can contradict their beliefs, traits, values, behavior, or even other motives. For example, your character may want to be a good person, but their traits are selfish, manipulative, and narcissistic. Motives can be long term or short term. Everyone has wants, whether they realize it or not. You can write “they don’t know what they want,” but you should know. It is advised that you list at least one abstract want

Recurring Feelings:

  • feelings that they have throughout most of their life. If you put them down as a trait, it is likely they are also recurring feelings. For example, depressed, lonely, happy, etc.

Self Image:

  • what the character thinks of themselves: their self-esteem. Some character are proud of themselves, others are ashamed of themselves, etc. They may think they are not good enough, or think they are the smartest person in the world. Their self-image can contradict their beliefs, traits, values, behavior, motives, etc. For example, if their self-image is poor, they can still be a cheerful or optimistic person. If they have a positive self-image, they can still be a depressed or negative person. How they picture themselves may or may not be true: maybe they think they’re a horrible person, when they are, in fact, very considerate, helpful, kind, generous, patient, etc. They still have flaws, but flaws don’t necessarily make you a terrible person

Behavior:

  • how the character’s traits, values, beliefs, self-image, etc., are outwardly displayed: how they act. For example, two characters may have the trait “angry” but they all probably express it differently. One character may be quiet and want to be left alone when they are angry, the other could become verbally aggressive. If your character is a liar, do they pause before lying, or do they suddenly speak very carefully when they normally don’t? Someone who is inconsiderate may have issues with boundaries or eat the last piece of pizza in the fridge when they knew it wasn’t theirs. Behavior is extremely important and it is advised you think long and hard about your character’s actions and what exactly it shows about them

Demeanor:

  • their general mood and disposition. Maybe they’re usually quiet, cheerful, moody, or irritable, etc.

Posture:

  • a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Posture is how the character carries themselves. For example, perhaps they swing their arms and keep their shoulders back while they walk, which seems to be the posture of a confident person, so when they sit, their legs are probably open. Another character may slump and have their arms folded when they’re sitting, and when they’re walking, perhaps they drag their feet and look at the ground

Speech Pattern:

  • a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Speech patterns can be words that your character uses frequently, if they speak clearly, what sort of grammar they use, if they have a wide vocabulary, a small vocabulary, if it’s sophisticated, crude, stammering, repeating themselves, etc. I personally don’t have a very wide vocabulary, if you could tell

Hobbies:

  • a secondary part of your character’s personality: not as important as everything else. It is advised you fill this out after. Hobbies can include things like drawing, writing, playing an instrument, collecting rocks, collecting tea cups, etc.

Quirks:

  • a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Quirks are behaviors that are unique to your character. For example, I personally always put my socks on inside out and check the ceiling for spiders a few times a day

Likes:

  • a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes are usually connected to the rest of their personality, but not necessarily. For example, if your character likes to do other people’s homework, maybe it’s because they want to be appreciated

Dislikes:

  • a secondary part of your character’s personality, not as important as everything else. It is advised you fill this out after. Likes and dislikes can also contradict the rest of their personality. For example, maybe one of your character’s traits is dishonest, but they dislike liars

History:

  • your character’s past that has key events that influence and shape their beliefs, values, behavior, wants, self-image, etc. Events written down should imply or explain why they are the way they are. For example, if your character is distrustful, maybe they were lied to a lot by their parents when they were a child. Maybe they were in a relationship for twenty years and found out their partner was cheating on them the whole time. If their motive/want is to have positive attention, maybe their parents just didn’t praise them enough and focused too much on the negative

On Mental and Physical Disabilities or Illnesses

  • if your character experienced a trauma, it needs to have an affect on your character. Maybe they became more angry or impatient or critical of others. Maybe their beliefs on people changed to become “even bullies can be ‘nice’ people: anyone can be a ‘bad’ person”
  • people are not their illness or disability: it should not be their defining trait. I have health anxiety, but I’m still idealistic, lazy, considerate, impatient and occasionally spiteful; I still want to become an author; I still believe that people are generally good; I still value doing what make me feel comfortable; I still have a positive self-image; I’m still a person. You should fill out your character’s personality at least half-way before you even touch on the possibility of your character having a disability or illness

Generally everything about your character should connect, but hey, even twins that grew up in the same exact household have different personalities; they value different things, have different beliefs. Maybe one of them watched a movie that had a huge impact on them.

Not everything needs to be explained. Someone can be picky or fussy ever since they were little for no reason at all. Someone can be a negative person even if they grew up in a happy home.

I believe this is a thought out layout for making well-rounded OCs, antagonists and protagonists, whether they’re being created for a roleplay or for a book. This layout is also helpful for studying Canon Characters if you’re looking to accurately roleplay as them or write them in fanfiction or whatever.

I’m really excited to post this, so hopefully I didn’t miss anything important…

If you have any questions, feel free to send a message.

- Chick

9

Extra Headcanon/AU notes (for the curious): Inko isn’t aggressive nor is she all that intimidating, she just moms everyone. And that within itself has the makings of a terrifying individual.

She is also extremely determined when she wants to be? Bakugou thought she was just a typical, weak schoolgirl when they met as kids, but Inko was determined to make her stop smoking/getting into so many fights. It was downright terrifying what she could do when she had set her mind on something.

They didn’t really become friends until a couple years after they met, though. Bakugou doesn’t really have a good relationship with her parents, and after one particularly hostile spat, Inko just kinda… showed up at her door. She didn’t ask any questions, just knew, and they ditched school for four days to go up to Hokkaido and be happy.

Bakugou’s fearful respect of her is based on years of Inko somehow knowing everything and multiple cases of her calling/texting/msg-ing Bakugou just as she lights a cigarette or glares at some thugs, despite being nowhere in the vicinity. She is 99% certain that Inko has some sort of secondary psychic sense quirk that keeps her attuned to the people she cares about.

(Also, Bakugou really loves her son, but? She also REALLY wants to kick his ass, because Inko took such good care of her when they were younger and she feels entirely responsible for how her son acts towards Izuku. She probably sees Katsuki’s behavior as a reflection of her own and regrets/wishes she was a parent more like Inko, or something.)

Dear RPers who have wanted to interact.

I feel like i need to address this because i find it’s an issue many people, especially newcomers, have in RP.

PLEASE. DO. NOT. BE. SHY. TO. SAY. HI.

There’s no reason to be anxious or hesitant if you want to talk to me. I will happily accept a random starter, or a random tag, or an inbox message! Even if we’ve never interacted or even acknowledged one another, i will still HAPPILY interact with you!

You’re not bothering me. You’re not annoying. You’re not making me uncomfortable. I LIKE to interact with new people, it’s very exciting and fun!

Please, PLEASE, don’t be hesitant when sending in ANYTHING. I’m having a lot more fun than your anxiety tells you!

translation by @kira.glitter on IG (edited for grammar): “Yuzuru will hold a children skate class on Wednesday, August 16th in Yokohama Arena for elementary school kids and younger.”

We all know how much Yuzu loves children so this will be interesting. However, I have no idea how much (if any) footage we’ll be getting from this skate class. Just some Yuzu news :)

Realtalk though, even if Sirius hadn’t taken the fall for the Potters’ deaths, I doubt he would have been given the opportunity to raise Harry. To suggest that he would have requires that we ignore that:

  • Albus Dumbledore was essentially a law unto himself within the wizarding world at the time - for all that he tried to avoid appearing, even to himself, to be seeking power, Dumbledore was one of the most significant political figures in Wizarding Britain and, indeed, Wizarding Europe at the time. In addition to controlling the education of the vast majority of wizards and witches in the British Isles for nearly half a century, he also holds leadership positions in both the Wizengamot and the International Confederation of Wizards for Harry’s entire childhood. It took turning the Minister for Magic against him to even start to erode his power base, and even then, there was a significant majority [edit, because I can’t type apparently:] minority both within the Ministry and in the general populace that remained loyal to Albus Dumbledore over Fudge and his administration. Although it’s most explicitly tied to Slytherin ideals of ambition, there’s an almost feudal factionalism that’s present throughout wizarding British society, and no one seems to have questioned Dumbledore’s right to sponsor an organization like the Order of the Phoenix until he fell thoroughly out of favor with the Ministry. In the aftermath of Voldemort’s first fall, it probably would have been political and social suicide for anyone to question Albus Dumbledore’s right to make choices as to the upbringing of the orphaned child of two of his proteges.
  • Petunia’s status as Harry’s closest blood relative was magically significant, but probably not legally significant - if Dumbledore hadn’t unilaterally decided who got to raise Harry, can you really see any British Wizarding authority favoring the muggle relatives of a wizarding child born into a wizarding family in a custody case? Especially muggle relatives that didn’t want the kid in the first place? Harry was sent to the Dursleys entirely because of the protective blood magic that Lily worked with her death, and Dumbledore clearly overrode whatever the usual process of finding a guardian would have been in order to ensure Harry got that protection. This wasn’t a compromise or a backup plan for if another guardian wasn’t available. If Dumbledore had wished Harry to be raised within the wizarding world, he would have had no trouble finding a guardian that suited his needs. James was a pureblood; Harry is probably related within a few generations to a third of wizarding Britain. For that matter, if he hadn’t had reason to give Harry to someone else, it would have been very much Dumbledore’s style to decide to raise him himself.
  • Dumbledore doesn’t actually seem to like Sirius - he never goes so far as to badmouth the man to Harry, probably because shittalking Sirius would run contrary to his carefully cultivated image of being Wise and Fair and Above Such Pettiness. But Dumbledore seems to be frequently irritated with Sirius and clearly has little concern for his physical or emotional wellbeing, even when they’re nominally allies. Dumbledore couldn’t be bothered to find Sirius accommodations less actively traumatic than Grimmauld Place when Sirius was almost entirely dependent on Dumbledore and the rest of the Order. Would he have honored Sirius’s claim as Harry’s godfather, without really significant outside pressure? Would Sirius have been able to get backup from anyone Dumbledore would actually have listened to? Who’s going to win that battle - a probably-unemployed 21-year-old who has explosively burned bridges with his wealthy and influential family, or the man who is essentially the uncrowned king of magical Britain?

I propose instead: Sirius fails to get custody of Harry, who is sent off to his aunt and uncle as per canon. Sirius then proceeds to do an end-run around Dumbledore, instead focusing his not-inconsiderable charisma on getting into Arabella Figg’s good graces and, from there, insinuating himself into the Dursleys’ social circles. Probably this involves some intensive cramming to catch up on years of muggle studies he may or may not have actually taken but almost certainly didn’t pay attention to at Hogwarts. Depending on how much attention Petunia paid to Lily’s social life, Sirius may need to avoid her and interact only with Vernon; I have little doubt Sirius could pull this off, nor do I think Vernon would necessarily find this suspicious.

Harry grows up with occasional but reliable contact with an adult who tells him he’s neither crazy nor at fault when he starts having magical outbursts, takes an interest in his life, and also sometimes turns into a fluffy doggy when none of the other grown-ups are looking.

Vernon Dursley is utterly outraged when Mr. Black, who up to ‘till now has always seemed perfectly respectable and urbane, intercepts the third owl that tries to bring Harry his acceptance letter and hand delivers it to the kid, who is not actually surprised because Sirius has been teaching him about wizarding culture on the sly since he was like seven.

welcome to this edition of things I know entirely too much about, first language acquisition edition
  • little babies hear fine differences like between “ba” and “pa” but if those sounds don’t make a difference in their first language they will lose the ability to distinguish between them
  • grammatical morphemes (like third person -s in English) are acquired in a similar order by all babies, but at different speeds
  • the progressive “-ing” in English for example is acquired very early one whereas third person -s comes in surprisingly late
  • second language learners actually imitate this sequence quite closely (if one lets them and the teacher refrains from shouting at them every time the third person -s is omitted, that is - but lets talk about that another time)
  • THE WUG TEST - it proves that babies don’t just memorize words and word pairs (such as the plurals of words) they actually understand the rules behind it and can apply them!! if any of you have kids up to like 5 years, try it with them!!
  • a three year old can tell you that “read the bike” sounds silly and doesn’t make sense but isn’t so sure about “bike the ride” yet
  • yES all of this acquisition order stuff also applies to sign language!!
  • babies and children cannot learn a language just from hearing it on the radio/tv etc. they need to have direct interaction (i.e. someone who reacts to their utterances)
  • isn’t this so SO fascinating?? 
2
When you’re around someone, so much, for so long, they become a part of you, and when they go away, you don’t know how to live without them.
—  Iglovequotes.com

the more I think about it, Bellamy and Raven have always had very subtle interactions that mean so much. He called her smart, said that they needed her. When Raven was shot, he was the first one over to help her. When Clarke killed Finn, he was the one to hold her while she cried. When he was in mount weather, despite her being devastated and upset, she got herself together to help him. He was the one to mention saving her when no one else did. He VOLUNTEERED to go save her. They were the first to hug after being reunited. It’s the little things that I love

Can we talk about how amazing Troian and Keegan’s chemistry is? Not only is it the reason Spoby was created but most of the time when Spoby reunites they go several episodes without interacting much and yet Troian and Keegan connect instantly and it’s like no time went by and they’re picking up right where they left off. All the passion, longing looks, heated kisses and touches. I’m so grateful we have two amazingly talented people who have portrayed Spencer and Toby for seven years and made it look so natural and effortless. I love them so much.

me: *wrote a meta about victor a few days ago*

me: *writes another meta about victor fucking immediately*  

me: ok 

I’ve been on a hell of a writing kick lately so here we are. I addressed this sort of in my last post about Victor, but I REALLY want to give it it’s own post so without further ado, let’s get into this.

The topic today is self-worth. Or, how Victor’s and Yuuri’s concept of themselves is the same yet drastically different. 

Yuuri is incredibly easy to address because his expression of anxiety and self doubt is incredibly stark. Also, we get to be privy to his thoughts more than any other character’s, so pretty much everything that directly bothers him we already know about. Yuuri is a perfectionist, he doubts his choices, his abilities, his worth (not just as a skater but as a person), I think he believes himself to be plain and not particularly attractive, but that’s more speculation on my part based on his chronic anxiety. It’s an Anxiety Thing™. 

(If you’d like to see more extensive thoughts and evidence about Yuuri’s anxiety, I wrote a thing here to backup my statements)

Yuuri is also rather expressive, while Victor just, isn’t really. 

Sure, he’s goofy and bubbly, but he hides behind walls of pleasantness and restraint. I’m sure it has to do with media training, considering how long Victor has been in the public eye. 

Anyway. 

What I mean to say here is that Yuuri and Victor experience two different facets of self doubt. Yuuri can’t recognize his abilities, doesn’t believe in his own potential, can’t accept his achievements, etc etc. But I think Victor can do all those things. Victor knows his skills, he knows he’s essentially the best around, he knows he’s attractive and sought after. Victor knows this and can accept it. Victor’s biggest issue is his belief that if he doesn’t keep up a mask, he’s unlovable. 

I think it’s been implied that Victor isn’t close to many people at all. When the video of Yuuri skating his routine went up, Victor seemed to easily jump on the next plane to Japan. He had no qualms and was clearly excited to leave. It’s been suggested in multiple fics (one off the top of my head being pt3 of Even Ice Gods Can Melt…what a fucking amazing little series, please go read it) that the only things in Russia Victor felt truly attached to were Yakov and Makkachin and Victor took Makkachin with him…

He interacts with several people in the skating community friendly enough (Stephane in ep12, those 3 girls in Russia Jackets in ep4), but the only person he seems to be friends with is Chris. They seem to know each other well and clearly get along wonderfully. 

We don’t really see Victor interact closely with others other than Yuuri, Yuri, and Yakov. Yakov seems to be a father figure while I think Victor views Yuri as sort of a younger brother. However, he still runs out of the country, essentially forgetting about Yuri, so there you go. 

Right, so. Victor isn’t close to many people. Humans are social animals, we need to have frequent, positive interaction with others to maintain mental–and, subsequently, physical–health. If you don’t get these interactions, it’s easy to form misconceptions about yourself. Such as, if I can’t get close to or speak to others, there must be something wrong with me, right? Or, no one knows what I’m actually like, and that’s probably for the better. 

Both Yuuri and Victor struggle with the idea of love and support. Yuuri, as he says in ep5, couldn’t feel the love and support around him for a very long time. Victor, as he says in ep12, felt that he had to work completely alone to advance himself. I think this implies that Victor deliberately pushed people away by keeping up this pleasant mask and never allowing them to see in any deeper. 

Yuuri’s distancing is incredibly physical (actually avoiding people, literal pushing, curling up, etc.) while Victor’s is more emotional (he doesn’t physically avoid but exclusively emotionally walls off).

I keep coming back to this mask of publicity pleasantness. It’s what got me thinking about this idea in the first place. In that Victor meta I linked to up there, I talked a bit about the beach scene, among other things. Victor names off a ton of options to gage what Yuuri wants him to be. It doesn’t occur to Victor to be himself until Yuuri asks him to. It doesn’t occur to Victor that he could be desired as himself. 

He has this media image that people are accustomed to: handsome, elegant, playboy, pleasant, a gentleman, etc. This is what Victor is liked for. He probably hasn’t dropped that persona–at least for an extensive amount of time–in front of others for a very long time. It occurs to Victor to be whatever Yuuri would like, and it doesn’t cross his mind that Yuuri just likes him

I love Victor and his character arc so damn much. Really looking forward to this movie–whenever it’s coming out–to see if they look further into this insecure side of Victor. 

(I feel like this post is just me rehashing stuff but like I really adore how Victor is written and idk how to shut up)

Carmilla Movie Theory

You’ve asked me to tell you a story, to weave you a theory. My inbox sings with your requests to try and jumble everything together. You ask. I’ll deliver. 

Originally posted by loveisweakness-clexa4life

I’ll give it my best shot because there’s nothing I like more than a challenge. We’re sticking to the usual plan of trying to make the most ridiculous but still kinda plausible theory possible. To start us off, here’s what canon information I have to work with.

  1. The Existing Carmilla Mythos - So we naturally have everything from the 3 seasons to work with. You’ve seen the web series. You know.
  2. The Original Trailer - This is the one on the beach that announced the movie. Frankly, I’m curious as to how much of this will actually apply because from my understanding it was put together before they had a script. As a scene, it’s probably cut.  I’m treating the information as canon because I don’t have enough material to be cutting ANY of it.
  3. The New Cast Information - Literally yesterday, we received the names of three new cast members. Seeing as I’m going to make the case that these are all literary references (stay tuned) just their names alone give me info. They are:
    1. Emily Bronte
    2. Charlotte Bronte
    3. The Woman In Black

Now we do our magical conjecture and fun fact building to try and whip it all together into a coherent story. Basically, I’m going to write you a movie because I’m a novelist at heart and a story structure buff. We’re going to try and figure out what we can expect when the movie releases in the fall (?). Buckle up, creampuffs.

 This is going to get 7k words worth of messy from parents to exes to fish gods to old school novellas. 

Keep reading

Imagine dad!S.Coups trying to coax his sleepy daughter to wake up.

BONUS: Even though his daughter agreed to get up from her comfortable bed, she’s still clinging on to her father who’s chuckling at how cute she is.

How to use sigils

This is the how to use sigils post! This was made so I can link out to it when people ask me how do I use sigils, primarily the sigils here provided on my blog. I will also link to all my sigil posts at the very end, so you can learn more about sigils, and how to use them. There are three steps in order to use any sigil.  These steps are creation, charging, and activation. We’re going to take a short look at each step, and go over how you do them.

Creation:

In this step you will be creating your own personal sigil, or you will select one from somebody else’s collection. I’m not going to go into the process of how to create a sigil here, but you will be able to find the information on that here:

How to make Sigils

This post is more about how to use sigils, and not how to create them. You are going to want to create, or find a sigil that has to do with the intention you wish to bring into your life. This can be pretty much anything that can be achieved with spiritual energy, or the power of the subconscious mind. Once you have a sigil picked out, or you have created one that fits your desire you are ready to move on to the next step.

Charging:

In order to charge your sigil you are going to need a representation of it. Whether that be spiritual, mental, or physical representation of the sigil. All you have to do is construct something that is similar to the sigil. Once you have your representation you can then begin the charging process on it. In order to do this you need to interact, or have another construct interact with the sigil in order to send energy into the representation of the sigil, and to implanted in your, or others’ subconscious. This can be done in a multitude of ways such as but not limited to:

  • Pushing energy into the sigil by using energy work.
  • Meditating intently on the sigil.
  • Dancing around the sigil.
  • Chanting over the sigil.
  • Masturbating on to the sigil.
  • Masturbating while looking into the sigil.
  • Burning candles around, or on the sigil.
  • Rubbing blood upon the sigil.
  • Anointing the sigil with essential oils, holy water, spit, semen, and many other substances
  • Putting the sigil in the sunlight, or moonlight.
  • Having the sigil by a crystal grid.
  • Placing a charged crystal on top of the Sigil.
  • Looking at the sigil while causing pain to yourself, or another.
  • Submerging the sigil in water.
  • Having sex around the sigil, on top of the sigil, or while looking at the sigil.
  • Talking to the Sigil as if it was a person, trying to convince it to do it job.
  • Having people see and/or interact with the sigil.
  • Speaking about the sigil to other people.
  • Having the sigil on your person while going through your day
  • Having the sigil on you while skydiving.
  • Having the sigil near you while you playing video games.
  • Focusing on the sigil while being in a intense emotional state.
  • Drawing your Sigil on something, and burying it.
  • Asking a higher power to charge the sigil for you.
  • Praying over the sigil.
  • Singing over the sigil.
  • Giving birth over or near the sigil.
  • Something dying, or being killed near around the sigil.
  • Making contact with the sigil through any form of contact such as tapping touching or moving
  • Passing through the sigil incense smoke
  • Place the sigil in front of music speakers while music is playing
  • Breathing on the sigil
  • Having the sigil outside in a thunderstorm
  • placing your phone on top of the sigil, while your phone is charging.

All you have to do is pick one, or multiple of these charging methods, and do them preferably when you are in a meditative state, so that you can begin to strengthen the power of the sigil that you are using. Once you feel that it is adequately charged you will then be able to move on to the next and final step, which is activation. 

Activation:

This is where you are going to send your desire into the universe and you are going to activate it in your subconscious, so that it can begin to start working behind the scenes, and your energy can go forth, and begin to push things towards your desire. There are two forms of activation these are active activation, and passive activation. Active activation is a more forceful form of activation that comes from the act of destroying the sigils representation. Through this act all of the spiritual energy is released, and sent into the universe all at once to act out your will, and the sigil is lost to your conscious mind allowing it to ramp up in your subconscious mind. Passive activation is a very grounded form of activation that comes from the sigils representation being told to work. This will release energy over time allowing your will to be acted upon in a very passive way, and it will also be used as a constant reminder to your subconscious to allow the desire of the sigil to work. All sigils are passive sigils in the beginning until they are activated, or if they have a trigger set on them. Below I will tell you techniques for activating in both methods of activation:

Active Activation:

  • Putting the sigil on a piece of paper, and burning it in fire
  • Putting the sigil on a piece of paper, and submerging it in water until it dissolves.
  • Putting the sigil on a piece of paper, and ripping the paper in half.
  • Drawing the sigil in to the sand at the beach, and letting the sea wash it away.
  • Drawing the sigil in the air with your energy, and pushing through it in order to destroy it.
  • Making the sigil out of dust, or powder, and then blowing it away to destroy it.
  • Making the sigil in your mind, and then imagining it being destroyed to activate it.
  • Putting the sigil on food then eating it.
  • Drawing the sigil on a firework, and then set it off.
  • Drawing the sigil on a balloon, and then pop it.
  • Drawing the sigil on your body, and then wash it away.
  • Singing the sigil out loud for all to hear.
  • Playing a music, or an audio sigil out loud for all to hear.
  • Place the sigil on a piece of paper, and rip it up.
  • Draw  the sigil on a rock, and throw it in a body of water.
  • Drawing the sigil on food using something that is edible, and then eating it.
  • Putting the sigil on a cigarette, and then smoking it.

Passive Activation:

  • Putting the sigil on a piece of paper.
  • Drawing the sigil on your body.
  • Carving sigils into a candle, and lighting the candle.
  • Carving sigils into soap, and washing your body with the soap.
  • Making a sigil amulet.
  • Writing the sigils upon stone.
  • Carved into wood or stone.
  • Drawing on piece of papers to make fu talisman
  • Placing the sigil as your computer, or phone background.
  • Posting an image of the sigil online.
  • Drawing the sigil  with chalk on the street, or sidewalk

Once you activate your sigil you are done with it, and your desire will start working, and all you have to do is wait for results. If you want to stop your sigil, and it is a passive sigil you can destroy it, releasing what energy it has left, and then wait for that energy to run its course. This will also force it completely into your subconscious which will eventually dissipate. If it is an active sigil you can wait for it to run its course, or you can cast another sigil to nullify the first one. That’s all there is to it my friends. Good luck using sigils.

Extra links that might help:

Linking sigils

Mixed Sigils

Hypersigils

Sigil surroundings

Tracing sigils into the air

Ways to charge a sigil

How to make Sigils

Sigil Matrix

Tribal Sigils, And How To Make Them

Active, And Passive Sigil Activation

Name Sigils

Acoustic sigils

anonymous asked:

What kinds of scenes could I include in my story that would involve developing character relationships? I have this problem of having characters seemingly pop into the plot when the scene calls for it, but then they disappear for long periods of time, and these characters SHOULD be seen more often than they are. What can I do to involve my characters more?

Involving Minor Characters More

I will apologize in advance because this post is a bit metaphor heavy, but I think the metaphors really help in explaining the involvement of “minor” characters. So the question here is: How do I develop character relationships when one character only appears sporadically?

DON’T use the characters merely as “coffee breaks” from the main plot. 

If these characters are popping up routinely following major action sequences or plot movements, you might be guilty of doing this. Scenes like this are often seen as “filler” because they act as a reprieve from the intensity of the plot. These scenes are often stretches of dialogue that have no bearing on the main conflict of the story, and may even include bantering and humor. Scenes like this are often forgiven in stories because they serve to develop relationships between characters or even explore subplots or character backstories, but if your character is only popping up in these instances, then their presence starts to become awkward. 

Imagine you worked in an office, and all morning everyone is milling about, working hard, making deadlines. One worker finishes up a task and decides to take a coffee break and hits up the staff lounge. And regardless of when they take this break, every time they go in there, there’s some joker just sitting in a comfy chair, chilling out and waiting for the actual workers to come by and see them. 

This person engages the workers in mindless chatter to give them a break from the mental and sometimes physical strain of their jobs, and then when everyone goes back to work, they’re still just sitting there, waiting. Until someone else finishes up a rough assignment and comes by for a break. This whole setup is a bit odd.

These characters can still be part of the “coffee breaks” of your story, especially if the conversations they have help to define their relationships with others and explore their pasts. But for them to be important characters to your story, they should accompany the main characters back to the office, or at the very least head up to their own floor to do some productive work of their own. Otherwise they shouldn’t even be in the workplace (the story) to begin with.  

DO increase their involvement in the plot

What is the main conflict of your story? If you’re not sure how to answer this question, then work on figuring that out before you worry about how you’ll develop their relationships. They need to have reasons to interact, and if you feel as though you don’t have very many of those reasons as of now, then it’s possible that this disappearing character doesn’t have much stake in your story’s conflict. 

Think about all possible outcomes of your conflict - both the potential happy endings or sad endings, and then ask yourself how these outcomes affect this disappearing character. What is at stake for them? If they have no personal interest in what is going on with the main character, then you’ll want to give them a reason to care. Give them something to lose (or something to win, assuming a positive outcome). 

Think of it this way. If your story’s conflict were a sporting event, your main cast of characters should all be players on at least one of the teams. Your secondary, or minor, characters can be spectators, but they should have something at stake in the game, such as a bet on the outcome, or even just a strong allegiance to one of the teams. If they have a stake, they’re not going to just Google the score later. They’ll want to be there to see what happens, to yell their outrage or cheer their joy. To show their support, or possibly heckle the opposing side in hopes that they’ll screw up. 

Give them a motivation that’s related to all the stuff you’ve got going on in your scenes. If these disappearing characters are absent from many of the scenes, you have to ask why? If they’re not involved, then make them involved. Give them a role, or remove them from the story entirely. 

DO imagine their lives apart from the protagonist.

If you’re struggling to find a role for the character in the conflict, then try thinking about what they’re doing in all that time off screen. Brainstorm their own personal journeys. What are they working towards? What are their obstacles? Thinking about these questions in the context of the world or story universe you’ve created may trigger something that ultimately ties back to the main conflict. 

Thinking about this also creates some depth for your character. Going back to my very first example (our joker in the staff lounge), it’s possible that this joker is actually working while everyone is coming in and out. Maybe they’re tidying up, preparing snacks for everyone, working on projects in a notepad, making phone calls, or fixing a broken microwave or refrigerator. Maybe there’s more to this character, but we never know because they drop everything the moment a worker (or main character) stops by. 

And let’s keep going: imagine that this habit causes their work to suffer, because they’re sacrificing their own needs for the needs of the staff that come by seeking their company. How does that affect them, and can you think of ways to bring it to the forefront? Could the workers notice? Could the disappearing character disappear at a moment the MC relies on them to be there the most? What happens as a result? 

If you consider the character important enough that developing their relationship with an MC is of concern to you, then they should be important enough to work into the main plot in some form or another. 

I hope my lengthy metaphors were helpful! Good luck and happy writing :)

-Rebekah