this sounds like the plot of a novel

Strategies for Adding Depth to your Novel

Anonymous asked, “I’m planning my story and I’ve actually already done the basic parts, like characters, settings and plot, but I want to add more too it. Like, I have things that need to happen, a page for word count and progress, and I write down tips and research but I want to do more. Could you help me? Any tips? 

It sounds to me like you are looking for something a number of friends of mine call “discovery.” These are the moments where your story comes alive, your characters do things you didn’t know they could do, they end up being much deeper than you’d imagined from the outset. There are a few things you can do to try to spark this.

  • Dwell in a scene longer than you need to. While you may know what happens next, linger a little longer (and you may end up getting rid of this extra writing) and just give the characters things to talk about. Get them to open up about things that may or may not be relevant. You may end up seeing something in a character you hadn’t thought of that will tie nicely into the plot or you might get a main character to open up about some inner desire that they hadn’t previously had the opportunity to express. (For instance, it never was relevant in the 7 book series of Harry Potter to mention Harry’s fear of pigeons. Came up in the play though and shocked us all! But more seriously, there could be some deeper element of the character that hadn’t come up and could bring something more to your story.) Be open to anything. You won’t know what’s an important theme until you’re editing later. 

Keep reading

Hello, everyone!!

So, I’m pretty sure a lot of you guys have been asking this question to yourself: What do I do with empty notebooks?

I know that when you see a notebook at a stationery store, you have the urge to buy it but you know that you have a lot of other notebooks at home that are waiting to be used. 

Then you ended up buying that notebook from the stationery store and now you have a pile of notebooks at home that you don’t know what to use it for.

It’s okay. 

I have the same problem too, but I’m planning to use all of my notebooks before purchasing new notebooks for the new school year.

Here are some ideas that you can use your notebooks for:

1. Vocabulary Notebook

If you’re learning a new language or you just want to improve your English vocabulary.

2. Journal 

Write a journal entry about how your day was, your feelings or any special events that had occurred to you.

3. Productivity Journal 

This journal is to keep track how productive you have been during the day…I know it sounds like that it doesn’t have a purpose but trust me, it does work.

4. Story Ideas

If you enjoy writing or jotting ideas down, you can write down ideas for a short story, novel, characters, plots or writing prompts.

5. Dream Journal

If you can remember your dreams, you can record them in a dream journal. It’d be kind of cool because your dreams could be funny, sad, or just anything you want to look back at when you get older

If you have any questions please do not hesitate to send me an ask or message!

Taetae-studies

The new Pennywise terrified the young cast of Stephen King’s IT reboot.

It hits theaters on September 18th, 2017

Time will tell if the remake of Stephen King’s IT will scare a new generation of horror fans. But already, its menacing star, the “clown” Pennywise, has successfully spooked one group: the movie’s cast.

Director Andrés Muschietti brought a few clips of IT to SXSW 2017, as well as a few tidbits about what to expect. Early press images of Pennywise have already done the legwork of visually separating Bill Skarsgard’s version of the character from that of Tim Curry’s portrayal. But according to Muschietti, the two Pennywises also have different personalities.

Curry’s clown was a cartoonish nightmare in need of dental hygiene. In one of the film’s most iconic scenes, a little boy named Georgie loses his paper boat in the sewer. When he peers into the darkness below, he’s confronted by Curry’s chatty clown, who announces his presence with a saccharine “Hi, Georgie!” Muschietti teased his take on the scene with a short clip, and the difference is immediate. Skarsgard’s Pennywise has a far more sinister edge, marked by piercing yellow eyes and contorted movements. For those who are familiar with the source material, the anticipation of what’s to come makes the entire sequence agonizingly tense.

Keep reading

acelaevateins  asked:

Sorry if this was already answered; I didn't see it on the blog so I figured I'd ask. I can make fully-fledged characters almost on the fly. Sometimes it's helpful but most of the time, I wind up with more characters than I can handle and eventually give up on the story they're in. How can I maintain a small main cast?

My first recommendation is that age-old hated writing advice: Kill Your Darlings. You just came up with a beautiful new character! She has 6 toes! She likes salsa (the sauce), salsa (the dance), Circe (the mythical Greek figure), and Cersei (the Game of Thrones character)! She wrinkles her nose when she’s embarrassed and has a penchant for thinking she’s right about everything! Great! I want to pinch her cheeks and make her nachos. The problem is, she’s the 8th in a cast that’s already falling apart.

Kill her. (Probably.)

I don’t mean narratively. I mean straight-up set her aside and tell her “sorry, this table’s full”. She’s great, and you love her, but it doesn’t matter if she doesn’t serve the story. Every single character you create MUST have a place in the story. They must serve the narrative. No matter how beautiful, funny, or cool they are, if they are making your story fall apart, they don’t deserve a place in it.

Now, a caveat. You’ve created Jane Darling who loves salsa and Circe, and you realize she TOTALLY has a place in this plot – in fact, she’s the answer to the problem in your current story that you’ve been worrying about all this time! In that case, obviously, keep her. Just make sure she actually is doing the work for you – and that all of your current characters are, too. If you read Tolkien’s drafts for Lord of the Rings, you’ll find he’s replacing or significantly changing characters left and right. Even an author with as huge a cast as Tolkien’s has to cut or switch out characters sometimes in order to keep the story tight enough to track (and there are lots of readers who will tell you he didn’t do it enough).

All that said, you’re the only one who can really decide which characters need to stay and which should go. If you get a good reader (and I recommend you do at some point in your journey – though many writers prefer not to utilize a reader until a first draft is done), they may be able to point you in the right direction. But it sounds to me like you are suffering from another, very common problem, which is novel fatigue. It’s so easy to drop a novel. There are too many new ideas waiting. You don’t know for sure where it’s going. Things feel out of control. You don’t have enough time. And on. And on.

If you are serious about finishing a story, you’ll have to take another piece of hated age-old advice, which is: just do it. Just sit, every day, until you’ve written SOMETHING, even if you know you’re going to end up deleting what you came up with. Or just sit, every day, and think about your story for one full hour, whether anything gets written or not. There are lots of strategies, but the bottom line is that you have to interact with your story daily until it is done, however long that takes. You have to set aside newer ideas who’s newness is appealing (because you’ve thought about the old ideas for a YEAR and there’s no way they are going to sound exciting and new to you even if they sound awesome to every potential reader). You have to say no to friends and activities. You have to actively say, “I want to and am going to finish this.” Over time, sometimes a long long time, the other problems, like cast size, will become smaller, until they are relatively insignificant.

Some practical helps along the way, however: 

Consider a novel-writing software, like Scrivener. These are created to help you keep track of characters and plot points.

A wall covered in sticky notes goes a long way.

A folder for new ideas (in your case new characters) that aren’t presently useful goes a long way, too. Kill Your Darlings, but give them a chance to rise from the dead some other day.

I hope this helps. I know novel writing can easily become unwieldy and overwhelming, but I believe in you!

The Academy of my Personal Tastes proudly announces, that the Writing Oscar in the category ‘Best Self-Deprecating Superhero Speech’ goes to:

Honestly? The comic writers couldn’t put it better.


Slipping off the Page into Your Hands
by Sineala


Sineala is one of the most talented writers you’ll be lucky to come across should you decide to delve into the stony lore. If you are looking for a refined, intelligent exploration of the romantic bond between Tony Stark and Steve Rogers, that is both intellectually pleasing and capable of getting a hold of your heart, then the works by Sineala is your kind of fiction. Literate grammar and vocabulary usage make Sineala’s writing stand out not only for its emotional punchlines or technogenious poetry but also its eloquent and compact accessibility to a vast auditory, that encompasses a larger age spectrum, from native speakers to foreigners. Sineala’s novels are plotted with scrupulousness, special love for canonical instalments and authentic character development in set circumstances.

But there is another valuable feature to Sineala’s stony fics, that I’d like to direct a separate spotlight at.

Slipping off the Page into Your Hands was my first 10k+ fic by Sin. I re-read it today and realised, that I eschewed the small promise I made to myself long enough. I found no excuse to not to take an hour and express my fondness for this personal 616-breaker of mine.

See, SOTPIYH (oh, fancy, sounds like an egyptian goddess of gay smut) spots a slightly older date and is often overlooked by fresh stony fans, who arrive into this verse, equipped only with one vessel to sail on the cinematic side of the SteveXTony sea. That was the way I slid in too, April 2016, and I neither knew nor understood anything, that reached past the MCU horizon.

Until I gave ‘Slipping…’ a chance and, to my greatest surprise, found myself immediately comprehending the story despite the absence of even the slightest background knowledge of the comic verse. (Not to mention, that I enjoyed it greatly.) The references attached to this fic, coupled with a few more of Sineala’s works I read soon after, created a solid foundation, that made it possible for me to start off exploring the printed life of Marvel. After reading more than a dozen works, suddenly, from no knowledge at all I went to shaping a distinct impression of the timespan in the main continuity (Earth 616) and soon its interconnectivity with other verses. Through characters introduced by Sineala I slowly met other dwellers of the multiverse and understood the differences between them and their cinematic counterparts. The more I learned the more I enjoyed comic-based fics and this became another reason why I return to many of them nowadays - comic awareness dresses an already known and beloved story in a new, alluring frock.

A short sketch about the fic itself. For me ‘Slipping…’ is also the epitome of stony’s ‘secret identity’ (when characters don’t know of each others’ alternate superhero identities) trope and my absolute favourite in it, hands down. I’ll go further and confess, that I have yet to find a writer, who creates this duality+romance tension as masterfully as Sineala does. Despite it being an almost classic kink I never get tired of re-discovering it through this author. ’Slipping…’ described the acute pangs of the eternal conflict of odds, the fluttering anxiety and trepidation before the terrifying and misleading unknown, despairing confusion and concentrated shame clashing against insurmountable gravitation of desire and fate - all mixed, shaken and bottled together in one beautiful tale, that alters between Steve and Tony’s POVs so skilfully smoothly, that you won’t even notice the change of the verbal camera angle. Remove the cork and let this fountain sweep you off and take you on a delicious journey to a world where our iconic super-husbands overcome the most difficult obstacle on their way to a happy ending - themselves.

To conclude, there is a considerable list of writers, who made a large impact on my perception of stony or marvel in general and whose works are worth praising beyond the roof and then some but I won’t mention their names here and now, as I hope to create more extended recommendations for my favourite works in the nearest future. Perhaps, those will become a form of helpful notes for newcomers, put smiles on faces of fellow fans and definitely lend a great portion of love to precious writers, who gift us with their wonderful wordsmithing.

But this here is to you, SinSin. To your magnificent mind, your brave pen and the many masterpieces you’ve already written and are yet to write. Live long and prosper, Avenger.

anonymous asked:

i'm writing a book about ( male ) best friends who eventually fall in love. the problem is the only prominent source material i can work with are straight novels, or side characters, so i don't want to portray this incorrectly. do you have any sources for how to avoid stereotyping homosexual relationships? or non-straight people in general?

Hey, darling!  That sounds like a lovely plot <3  That’s a pretty broad question, though, since there are a lot of different kinds of non-straight people (gay/lesbian, bisexual, pansexual, asexual, etc.).  I am but a straight demisexual, so I have no authority in this aspect.  But I will provide you some links for avoiding stereotypes and realistically portraying m/m relationships…

M/M Relationships and Stereotypes

On your other point about source material, I know that quality m/m fiction isn’t in vast abundance, but is it that you can’t find it or that you can’t purchase it at the moment?  There are a couple of lists out there for the best rated M/M fiction, so if you can afford a few books, I’d definitely recommend you take a look.

And of course, if any of my LGBTQ+ followers see an issue with these resources,  be sure to let me know and I’ll adjust my list.  I read them all and made sure they were, by my standards, accurate and non-offensive – but I’m certainly not infallible, so let me know!

Thanks again for your question, nonny :)  Good luck!


If you need advice on general writing or fanfiction, you should maybe ask me!

The Stand-In Part 1

A/N: Hey guys! I’m doing something a little different today by breaking off of my prompt list. This is going to be one of my own stories! It’s an AU inspired by the statement:

She hated blind dates, but little did she know this would be her last one.

This is only the first part so it’s a little slow but I promise the later parts will be better! I hope you guys enjoy it!

Pairing: Firefighter!DeanXReader

Warnings: I don’t think I have any for this part, but maybe some in the future.

Word count: 1546

Part 2-Part 3-Part 4-Part 5-Part 6-Part 7-Part 8-Part 9

~

She sighs to herself miserably, swirling her straw in her soda absently.

As if to remind her of her suffering, the clock looming in front of her strikes eight.

A whole two hours since the dick that had messaged her was supposed to meet her.

She bites her bottom lip and, not for the first time, checks her messages to make sure that she hadn’t gotten something wrong by accident.

Meet me at six at IHOP? Christian says you like pancakes.

She turns her phone over in her hands, vowing to kick Christian in the dick the next time she sees him.

He had said that this guy was cool, nice, funny even. And tall, with dark hair and light eyes. Serious, with his priorities straight and a good head on his shoulders. A stable nine-to-five job with the means to provide for a woman. The abs and biceps would be an added touch, too.

“Just your type” is what Christian had said he was.

So, albeit reluctantly, she had agreed to a blind date with Lucas. She didn’t like blind dates, in fact she hated them. She insisted that they were a means for an easy kidnapping, but she was in a little part of town that knew her well and would notice her if she went missing.

And Lucas didn’t seem like the type to ruin a blind date. It was a nice name, she had told herself.

But that’s what she said about all the guys Christian set her up with.

That if Christian was a friend, they must not be too bad.

Of course, none of them had ever stood her up, though. Maybe Lucas was too good to be true.

Maybe her ideal man didn’t exist. She didn’t think it was too much to ask, because she had seen a lot of guys who could fit into the category.

Basically, her only requirements were to be taller than her and be a nice person. Didn’t seem like too much to ask, but then Lucas comes to mind.

She looks up when she hears the bell tinkle over the door a few feet away. She feels silly, but she’s looked up every single time it’s rang, hoping against all hope that maybe Lucas would show up with a somewhat decent apology.

The man that holds her gaze is about the only person that she can say for sure isn’t Lucas.

He’s shorter, probably only a few inches taller than her, and he has some tousled brown hair. He isn’t wearing glasses, like she had been told Lucas did, and she hated to judge a book by its cover, but she could say almost with certainty that this guy didn’t have a desk job.

He does have a few qualities that stand out to her, like his bright green eyes or his biceps just peeking out of his tee shirt. What really catches her attention is his legs, covered by a pair of dark wash jeans that just hug his thighs perfectly.

He’s nothing like her type, and yet she finds herself deciding that maybe he’s a type of his own. One of those lucky few that was just gorgeous enough to make her realize that even if he didn’t fit her ideal guy, he was still an ideal guy.

She catches his eye and she knows that he’s just seen her checking him out. His lips curl upwards, and she decides right then that his best asset is that killer smile.

Her cheeks fade pink as he strides to her, her entire assessment taking little over a few seconds.

“You look lonely,” he says confidently, rapping twice on the wooden table. “Mind if I sit?”

“No, go ahead,” she gestures to the booth in front of her that has been empty for a couple of hours.

“You waiting for someone?” he asks, cocking his head to the side slightly.

“I was,” she answers vaguely, hoping that he won’t ask because she doesn’t really feel like explaining it all, especially not to a stranger.

A hot stranger that probably couldn’t care less about her woes.

“Now what asshole in their right mind would think about standing you up?” he asks, raising an eyebrow.

“I dunno, just a friend of a friend,” she shrugs, taking a drink of her soda to occupy herself so that she won’t drool over the fine specimen in front of her.

“How long have you been waiting, Sweetheart?” he asks, ordering a soda from the waitress that stops by.

“Two hours,” she admits quietly, watching his eyebrows raise. She wants to drop the topic before he realizes that something must be wrong for her to have been stood up and have waited so long. “You don’t look like a soda guy.”

“I’m not, usually,” he grins that killer smile, and she has to look away for a moment to calm her nerves. “I prefer a good beer any day. But I’m on call tonight, covering for a friend.”

“That’s nice of you,” she says, looking up as the waitress brings him his soda.

“You gonna eat? I’m starving,” he says, and she feels her cheeks fade slightly pink again.

She isn’t sure if she should just go with it, because she’s lucky as fuck that this gorgeous Adonis would stop and talk to her, much less want to sit and eat dinner with her, but she doesn’t even know his name.

“Sure,” she finally agrees, and he gives her a little smile, not quite as overpowering as the others but still enough to make her stomach lurch.

“I’ll have a tall stack of blueberry pancakes and a side of bacon,” he states to the waitress, who seems happy to have finally received some of his attention.

“Okay, and for the lady?” she asks, maintaining her cheerfulness as if she is barely fazed by this man.

“Um, the red velvet pancakes, nothing else,” she says, knowing that if Lucas hadn’t stood her up that would’ve been her order.

“Awesome, I’ll have that out soon,” the perky waitress states before walking away.

“I don’t even know your name and I’m eating dinner with you,” she tells him, to see if he realizes how this is actually playing out. It’s like a plot from a bad romance novel, and she can’t believe it’s happening.

“Dean,” he offers, winking at her. “But you can call me yours if you want.”

Her mouth opens slightly to release a small sound of disbelief. Did he really just say that to her?

“O-Oh,” she finally manages to stutter out. “Dean, nice to meet you.”

“You don’t have to be so shy,” he states with a half grin. “Just think of it like a blind date, and we’re just meeting each other.”

“A blind date, sure I can do that,” she nods quickly. “I’ve done plenty of those.”

“And you’re still single?” he asks, giving her quick once over. “What’s wrong with you?”

She laughs lightly, taking another drink of her soda to occupy herself. She finally manages to calm her scrambled brain down some.

It’s just a cute guy flirting with her, that’s all.

“Not sure. Maybe it’s because I scared them off with my knowledge of axolotls,” she finally says, sensing a way to turn this conversation to a topic she can actually contribute to.

“To what?” he asks. “You had to have made that up.”

“No! They’re really cute!” she gushes, flipping her phone over to show him her lock screen. “I spent three years researching them working on my masters degree. The filaments on their gills aid them in gas exchange with the environment, and before they were classified as endangered people would eat them.”

“Wow, looks kinda strange,” he states, glancing back up to her. “I can definitely see why all those guys left. They couldn’t date a girl smarter than them.”

“Oh,” she frowns slightly, wondering if he was implying something.

“I meant that in the best way possible,” he says quickly, noticing her sudden closing off. “It’s just that some guys find smart girls intimidating. I think it’s hot. I didn’t mean to offend you in any way.”

“Oh,” she says, but she’s definitely more hesitant now. She isn’t sure if it was an honest mistake with his wording or if it was a test to see her reaction to a statement like that.

“Tell me more about these weird little axo… whatevers,” he says with a small smile. “I’d love to hear what you did your research on.”

“Axolotls,” she states quietly, looking up to his deep green eyes. “I’m sure it would just bore you.”

“Not if it’s coming from your pretty lips,” he says with a small smirk. “You seem really into them. Makes me want to know more.”

“About me or about my research?” she asks him, watching him settle back with a smile.

“How about both?” he asks, and just then the waitress brings their food out.

“So, let’s start with the axolotls,” he states, smiling at her as he picked up his fork and knife.

“And then?” she asks, her cheeks darkening at his interest in her work.

“Then we get to you. And I am definitely getting a number when we get there.”

anonymous asked:

Congrats! I wonder if I might beg some advice -- I have loads of plot bits pop up all the time, but struggle to follow through with any of them because I suck at developing plots beyond the simplistic. I hear outlining will help with this, and I've tried but can't find an outlining strategy I like. Can you recommend one/some?

Okay. So I put this off for a while because I knew it was going to turn into an overly long and detailed post, but I had some time today and we’ve already talked about outlines a bit, so here you go:

Advice for Aspiring Authors: Outlining

Why You Need to Do It: Plotting and outlining are how you give your story a good narrative arc. If you don’t start writing with a pretty clear idea of your story’s beginning, middle, and end, you have absolutely no means of controlling the pace, and pacing is really important. You also have no way of knowing what kind of circumstances you’re going to need for your denouement and ergo have no way of ‘setting the scene,’ as it were. It’s like trying to put on a play with no props or costumes and actors who don’t know what parts they’re playing and who are saying their lines for the first time in front of an audience. Improv is fun but writing is not the place for it. 

A lot of people who don’t like to outline think that outlining stifles creativity and adhere to the very romantic notion that you should be able to just sit down and let the words flow. But an outline doesn’t give you every sentence and every word–an outline just gives you the basic idea of what has to happen in a given scene to move the story forward. So outlining actually allows you to exercise two different kinds of creativity: finding the structure of a good story, and then putting that story down in words. If you do it right, outlining can actually be really fun. 

But this is the tricky part. How do you do it right? There are a million different methods of outlining and different ones work for different people. I’ve made you a list of different methods, in case you have no idea at all where to start:

  1. The Linear Outline. This is exactly what is sounds like. You record the events of your novel in sequence. You can use butcher paper, an online organizational tool like LitLift, or even just bullets in a Word document.  If you like writing your scenes in the order they’ll appear in the story, this is probably a good way to do your outlining.
  2. The Snowflake Method. If you only have a very basic idea of your plot, this is a good way to go. The Snowflake Method takes a simple plot and then exponentially increases the detail until your story blossoms like a Blooming Onion. It’s like a story fractal. However, other people can explain it a lot better than I can, so here’s a link.
  3. Mindmapping. Picture Sherlock Holmes in his Mind Palace. Mindmapping is the practice of starting with one idea (usually on paper, though you can do this online with iMindMap), and connecting it to anything else that you think you might need for your story. You’re not going to get a linear summary of your plot this way, but it will help you flesh out and connect ideas, and have them all in one place.
  4. The Tetris Method. There are a million different names for this one, this is just the one I made up. The Tetris Method involves recording scenes and information on note cards or Post-its–which you can also do electronically with CeltX or Final Draft. This gives you the option to create a linear timeline, and then shuffle all the events around as the need arises. 
  5. The ‘Fifteen Events’ Method. List the numbers 1-15 down the side of your page. On Line 1, give a one sentence description of how the novel begins. On Line 15, give a one sentence description of how the novel ends.Then go to Line 2, and describe what happens next after the beginning.Then go to Line 14, and describe what happens just before the end. Go back and forth from beginning to end until all fifteen lines are filled in.This exercise forces you to figure out how one event leads to another, and if you might be missing one of the key steps that will help you get from number one to number fifteen.
  6. The Rule of Six. The Rule of Six says that for each apparent phenomenon, you should devise at least six plausible explanations. And it occurred to me that this can be applied as a writing theory–and there are two different ways to use the Rule of Six in the outlining process: Find six different explanations for any event or action that occurs in your novel which doesn’t have significant explanation or motivation, or come up with six different ‘what happens next’ scenarios when you get stuck.
  7. Seven-Point Story Structure. This is a very specific method of modeling a story but it may provide a great jumping off point even if it doesn’t fit your needs exactly. See a more thorough explanation here.
  8. The Question Method. This is one of my own invention. Here’s how it works: (1) Have an idea. The most basic concept of a character and a story. (2) Start asking questions. Questions the reader is going to ask/need the answers to. The biggest (and most important ones) are going to revolve around motivation and obstacles. Why is the MC doing what he does? (3) Answer the ones you can answer and move on. (It’s okay to leave gaps in your outline–you just need more bricks than holes if your wall, if you know what I mean). (4) Ask more questions. Once your story starts to take shape you can ask more–and more specific–questions. Lather, rinse, repeat. All you have to do is keep repeating steps two and three over and over again. Eventually you’ll get down into the minute details and have a pretty solid outline to work with.

Personally I use some combination of the the linear method, the Tetris method, and the question method. And eventually what I end up with is a rainbow-colored outline that looks something like this:

Of course, this isn’t going to work for everyone. But I find it’s really helpful to have scenes organized in such a way that I can easily move them around until they’re in a kind of order that make sense (this is a finished outline so they’re color-coded by chapter). And there’s very little on each card–I give myself a scene title and the setting and a one- or two-sentence description of what has to happen in the scene. I find this actually lets me be more creative rather than less, because it gives me the option to write freely without worrying about if the scene is taking me in the right direction. When you know what has to happen, all you have to worry about is the words. 

Anyway, that’s a brief crash-course in outlining. Hope it helps. 

Kat’s Fanfic Reviews | 3/? | Forget Me Not by Opium_du_Peuple

Title: Forget Me Not
Author: Opium_du_Peuple ( @just-french-me-up )
Wordcount: 103, 488
Link: http://archiveofourown.org/works/4610496

Enjolras loses four years worth of memories after a nasty car accident. Though he still remembers who Combeferre and Courfeyrac are, he also finds himself with a herd of friends he doesn’t remember meeting. Friends who are exactly what his blank mind needs to recollect his missing memories.

or : the amnesia fic no one asked for.

There’s a sort of screaming sound my heart makes whenever I think about this fic because it makes me emotional like nothing else. The plot, to start with, is incredible and so well-ordered that I occasionally forget it’s a fanfic and not an actual published novel. 

My admiration for authors who can write all of the amis into one storyline and still capture their characters in an individual sense will never end, and Forget Me Not is a perfect example of that. The group dynamic between all the amis may just be one of my favourite things ever tbh. I love how well they work and how real they come across- everyone helping out at Musichetta’s allotment (which is another thing I scream about, I love it) and the video game nights and I just. Have so much love for every single one. 

So many amazing moments stand out for me about this fic it’s really hard to choose a favourite (Grantaire re-enacting Rome and Juliet with Marius and Cosette is definitely up there though.) I love the slow-burn aspects of this fic (so !!! much !!!! tension !!!!) and I live for pining!jolras so this will always be at the top of my reading lists.

The mystery element, too, really gets me. I love that we learn things along with Enjolras, it’s really easy to empathise with the frustration he feels and makes the pace all the more thrilling when tidbits are revealed to us. Overall, Forget Me Not is an outstanding work and one the les mis fandom is lucky to have.

(Also the background Jehanparnasse and Courferre are A++++) 

anonymous asked:

Please elaborate on the 🍑🍑 nature of this book/film for those of us unaware but entirely ready to see armie hammer like this

honestly, friend, I’m labouring the 🍑  point because otherwise I’ll think too hard about this movie and start FUCKING CRYING. 

okay, so the Plot of the book is a 17-year-old Italian boy falling in deep, obsessive, passionate love with a 24-year-old American grad student who’s staying at his family’s villa for the summer. as you can imagine, being narrated by a lovelorn bisexual teenager, it’s INCREDIBLY FRAUGHT, and can probably best be summed up by the scene in which their bare feet touch under the dining table and it’s so intense that Elio gets a nosebleed. 

while this may SOUND like your run-of-the-mill M/M steamy summer romance novel that you can buy for 99p on kindle books, it is ACTUALLY an incredible TOUR-DE-FORCE work of ART written by André Aciman, a PROFESSOR OF LITERARY THEORY, which made THE NEW YORK TIMES, PUBLISHER’S WEEKLY, WASHINGTON POST and CHICAGO TRIBUNE’S Books of the Year lists when it was published and ABOUT WHICH the FOLLOWING PHRASES were used: ‘an effortless and unaffected erudition; a brutal, rigorous mastery of language’! ‘Brave, acute, elated, naked, brutal, tender, humane and beautiful’! ‘Few novels since Proust’s In Search of Lost Time are this adept at capturing the nuances of human emotion’! ‘The beauty of Aciman’s writing and the purity of his passions should place this extraordinary first novel within the canon of great romantic love stories’! ‘Exquisite’! ‘Superb’! ‘Extraordinary’! (not to mention that I have read it once a year since first reading it in 2014 and now own three copies because I keep discovering it in secondhand bookshops and am unable to leave it behind. don’t trust the NYT. trust me.)

and NOT ONLY is A Movie being made, it is a movie directed by RESPECTED DIRECTOR LUCA GUADAGNINO, co-written by JAMES IVORY – of MERCHANT-IVORY PRODUCTIONS, director of such screen gems as Howards End, A Room With a View, The Remains of the Day and fucking MAURICE – starring TIMOTHEE CHALAMET (of being good on stage) and ARMIE HAMMER (of ‘I’m 6′5″, 220 and there’s two of me!’), ACTUAL WELL-KNOWN ACTORS, premiering at SUNDANCE FILM FESTIVAL (because it’s a [reverential pause] FILM, not just a MOVIE), and FEATURING ORIGINAL SONGS WRITTEN AND PERFORMED BY SUFJAN STEVENS!!! WHAT THE FUCK IS GOING ON!!! I LITERALLY COULD NOT HAVE HAND-PICKED A BETTER COMBINATION OF THINGS!!!

yesterday it got bought by Sony Pictures Classics, which means a) world-wide distribution, and b) actual human beings have now seen it with their eyes. one of those #blest and chosen individuals said this: “Visually rich, stunning, deeply emotional and sensual, Call Me By Your Name confirms Luca Guadagnino as one of the world’s master filmmakers. It will be a privilege to bring the movie to audiences around the world.”

tl;dr in conclusion, Timothee Chalamet is going to fuck a peach and Armie Hammer is going to eat it while Sufjan Stevens sings about Jesus and being gay in the background and then, because that’s not enough, everyone at Sundance is going to give it a goddamn fucking standing ovation. 

🍑 

2

That night, with a plan made, Brook can actually sleep. She’ll go to Starlight Shores, a different city far from here, that she has never had a reason to go to, so Sandra has no reason to look for her there. She’ll be fine.

After she is asleep, Mireille and Lawrence continue discussing the situation outside.

Mireille: Thanks for helping. And for pointing out the flaws in my plan.

Lawrence shrugs.

- Small towns like these aren’t a good place to hide in. It was only common sense. But let’s talk about the rest of the issue: her legal guardian is trying to kill her. It sound like a plot out of some old British novel. There must be some big money or real estate involved, no question.

Mireille: And the strange case of her late parents actually assigning that woman as the legal guardian? Sketchy, isn’t it? I wouldn’t be surprised if the parents’ early demise wasn’t so natural.

Lawrence: Me too. I’m glad you got me involved. I might not always be on the good side of the law, but I know enough about it to tell you – she can’t just leave this situation as is. If money is involved, this woman won’t stop looking for her and the next attempt at her life would be successful. 

Mireille: So, what are you suggesting?

Lawrence: Well, from what Brook tells, it sounds like this guardian of hers is good at utilizing legal loopholes and hiding the evidence. So, if we want to help the girl, we need to make sure there is enough evidence to put this woman behind bars. I know a guy back in the Shores. He is a professional private eye and he does his work well. I say, when we get there, we hire him to come here or wherever Brook’s guardian goes, and gather the evidence against her.

Mireille: That sounds expensive.

Lawrence: I can cover it. I want to make sure the girl is safe. My conscience won’t let me rest if I don’t.

Mireille: Same. This whole situation just isn’t right.

themolly-and-theivy  asked:

So my novel is kinda weird. It relies heavily on subplots on individual goals of the characters. In the first third of the book, where everything is still light and happy, it requires a bunch of subtlety. The problem is, the book is a series of snapshot events rather than an even followed by another by another. How do I make an overarching plot that effects all the characters and stick with it?

Hi! 

Thank you very much for the question and I apologize for the delay in my response! 

First, since it sounds like your story is heavily dependent on a variety of character arcs, I will direct you to Alyssa Hollingsworth’s outlining method (the so called “Madwoman’s Outlining Technique”). This should be an excellent place to start. 

Second, I also think that Gabriela Pereira’s “Subway Method” outlining technique may be helpful. 

Third, I will throw in my advice about approaching and tying together multiple subplots in regards to rewriting. I’ve personally found that it helps to identify all of your potential subplots (in this case, each character might be considered a subplot), then look at each subplot separately. With my most recent rewrites, I took a page and dedicated it to each subplot. From there, I wrote down every event in the story that affected a specific subplot as well as including events that I deemed part of the “main” plot. This list format of events really helped me identify where subplots wove in and out of the main plot. The same method could also be helpful in identifying opportunities for major plot points as well! 

Go Set A Watchman

The Most Important Book You’ll Ever Read (Spoilers)

What You Need To Know

  • To Kill A Mockingbird (1960) is the prequel to Go Set A Watchman (which is why Watchman is considered a “sequel”). Watchman was written in 1957, but it wasn’t published until 2015.
  • Watchman is not ‘just a draft’ of Mockingbird. The plot and lessons have absolutely nothing to do with Mockingbird.
  • Watchman is not a parallel universe or alternate reality. There isn’t a single thing in Watchman that contradicts Mockingbird’s events, characters, or the narrator’s ‘voice.’ For instance, I keep hearing people say that the Tom Robinson trial exists in Watchman and that Atticus wins the case. That’s simply not true. In Mockingbird, Mr. Robinson is a 25 year old man who is married and has three kids. He is a field worker and handyman. He can’t use one of his arms because it got caught in a cotton gin. A 19 year old white woman named Mayella Ewell falsely accuses him of raping her when in fact she tried to rape him. Atticus loses the case. The case is the main focus of the book’s plot. In Watchman, a 14 year old white girl falsely accuses a black teenage guy of raping her. The guy only has one arm because he lost the other in a sawmill accident. The sex was consensual and Atticus wins the case. The case is only mentioned in passing. Scout later mentions that when she was a kid, she knew a black field worker named Tom. Jack Finch says white supremacists accuse black people of rape all the time in order to scare people.

Why It’s Phenomenal

  • Watchman is unique in the genre. Southern Gothic, a subgenre of Gothic literature, uses elements of Gothic literature to expose social problems in the American South. Mockingbird fits very neatly into this mold - a ghostly man fittingly named Boo lives in a spooky old house, people do Voodoo and Hoodoo to keep spirits (haints) away, there are murders, etc. Watchman has a much subtler, more complex approach. Southern Gothic normally sound like Edgar Allan Poe, but Watchman’s narration sounds more like a coming of age novel. Southern Gothic normally are loaded with symbolism, but Watchman focuses on Scout’s thoughts with literary allusions peppered in (Scout loves to read). Southern Gothic normally have an overarching plot, but Watchman is more like a series of conversations and flashbacks that add depth to the characters. However, Watchman is still a Southern Gothic because it has gender-bending, eccentric characters, social issues, and dark themes (ex. Scout is suicidal).
  • The moral of the story is be yourself. I’m going to compare this to Alice in Alice’s Adventures in Wonderland and Alice Through The Looking Glass by Lewis Carroll because Scout calls Jack Finch the Mad Hatter. Scout is masculine the majority of the time, doesn’t like kids, and doesn’t like the idea of marriage. Alice’s personality is a parody of the ideal Victorian gentleman, which is clearest when she meets the White Knight, who is trying to be a perfect gentleman. Scout wants to go around Maycomb, Alabama to find out why Southerners are racist. Alice wants to go around Wonderland to find out the rules for everything so she can write a rule book. Neither Scout nor Alice succeed in fitting in. They both realize that most of the rules and protocol are nonsense, so they have to think for themselves.
  • A heroine, not the usual hero. In Mockingbird, Atticus gets to be the gentleman hero who preserves the status quo, while Scout passively admires him. She is narrating the story in her adult years, but she only conveys to us the ideal way she used to see her father. In Watchman, Scout gets to be a tragic hero and calls people out on their racism and hypocrisy.
  • It centers around the topic of racism in its more nuanced yet equally appalling forms. Scout comes home for a visit and thinks everyone has a different personality. Jack Finch explains to her that they’ve been this way all along, she just wasn’t paying enough attention. Accordingly, you can find instances in Mockingbird that show Atticus isn’t always morally sound, but those are eclipsed by his good deeds, so they get lost unless you’re looking for them. For instance, even though Scout and Jem see their black maid Calpurnia as almost a mother to them, Atticus never brings them to her house and makes her come in through the back door. In Watchman, we see that he’s not the easy to spot type of racist who sets black people’s houses on fire, but the kind who is anti-integration (’They’re going to take our jobs’ …sound familiar?), anti-affirmative action, only wants black people to be unharmed and treated equal under the law (as opposed to him being a lawyer who fights institutional racism), and doesn’t realize that black people can organize and prosper. (Even during slavery, black people formed complex communities and support systems to buy each other out of slavery, provide health care, etc., such as the confraternities in Latin America.) A progressive would’ve become a Civil Rights lawyer and would’ve actively looked for cases of injustice to pursue out of compassion. Instead, black people come to Atticus for help and he agrees to help. That makes him a great hero and a great villain.
  • It will force you to look at your own actions and ethics.

Go set a watchman… to wake you up from your childhood dreamland.

@runakvaed said: It kinda sounds like a poorly executed money-grab :(

my expectations had already dropped when I saw the cassian bit in the epilogue, but then they hit bottom when I heard the book has saw burning the erso homestead when he leaves with jyn. never mind that the homestead was burning before saw showed up.

I mean sure. fine. whatever.

with the tie-in materials, you have to pick and choose what you want to include. the only hard and fast canon is from the movies  (which is why I think including major plot points in the novels that the movies will rely on is a mistake). there’s no excuse for canon contradicting mistakes when you have that much money though. it’s one thing to overwrite the original legends expand universe; it’s a completely different thing to contradict the canon you created and are now tying into. 

Oceandust

This, now, is your story.  You know that epics are often told with a sense of belatedness—a wistful sense of what was, what could be, what could have been in worlds past.  Repetitions of reminiscence—one, because it is all the same, and you know this—make up every history book and every novel you could ever find.  You can reframe the same story 200 times, make the shadows on the wall slightly different with each retelling, play a different song in the background to change the mood and make it seem like the plot will go a little differently—when it won’t.  You know this intimately well, because this is the way your story flows.

Keep reading

Hey, I’m doing a thing!

As some of you may know, writing is my passion without rivalry. As it turns out, I’m in need of some cash to save up and buy an RV (Not so much as a recreational want seeing as my girlfriend and our two cats will be permanently living and traveling in it for the next few years and I can’t pull a loan/finance due to the fact that I am 19 and have no credit). I’ve been working online as a transcriptionist for a while now and although I love my job, it doesn’t always pay the bills and I don’t really have money to save either.

For a while now, I’ve been wanting to publish a book. I’m talking since I was a kid. My main problem is that I always get stumped for plots. Recently, I’ve discovered ghost writing. That sounds like fun to me while I work on many a novel that I aspire to finish once I’ve filled in all of the holes! But why stop there?

Have you ever had an idea and thought, “God damn, why doesn’t this story/fanfic/whatever exist? I don’t feel like writing right now, I’m having a writers block. Or I just hate writing!” Well, here’s an idea just to chew on for a bit: you give me your idea that you are just dying to read (and specify whether you want me to create/build the characters OR you want fanfiction), your desired length (one-shot, short story, novelette, or full length novel), and depending upon the length you choose, we will discuss compensation, I will write the thing, and you can pay me upon delivery of said written thing. This is a completely personalized book that I will either send to you electronically OR have printed, hard backed with personalized, hand drawn cover art, and mailed to you. These books WILL UNDER NO CIRCUMSTANCES BE PUBLISHED. I WILL NOT TAKE CREDIT FOR YOUR IDEAS. I should also mention there are few things I won’t write, but I will let you know when boundaries are being crossed. Also, this could be a start for me as an author (AKA forcing me to be creative and actually finish one of my novels whose plot train de-railed) or as a ghost writer!

OR if you don’t want anything like that and are instead more of a visual person, I am also an artist.

IF YOU ARE INTERESTED, PLEASE CONTACT ME VIA TUMBLR OR MY EMAIL: MONICA_DAYNE@ROCKETMAIL.COM AND I WILL SEND YOU SAMPLES OF MY WRITING OR ART. PLEASE DO NOT BE SHY. 

Also, please remember to credit me (solely for my art or writing and not for the plot/characters) for any commissions. Thank you lovelies!

soryuju  asked:

Unpopular Opinion: As much as I love Braska and his guardians, if X-3 ever gets made I would not want it to be about their journey. I feel like it would lack a plot twist since we know how their story ends, plus we saw a good glimpse into how it all went through their spheres IMO. If X-3 ever comes to be a real thing, I honestly wouldn't mind it following the aftermath of the novel and audio drama. If you take a look at the big picture it sounds interesting ( taking it with a grain of salt).

strongly agree | agree | neutral | disagree | strongly disagree

I can’t say much since I haven’t played FFX and can’t pass judgement but we already know what happens in FFX and FFX2 and do we really need X-3 because we saw how much of a mess LR was and the audio drama is uh….interesting in many ways that are not…good, so really, it’s been like 16 years since FFX came out, do we really need this

Media log update, book 102: John Dies at the End by David Wong

This novel is weird, both in the sense of uncanny Lovecraftian horrors and in the sense of a bizarre plot related by a rambling unreliable narrator. I think the author was aiming for an Army of Darkness sort of tone, where snarky characters battle creeping monstrosities, but the whole thing is severely hampered by the juvenile humor and the end result is pretty sophomoric. I probably would have liked this better if I had read it back when I was a teenager in love with Kevin Smith movies, but these days I need more from a story than just freak-out gore punctuated by toilet humor and random asides.

anonymous asked:

Hello! So I'm currently writing a novel in the 3rd person, which I've never really tried to do, and I'm having a lot of trouble writing without sounding too "she did this, she does that" and I didn't know if you had any advice to show and not tell. I'm quite happy with where I'm going with the plot and my character development, but I feel like the descriptions of character actions are putting a damper on the quality. Thank you!

This is a really good question. The key is to cut out filters.

What is a filter? I’ll bold them in the following paragraph.

She was walking down the street, she heard the wind whistle in her ears. She looked around and saw that thick flakes of snow were falling from the clouds. She wondered if the snow storm would be heavy enough for school to be cancelled the next day.

When you use a filter, instead of directly showing, you are making the reader step back and look at the character observing or thinking. If you’re writing in a close third person, you don’t need to tie an observation to the character, we know. So, let’s rewrite that paragraph without the filters.

She was walking down the street, the wind whistled in her ears. Thick flakes of snow were falling from the clouds. Would the snow storm be heavy enough for school to be cancelled the next day?

Much better. We’ve got a closer physic distance, it reads smoother, and we’re showing and not telling. Win win. Cutting filters is one of the easiest ways to instantly improve your writing. 

But what about actions? She was walking is not a filter, but it still has that ‘she did that, she did this’ feel. Here’s a trick to remember, whether you’re writing in 1st or 3rd: a good narrator doesn’t pay attention to themselves, but what’s around them.

She was walking down the street could be replaced with a description of the street. Again, if you’re writing with no filters and have established a close physic distance (that is, how close the reader feels to the character) you don’t need to say that something is happening in relation to the character, that’s implied by the fact that it’s being shown.

Hello, my lovelies!
This here is a permanent starter call!
What does that mean? Well, liking this gives me permission to:

  • Tag you in starters and/or random things
  • Plot with you
  • Jump into IMs and give you lots of love
  • Send you memes (which I’ll probably do anyways)
  • And ultimately break your heart with angst

If these sound okay to you then you know what do to!