im gonna make a game geared towards all those video game nitpickers. “ahuhuhuh why dont vidoe game characters ever use the bathroom????” now your character has to take bathroom breaks every 2-4 hours whether youre busy or not. if you dont make it to the bathroom on time you will piss your pants. you also have to eat food and drink water or your character will be tired and hungry and wont move as fast or at all. you also have to follow society’s norms because humans are psychologically wired that way. if you do something illegal someone will call the cops on you and youll be arrested and taken to court and then taken to prison for the rest of the game. thats what you get for being a nitpicking smartass
If you liked Netflix’s Stranger Things, here are some podcasts you might enjoy:
Welcome to Night Vale (the community news of a small city in the American Southwest where all conspiracy theories are true and a part of every day life; BONUS - canon interracial gay couple as the main couple)
The Message (70-year-old message from outer space, cryptology, things are not as they seem)
Limetown (everyone in small town disappears and no one knows what happened to them; follow an intrepid journalist as she investigates)
The Black Tapes (sister show to TANIS; demons, investigation into the unexplainable, asshole Alpha Skeptic, and the journalist who tries to sort this all out)
TANIS (sister show to The Black Tapes; conspiracy, truth, and the investigation of what Tanis really is, plus an “information specialist” named Meerkatnip)
Archive 81 (found footage audio series where nothing is quite as it seems and there’s a building that isn’t exactly right)
Alice Isn’t Dead (from the people behind WtNV, a truck driver tries to find her missing wife and she runs into a lot of conspiracies along the way)
Within the Wires (again, from the people who brought you WtNV, instructional audio guides that slowly reveal a personal story and the revelation that the world the podcast is set in is that great)
The Bright Session (imagine what it would be like if the X-Men went to therapy)
The Behemoth (a girl and her monster walk across America)
Wolf 359 (the absurd misadventures of a small band of eccentric characters on board the Hephaestus Station in orbit around the dwarf star, Wolf 359, where it’s all fun and games until it’s not and the Blessed Eternal just wants a night light)
the bruises of love bites left by lovers on necks and thighs; smudged lipstick from hasty kisses; blood red roses with their sharp thorns still intact; the way you hug someone you love when you reunite after a lengthy separation
polished instruments gleaming, held like the most precious of jewels by their owners; a sunny day with a clear blue sky where there are no clouds in sight; the rough script of poems penned out on scraps of paper or napkins before they're forgotten; when music is so loud that you feel it reverberating in your bones; the pale lines of fading scars
the hands of a fighter, short finger nails and bloodied knuckles; split lips that have scabbed over; the smooth and intricate lines of old weapons you see mounted on museum walls; deep trenches dug out from the earth; the way barbed wire contrasts against whatever it surrounds
loose braids with wild flowers slipped in; the majesty of tall trees stretching up endlessly towards the heavens; the wide and captivating eyes of wild deer; cloudy nights where the moon is just barely peeking through; the colorful fletching of arrows drawn back to rest upon cheeks and along jaws
the straight and steady way a soldier stands at attention; fingertips smudged with ink; a stack of books to read piled on the floor or a nightstand; eyes gleaming with the glow of new ideas; the quiet and contemplative aura of museums and libraries
the way sunlight catches dust motes in the air through the gaps in the leaves of the trees; the feeling of life you get from standing in the middle of an orchard with bees buzzing around you; crocuses and snowdrops peeking through the last dredges of winter's snow
the bleached bones of animals in the forest when moss has begun to engulf them; the way that graveyard angels look like they're weeping in the rain; the solemn aura of old churches, citadels, synagogues, temples, and mosques
the pleasure of holding something you've created in your palms; the soft glow of heated metal; the intricate beauty of cogs and gears fitting together precisely and working in tandem; the smooth and polished surfaces of high-rise business buildings
the lacy white of flowing wedding gowns; the way a couple's hands look clasped together; pairs of old wedding rings that are scratched from years of use; the feeling of surrealism that comes from looking at old family portraits; getting used to sharing a space with someone else and then seeing the mannerisms you've unknowingly adopted from them
the way that the low beam headlights of a car touch the roads that stretch ever onwards at night; old maps yellowed at the corners from their age; the way that things rush past when you look out the window of a car or train; quick hands slipping deftly into pockets and taking what they find
the light and protection of street lights in an otherwise dark city; the warmth of your bed on cold winter mornings; the heat of a fire as you sit around it with people you love; the comfort of a home-cooked meal
the way light looks when you're seeing it shine down from deep underwater; the effervescent colors of cresting waves; the eery beauty of shipwrecks; the ripples created when you trail your fingertips through still waters; dust clouds kicked up by the passing of strong hooves
the way that storm clouds darken the edge of the horizon; silhouettes framed against the sky by flashes of lightning; the splay of feathers of a bird's outstretched wings; the polished and tarnished brass of old fashioned scales
This is basically a must for all writers (or at least, it makes our job significantly easier/less time consuming/less likely to make us want to rip our hair out by the roots), but visual thinkers tend to be great at plotting. There’s something about a visible outline that can be inexplicably pleasing to us, and there are so many great ways to go about it. Here are a few examples:
The Three-Act Structure
This one is one of the simplest: it’s divided into the tried-and-true three acts, or parts, a la William Shakespeare, and includes a basic synopsis of what happens in each. It’s simple, it’s familiar, it’s easy to add to, and it get’s the job done.
It starts with Act I – i.e. the set-up, or establishing the status quo – which is usually best if it’s the shortest act, as it tends to bore audiences quickly. This leads to Act II, typically the longest, which introduces the disruptor and shows how characters deal with it, and is sandwiched by Act III (the resolution.)
This is the one I use the most. It allows you to elucidate on the goings on of your novel in greater detail than the quintessential three act synopsis generally could, fully mapping out your manuscript one chapter at a time. The descriptions can be as simple or as elaborate as you need them to be, and can be added to or edited throughout the progression of your novel.
Can easily be added to/combined with the three-act structure.
The Character Arc(s)
This isn’t one that I’ve used a lot, but it can be a lot of fun, particularly for voice-driven/literary works: instead on focusing on the events of the plot, this one centralizes predominantly around the arc of your main character/characters. As with its plot-driven predecessors, it can be in point-by-point/chapter-by-chapter format, and is a great way to map out character development.
The Tent Moments
By “tent moments,” I mean the moments that hold up the foundation (i.e. the plot) of the novel, in the way that poles and wires hold up a tent. This one builds off of the most prevalent moments of the novel – the one’s you’re righting the story around – and is great for writers that want to cut straight to the action. Write them out in bullet points, and plan the rest of the novel around them.
The Mind Map
This one’s a lot of fun, and as an artist, I should probably start to use it more. It allows you to plot out your novel the way you would a family tree, using doodles, illustrations, and symbols to your heart’s content. Here’s alink to how to create basic mind maps on YouTube.
2. “Show don’t tell” is probably your strong suit.
If you’re a visual thinker, your scenes are probably at least partially originally construed as movie scenes in your head. This can be a good thing, so long as you can harness a little of that mental cinematography and make your readers visualize the scenes the way you do.
A lot of published authors have a real big problem with giving laundry lists of character traits rather than allowing me to just see for myself. Maybe I’m spoiled by the admittedly copious amounts of fanfiction I indulge in, where the writer blissfully assumes that I know the characters already and let’s the personalities and visuals do the talking. Either way, the pervasive “telling” approach does get tedious.
Here’s a hypothetical example. Let’s say you wanted to describe a big, tough, scary guy, who your main character is afraid of. The “tell” approach might go something like this:
Tommy was walking along when he was approached by a big, tough, scary guy who looked sort of angry.
“Hey, kid,” said the guy. “Where are you going?”
“I’m going to a friend’s house,” Tommy replied.
I know, right? This is Boring with a capital ‘B.’
On the other hand, let’s check out the “show” approach:
The man lumbered towards Tommy, shaved head pink and glistening in the late afternoon sun. His beady eyes glinted predatorily beneath the thick, angry bushes of his brows.
“Hey, kid,” the man grunted, beefy arms folded over his pot belly. “Where are you going?”
“I’m going to a friend’s house,” Tommy replied, hoping the man didn’t know that he was ditching school.
See how much better that is? We don’t need to be told the man is big, tough, and scary looking because the narrative shows us, and draws the reader a lot more in the process.
This goes for scene building, too. For example:
Tyrone stepped out onto his balcony. It was a beautiful night.
Tyrone stepped out onto his balcony, looking up at the inky abyss of the night sky, dotted with countless stars and illuminated by the buttery white glow of the full moon.
3. But conversely, know when to tell.
A book without any atmosphere or vivid, transformative descriptors tends to be, by and large, a dry and boring hunk of paper. That said, know when you’re showing the reader a little too much.
Too many descriptors will make your book overflow with purple prose, and likely become a pretentious read that no one wants to bother with.
So when do you “tell” instead of “show?” Well, for starters, when you’re transitioning from one scene to the next.
As the second hand of the clock sluggishly ticked along, the sky ever-so-slowly transitioning from cerulean, to lilac, to peachy sunset. Finally, it became inky black, the moon rising above the horizon and stars appearing by the time Lakisha got home.
These kind of transitions should be generally pretty immemorable, so if yours look like this you may want to revise.
Day turned into evening by the time Lakisha got home.
See? It’s that simple.
Another example is redundant descriptions: if you show the fudge out of a character when he/she/they are first introduced and create an impression that sticks with the reader, you probably don’t have to do it again.
You can emphasize features that stand out about the character (i.e. Milo’s huge, owline eyes illuminated eerily in the dark) but the reader probably doesn’t need a laundry list of the character’s physical attributes every other sentence. Just call the character by name, and for God’s sake, stay away from epithets: the blond man. The taller woman. The angel. Just, no. If the reader is aware of the character’s name, just say it, or rework the sentence.
All that said, it is important to instill a good mental image of your characters right off the bat.
Which brings us to my next point…
4. Master the art of character descriptions.
Visual thinkers tend to have a difficult time with character descriptions, because most of the time, they tend to envision their characters as played their favorite actors, or as looking like characters from their favorite movies or TV shows.
That’s why you’ll occasionally see characters popping up who are described as looking like, say, Chris Evans.
It’s a personal pet peeve of mine, because A) what if the reader has never seen Chris Evans? Granted, they’d probably have to be living on Mars, but you get the picture: you don’t want your readers to have to Google the celebrity you’re thirsting after in order for them to envision your character. B) It’s just plain lazy, and C) virtually everyone will know that the reason you made this character look like Chris Evans is because you want to bang Chris Evans.
Not that that’s bad or anything, but is that really what you want to be remembered for?
Now, I’m not saying don’t envision your characters as famous attractive people – hell, that’s one of the paramount joys of being a writer. But so’s describing people! Describing characters is a lot of fun, draws in the reader, and really brings your character to life.
So what’s the solution? If you want your character to look like Chris Evans, describe Chris Evans.
Here’s an example of what I’m talking about:
The guy got out of the car to make sure Carlos was alright, and holy cow, he looked just like Dean Winchester!
No bueno. Besides the fact that I’m channeling the writing style of 50 Shades of Grey a little here, everyone who reads this is going to process that you’re basically writing Supernatural fanfiction. That, or they’ll have to Google who Dean Winchester is, which, again, is no good.
The guy got out of the car to make sure Carlos was alright, his short, caramel blond hair stirring in the chilly wind and a smattering of freckles across the bridge of his nose. His eyes were wide with concern, and as he approached, Carlos could see that they were gold-tinged, peridot green in the late afternoon sun.
Also note that I’m keeping the description a little vague here; I’m doing this for two reasons, the first of which being that, in general, you’re not going to want to describe your characters down to the last detail. Trust me. It’s boring, and your readers are much more likely to become enamored with a well-written personality than they are a vacant sex doll. Next, by keeping the description a little vague, I effectively manage to channel a Dean Winchester-esque character without literally writing about Dean Winchester.
Let’s try another example:
Charlotte’s boyfriend looked just like Idris Elba.
Charlotte’s boyfriend was a stunning man, eyes pensive pools of dark brown amber and a smile so perfect that it could make you think he was deliciously prejudiced in your favor. His skin was dark copper, textured black hair gray at the temples, and he filled out a suit like no other.
Okay, that one may have been because I just really wanted to describe Idris Elba, but you get the point: it’s more engaging for the reader to be able to imagine your character instead of mentally inserting some sexy fictional character or actor, however beloved they may be.
So don’t skimp on the descriptions!
5. Don’t be afraid to find inspiration in other media!
A lot of older people recommend ditching TV completely in order to improve creativity and become a better writer. Personally, if you’ll pardon my French, I think this is bombastic horseshit.
TV and cinema are artistic mediums the same way anything else is. Moreover, the sheer amount of fanart and fanfiction – some of which is legitimately better than most published content – is proof to me that you can derive inspiration from these mediums as much as anything else.
The trick is to watch media that inspires you. I’m not going to say “good media” because that, in and of itself, is subjective. I, for example, think Supernatural is a fucking masterpiece of intertextual postmodernism and amazing characterization, whereas someone else might think it’s a hot mess of campy special effects and rambling plotlines. Conversely, one of my best friends loves Twilight, both the movies and the books, which, I’m going to confess, I don’t get at all. But it doesn’t matter that it isn’t good to me so long as it’s good to her.
So watch what inspires you. Consume any whatever movies, books, and shows you’re enthusiastic about, figure out what you love most about them, and apply that to your writing. Chances are, readers will find your enthusiasm infectious.
As a disclaimer, this is not to say you get a free pass from reading: I’ve never met a good writer who didn’t read voraciously. If you’re concerned that you can’t fall in love with books the way you used to (which, sadly, is a common phenomenon) fear not: I grappled with that problem after I started college, and I’ll be posting an article shortly on how to fall back in love reading.
So in the meanwhile, be sure to follow my blog, and stay tuned for future content!
(This one goes out to my friend, beta reader, and fellow writer @megpieeee, who is a tremendous visual thinker and whose books will make amazing movies someday.)
Hi. I love your blog and all the little headcannons (canon?) you do. I also noticed you're amazing for writing little stories for people who are having a tough time. Would it be too much to ask if I could have one? I'm suffering from a bout of depression/insomnia and I'm running on about 4 hours sleep in about 3 days. What do you think of Derek or Stiles getting insomnia from all the stuff they've seen and the other just cuddling them through it? Trying to stay awake so they're not alone?
Hey, sweetheart. The depression/insomnia combo is horrible. I don’t know if it will work for you but earlier this year I stumbled upon ASMR videos. I know some people find them weird but they really helped me when it came to getting to sleep. In the mean time, I hope this little fic does something to help.
Stiles thought being able to sleep after the Nogitsune had been the universe’s way of balancing out the good and bad in his life: get possessed by a psychotic Japanese fox but sleep like a baby every night after. As it turned out, being able to sleep after a spirit uses your body to murder a bunch of people came down to the fact Stiles hadn’t had a break since finding Laura Hale’s body that night in the woods.
He believed joining the academy would be a fresh start, and in many ways it was. He just didn’t count on the fact that now he didn’t have pure evil trying to kill him at every waking moment that his brain would finally find time to process it. Stiles had always been a fan of ignoring his problems until they eventually, just, go away; watching his friends die, looking down at his own body and knowing it wasn’t really his but the cardboard cutout left behind by the Nogitsune, the memory of watching Derek almost -
He assumed - stupidly - that he had been successful in that particular endeavour. As long as he had his pillow, he was fine. You’re going to be fine. That was what the faceless people of the internet said.Stiles didn’t think “fine” was ever going to be an option for him but he guessed hope was a nice sentiment.
“Insomnia,” Scott said, repeating the word back to him. Stiles could practically hear the concern, loud and clear, ringing through the phone. It instantly made him feel worse. Heaving a sigh, he scrubbed a tired hand down his face. Maybe he shouldn’t have called.
Scott was quiet for several seconds. “Do you have your pillow?” he asked.
“Yes,” Stiles answered. He was currently clutching it to his chest, sprawled out on his bedroom floor. It was 3am, the floor was hard, and if he didn’t get some sleep soon he was going to start crying; the kind of crying he hadn’t done since he was a kid and his mom took ill.
“What about drugs?” Scott suggested. “I could ask my mom-”
“No drugs, Scott.”
“I said no drugs, Scott.”
The line went quiet again and Stiles felt his eyes begin to sting. This was a mistake.
“Sorry, man, I have to go.”
He hung up before Scott could respond, deciding he could feel guilty about it later.
At the academy, he was on auto-pilot. Luckily, Stiles had come up with some of his best plans during the last four years on little-to-no sleep, so it wasn’t overly obvious to his fellow agents-in-training that he needed several cups on coffee just to get through the day.
It was obvious to someone though. Someone who clearly thought it was their sworn duty to haul Stiles over their shoulder in the middle of his third run to the coffee shop that day and deposit him in the back of their car.
Stiles wanted to protest - he should protest, call for help, maybe? - but he had had his eyes closed when the stranger grabbed him, had been drooling on a statue, leaning against it for moral support, as he had waited for his order.
Plus, the stranger’s arms felt nice.
In the back of his mind, Stiles couldn’t decide if thinking a stranger’s arms felt nice during a potential kidnapping - fuck, please don’t let it be a supernatural kidnapping - was because of his sleep deprived state or if that was just the way he was wired now.
It was only when a door opened and a familiar pair of eyebrows slid into the driver’s seat did Stiles begin to laugh. Hysterically.
“Of course,” he said, shaking his head and pressing his lips against the cool leather interior. Familiar hands strapped him into the his seat. “Of course it’s you, big guy.”
Derek just gave a slight huff and muttered something Stiles couldn’t hear, but it sounded an awful lot like, yeah,I missed you, too.
Stiles laughed again. It was crazy, what your mind came up with when it wasn’t functioning properly.
So, it’s at three in the morning that, after seeing a gif, I begin having revelations/disturbing thoughts/deep contemplations about the bionics and biology of the Winter Soldier’s arm. And, of course, at three in the morning, that’s when I start assembling pictures and diagrams.
Here’s a normal shoulder, and then the Winter Soldier’s. What gets me is that it’s not just a plug-in prosthesis that joins neatly up with his shoulder joint and the bone structures there.
As seen here, all of these muscles:
are what you need to actually move an arm and shoulder. With structures even as far down and centralized as the pecs, the muscles there bunch up in the shoulder region. As seen on the Winter Soldier, all of the places where his upper chest/pectoral, and shoulder muscles should be bunched up are (whether partially grafted with or entirely) metal.
Here, (on my phone) I drew out how more natural muscle patterns would be going without the interruption of the prosthetic. And here’s what looks to be going on:
At the seam of the prosthetic, we can see a glimpse of material that seems to extend down, following the basic lines of where musculature would need to be to support movement- which leads me to believe that at least in the front, that metal had to be extended (or at least extended by way of more flexible wiring to at least graft and connect to existing muscles and nerves) down through his entire pectoral muscles. Sure, his entire pec might not have to have been recreated/replaced by metal and wiring, but I’m getting the feeling that the lighter colored metallic structure at the seam continues farther down into his chest in order to connect to existing muscles and nerves. Depending on how far down they had to take things, they may or may not have had to anchor the pec and under arm metal structures to his ribcage.
Now, onto the back.
The scapula and other skeletal structures in the shoulder area are all pretty necessary for movement, and although Bucky only seemed to lose below the upper bicep after the fall, the scapula alone couldn’t support the weight and power of his new arm. So, I’m guessing that they left both the scapula and collarbone, but would have needed to reinforce both bone structures with metal (this includes shoulder joint and socket, if they were still intact enough); and all of that, they’d need to anchor to his spine/rib cage to keep the weight balanced and make sure the muscles and cartilage didn’t rip and tear with the weight of the arm during standing and fighting and such.
As for what they’d do about the muscles needed for arm movement in the back, I don’t have a clue- for weight and efficiency’s sake, they probably would have done their best to preserve and connect existing nerves and musculature on his back to the arm, after reinforcing bone structures. Given that the muscles in the back and shoulder connect to the spine and neck, that would be a whole lot of metal to try and anchor down if they replaced everything back there with straight up metal (as opposed to connecting wiring and such to the muscles already there).
So, whether or not this taught anyone new, I feel it’s certainly an interesting line of thinking, to consider just how far and how deep the socket, reinforcement, and overall prosthetic goes into the musculoskeletal structures of his chest, torso, and back. As for the wiring required to get the level of responsiveness and finesse that his arm has, I can’t begin to imagine how they had to integrate their technology into his nervous system- that might be a post for another day, and possibly by someone who has more than a basic understanding of anatomy (that’s what degrees are for!). Are there any more lessons to this? Well, I’m a biology geek and a Marvel geek, for one, and once more, we can reinforce that Hydra is fucking terrifying and horrible organization- albeit, one with surgeons that had remarkably, ridiculously, spectacularly advanced technology and understandings of bionics even in the 40s.
Prompt: During a busy day at Central Park, Lin mistakes Y/N as a paparazziand he is not happy.
Pairing: Lin x reader
Words: 4,759(brace yourselves)
A/N: I’ve been writing for this for so long, I’m glad it’s out of my head. I wrote the basis of the fic under the tags for ‘Monochrome’, and a couple of you guys happened to read it and told me I should write it! So thank you to all of you! I hope you guys enjoy!
I’ll overthinking everything, and that’s not your fault. I’m wired that way. My brain makes me believe that everything & everyone is temporary, and though there is some truth to that, some people truly aren’t just “temporary.” It’ll take me a little bit to wrap my head around that. I don’t ever mean to offend you when I say some of the things I do, or when I try to push you away, that’s just a defense mechanism. Like a reflex, I guess. Something I always end up doing. I shouldn’t, I know. I will need reassurance. Tons of it. This goes back to the whole “everyone is temporary” thought I mentioned earlier. Everyone I think will stay eventually gets pushed away by all these little faults, and I know I need to get better, I know I shouldn’t think these things, and I know you’re not like everyone else in my past. I’m sorry, I will try to make myself understand that, but I need you to work with me. I need you to have patience. I need you to believe me when I tell you that the last thing I want in this world is for you to leave me. There will be great nights when I’m able to push all these thoughts out of my head, but these come along with terrible nights when I’ll be distant. I’ll wonder if I make you happy. I’ll wonder why you stay with me, because even though you say nothing is wrong, my brain convinces me that I’m not good enough. This is when I need you the most, though I’ll continue to act like everything is fine. It’s not. My mind is running a thousand miles per hour, filling my brain with doubts and fear of how it’ll be when you leave, or about how vulnerable I’m making myself, and the worst of them all, about how all this happiness & joy I’m feeling will just be temporary. I know I’ll push you away, and I know you’ll want to give up, but please don’t. I want this. I want us. I don’t want to believe any of these things, and I’ll need your help. Reassurance, patience & time - that’s what will help. I understand if you don’t want to go on with someone who needs all of this to feel that a relationship will be successful, and hell.. I can’t really blame you, but all that I ask is that you remember that I love you. I will always love you, and I will never give up on you.
Something I wish all those who date someone with anxiety would understand
Me: On a fundamental psychological level, I’m incapable of caring about how you feel. I can still try my best to treat you in a kind and civil way, but I’m unable to recognize your emotions as being important beyond how they directly affect me. It’s nothing personal or malevolent; that’s just the way my brain is wired.
Them: That makes you a Bad Person, and you should be ashamed.
Me: Congratulations, asshole, now I don’t care about your feelings on purpose.
So I don’t know how to articulate how the fact that there are several people who have headcanons about Jacob Stone being ace-spec (and me being lucky enough to see only love for that headcanon) means so much to me. And the fact that it fits? So well?
I have a lot of feelings about this, but I’m too tired/wired to spell them out. Just know that I love this fandom so much, and this is just one of the many, many reasons.