why do i get so attached to emotional characters

teen wolf 6b
  • tw creators: ok guys last season! what should we do?
  • tw creators: we really gotta spice up this last season & really make it count
  • fandom: hey...um... maybe could we get issac, brett, and kira back?
  • tw creators: hey! let's bring some characters back! derek!! jackson!! ethan!!--
  • fandom: YES THANK YOU
  • fandom: YES!!
  • fandom: YES!!
  • tw creators: gerard!! kate!!
  • fandom: NO
  • fandom: NOOO
  • fandom: what
  • fandom:
  • fandom: did anyone ask for them to be back
  • fandom: did-did we ask for this
  • fandom: guys c'mon haven't we had enough
  • fandom: my emotions can't handle this
  • fandom: why do u do this to us
  • tw creators:

So I’m pulling Lost Light off my list. Not solely because of how issue #7 disappointed me, but rather the journey to it has been unsatisfying. MTMTE started publishing in January 2012. By issue #10 the Rodsquad will still not have made it back to the LL. If they get back I’m expecting end of year or later. So that’s gonna be almost seven years with them pretty well not a single step closer to the reason they started the quest to begin with. They used to have distractions along the way that ended in a net positive for Cybertron even when they weren’t making headway into the quest they meant to. Now they don’t even do that.

Lost Light as well was meant to be a jumping on point for new readers with new characters they could get interested in. Instead we were given a long arc dealing with pre existing drama that requires reading MTMTE to understand why these events are happening. Lug and Anode are okay characters, but they’ve been given so little screen time and development in these seven issues that they essentially boil down to someone with a unique profession and her backpack. I have no emotional attachment to them as a couple because we haven’t seen their relationship grow like we did with Cyclonus and Tailgate. Then there’s the way Roberts has written Rodimus as a manchild who only gets worse for most of the series and giving Megatron captaincy to begin with on a privately owned ship.

So if I have to point out the reasons this issue made the decision to drop it for me…I’d say I have of them. After all Cyclonus and Tailgate have been through they aren’t comfortable enough to talk with each other? That’s bullshit and we all know it. Ultra Magnus being unable to pilot his armor if he doesn’t force himself away from ambiguous ways of thinking? Complete 180 of his character progression up to this point and that’s not cool. Rodimus suddenly acting like an adult and the captain he should be? Why was he taken away from his characterization from before Roberts got a hold of him to begin with? He wasn’t the model Autobot before, but while being a glory seeker, he would put himself in danger before his team. And finally the Decepticons. In fact all of the Necroworld bots. Apparently none of them have been given a history lesson. Why? What purpose does that serve?

In short…im tired of all this drama for dramas sake and character arcs becoming circles. Maybe Roberts can learn from his mistakes. But I’m not gonna spend any more money by waiting to see if it actually happens.

The Signs Reading Warrior Cats
  • Taurus: What am I doing with my life.
  • Gemini: *Laughs as someone dies*
  • Cancer: *Always gets attached to the characters that die*
  • Virgo: *nonstop screaming*
  • Libra: *ships anything and everything*
  • Scorpio: Psssh...nah. I'm totally not crying over an imaginary cat that died in a book series. Nope. Not at all.
  • Sagittarius: Yells "OH SNAP" at literally everything that happens in the book.
  • Capricorn: Omg these characters are so stupid I could've figured our this whole prophecy on my own.
  • Aquarius: *opens up new book* ALRIGHT! Who's gonna die this time?
  • Pisces: *has an emotional breakdown*

anonymous asked:

do you thing i should read haikyuu!! first or watch it first?

I get a lot of similar questions, but to be honest, I don’t know which way it would work best. Normally I start anime first (which then gets me interested in manga), but Haikyuu!! is one of those things I’ve actually read before the anime even started.

And to be honest I think I’m really glad I did?? First getting really attached to all the characters and THEN SEEING THEM MOVE AND TALK AND LKADJLDKAD why do you think I’m that emotional over every episode XD

But if you want to start it, use the best way that worked for you usually? It’s always amazing to see your favourite scenes animated but it’s also amazing when you read something and the characters have voices because you heard them in anime already? hhhh I’m so unsuuree ><

I think however you start, you’re still going to enjoy it:)

anonymous asked:

How come tumblr fans always call comicbook characters by their first names and only their firstnames. Do fangirls want intamacy with superheroes that badly??

at first I assumed you were talking about my last gifset so I was going to reply with “haha sorry I was too lazy to type Steve Rogers and you know it’s him anyway so haha my bad” before I fucking read your second opinion

Do you know what problems you have in your entire ask, beside the blatantly rude attitude and wrong spelling? No worries, I’m going to list it out for you:

  1. Assuming only tumblr fans call characters by first names only
  2. Assuming fans cannot call characters by first names
  3. Assuming fans cannot call comicbook character by first names
  4. Assuming only fangirls call characters by first names
  5. Assuming fangirls call characters by first names is becuase they want intimacy
  6. Assuming fans wanting connections, or “intimacy” with the characters they like, is wrong

We can always call characters by their full names such as Steven Grant Rogers or Wade Winston Wilson or Natalia “Natasha” Alianovna Romanova, but if you know the people you are talking to know who you are referring to, isn’t it basically unnecessary? And that you can choose how ever you’d like to refer to them? Like if you say Bucky, and you know the people will know you are referring to Bucky Barnes, do you have any need to say “ohmygosh, James Buchanan Barnes, sergeant of the 107th, best friend of Steven Grant Rogers in the Marvel film series Captain America….”, or a simply “Bucky” or Bucky Barnes? (I’m exaggerating here but you get the drill) 

And in the cases of tumblr, when we attach pictures or headcanons, or more specifically, a GIFSET with a very obvious Steven Grant Rogers, alias Captain America, do you think the people who saw it and chose to reblog it don’t know who that is? Is it wrong to ONLY call them by first name when you have the underlying assumption who chose to read it know who’s who?

And for your assumption of only fangirls call characters by first names? What is so wrong about girls calling them by first names? So is it wrong for boys or any other genders to call characters by first names? I refer Damian Wayne as Damian or Damian Wayne when people need clarification; I refer Natasha Romanoff as Natasha or Natasha Romanoff. My friends call Dick Grayson as Dickybird or nightwing, and Jake Jensen as Jensen, so are they wrong??

And what’s wrong with wanting intimacy or emotional connections with the characters? Because the whole point of merchandising or making readers continue reading them, it’s to making the readers establish an emotional relationship to make them keep reading and buying, with emotional manipulation. You cannot sell shit if your readers only view them in critical eyes. Same with movies and tv series, you don’t keep watching it simply because of the plots. You don’t have fans who only love the plots but not the characters unless there’s a reason behind it. You give characters depths and development so you can associate with them. With no emotional attachments, characters are flat, emotionless and you are just tagging along.

There’s nothing wrong with wanting intimacy with characters, just as why fans wish for diverse characters and characters of colors. Do you know why the marvel character Blue Ear exist? Because a child felt connections with Superheroes. Do you know why people protest and moan about Superman’s death? Because they like Superman. Is that intimacy? Is that emotional attachment to one character? Is it wrong to like them? 

So please shove your biased ass elsewhere or go back to your critical comics analysis area to protect the COMICBOOK CHARACTERS from your manly feelings

anonymous asked:

HI!! I love your books & I know you write what some may consider to be "unlikable" protagonists. I do, too. Currently I'm querying my MG book that has an "unlikable" protagonist, and a lot of the feedback is love the premise, etc...didn't connect to MC. However, a lot of my critique partners have said they ended up falling in love with her. Do you have any suggestions on how to make a protagonist more likable... should I? It just frustrates me... she has characteristics many loved guy MCs do.

Hi!  Thank you so much.  I appreciate that.

The MG marketplace is not my forte, unfortunately, but I can try to offer some advice that might help re: unlikable female main characters.  If any MG writers want to weigh in with more, please do!

One thing about my books is however mean my girls end up—they always start out much, MUCH meaner and if not meaner, more detached (largely due to the crippling emotional problems I like to saddle them with cough).  This does not mean I have to soften them for publication at all, but it does often mean I have to take a good hard look at my execution… so I don’t have to resort to something like making them nicer.  Not that there’s anything wrong with nice characters.

Writing an unlikable female protagonist is a tough job.  You’re always going to come up against people who just refuse to accept them because if the character is a girl, she can’t be unlikable.  This is not a reason to shelve a story with this kind of female protagonist.  It’s a reason to write more.

That said, sometimes readers aren’t connecting because of something that’s missing in the text.  You said something interesting to me besides the fact agents aren’t connecting with your MC: a lot of my critique partners have said they ended up falling in love with… your MC.

That’s reasonable—I don’t think most readers connect with a main character RIGHT AWAY and it’s even more difficult when that character is not-so-nice.  I feel an emotional connection is something that happens throughout the course of the narrative.  You become invested in the character the more you read.  So a reader’s emotional connection pending, what does that leave you with?  What do you need from them, and what do they need from you right at the START to get to that point in the novel where they are attached to your character?


You have to make sure your readers can understand or at least have a foothold in understanding why your characters are the way they are, even if they don’t exactly like them (yet).  Even if they NEVER like or really relate to your character, if a reader can understand why that character does what they do, they can still have a rewarding reading experience with your book.

As an author, you understand your character better than anyone else.  You know—or you should know—what motivates them and how and why they respond to certain situations.  You know why they’re at their worst and you know what needs to happen to get them to their best (or not).  You can see your characters through anything because you made their hearts.  It’s not that hard for you to visualize sticking with them from page one because you wrote that page.  Your readers, on the other hand, did not.  They weren’t there for the development, they don’t know what’s going to happen and why they should stick it out.  If you toss them into this ocean of unlikability, you still have to give them a lifesaver so they can float along with it until they start swimming on their own, you know?

No one would want to hang out or be friends with my protagonists from page one.  At all.  And my protagonists probably wouldn’t want to hang out and be friends with the people reading about them either.  I write characters with walls around them, who are often actively working against those walls coming down.  So there’s my first hurdle in getting people to want to invest their time with my main character.  My main character doesn’t want to communicate directly with them. 

Worse, my first drafts tend to emphasize the most negative traits of my protagonists to the point that my earliest readers, and even my editor, have felt overwhelmed by them, which means it’s overwhelming the rest of the text.  Environment and supporting characters get drowned out, which gives those unlikable traits less context, which makes it harder for the reader to get a foothold in the story and eventually understand and then connect with my MC.

This could be what is happening with you.  You might be focusing too much on your main character and her unlikability (which is understandable—she’s your main character, after all!) and not giving enough depth to her surrounding environment and the people within that environment, and how they inform the way that she is. 

Using my own work as an example, Parker, in CRACKED UP TO BE, is determined to present herself one way to the world.  She’s in such angry, guilty denial, she won’t even admit her weaknesses to herself.  It’s through the people (and one animal) she interacts with that we see her vulnerability. 

In first person, sometimes you have to be tricky in the way a character reveals the other, more subtle facets of themselves, or their reasons for acting the way they do.  Parker’s voice is over the top, her humor crude, because she needs to distract people.  I opened with her somewhat nasty voice and then I chose to juxtapose that against a guidance counselor’s office so hopefully there’s a contrast between this girl whose voice is so utterly in control of her introduction… and the fact that she’s in academic trouble for something serious that happened the previous year—which suggests she’s not as in control as she thinks.  That was my foothold for the reader to encourage them to read on.

Also look at what your character’s body language and/or quirks, say about them.  Physical tells can be a great way to give a character more emotional context.  Again, using CRACKED UP TO BE as an example, readers find Parker snapping her fingers when she feels out of controlShe doesn’t explicitly state this initially, but the action, who she’s with and what they’re doing at the time says it all for her.  These are little things but they can make a big difference when it comes to someone connecting with your character. 

So just look at your manuscript again and look for ways that you can use and/or expand on setting and secondary characters NOT to take away your character’s unlikability, but to give that unlikability more depth, more context, because that is what helps make your character and their actions to be understood, which paves the way for that emotional connection. 

Making your female character nicer/more likable is probably not the answer because even a likable character can run into this problem too.  All characters need to be understood.  Their actions, reactions, interactions and environment inform this understanding.  Look a little outside of your main character and see what you find.  Give your readers a foothold.

Also, getting readers, particularly those within the industry (agents, editors), to embrace an unlikable female MC can be hard but not impossible.  Before you dive into Unlikable Protagonist Troubleshooting in your manuscript, take into consideration you might not have queried the right person yet.  If you feel confident in your work and that—despite some agents’ misgivings—the story is the best you can make it, query more agents.  Some people are just not going to be able to connect with a character for whatever reason, no matter what.  Fiction is subjective. 

I hope this helps!  Good luck!