would have liked to add dialogue

Emotional Consent

I’ve always been hesitant to post about this because I’m worried people will take it as a personal offense and I just want to say in advance this isn’t “@ anyone” or a callout even

I just feel like emotional consent as a concept is rarely talked about and therefore it’s often breached unknowingly (hence why I don’t never get mad at anyone specific for breaching it), and also I think it’s important I make this post. I didn’t learn what it was till I was older, and most people don’t.

Essentially “emotional consent” is a mutual understanding and willing agreement between both parties when discussing directly emotional or potentially emotionally loaded questions.

I’m going to start with examples, and I know it might feel bad at first if you recognize you do some of them (it’s okay, we all do from time to time), but please keep reading because I promise I’ll get onto alternative dialogues and solution

Here are some examples of what a breach of emotional consent can look like- not all the ways of course, but the major ones off the top of my head:

  • Venting to someone without warning or established boundaries this can look like starting a conversation by venting, or detailing graphic information seemingly out of nowhere and without effective trigger warnings. This can put people in situations where they feel like they have to respond, even if they’re not emotionally equipped, if they’re busy, or if they don’t have the spoons. Of course, usually this wasn’t the intent of the venter, but still has the same effect. FYI- this includes celebrities, social media icons, and people you admire. 
  • Talking graphically about sex, masturbation, or anything in that range without warning or established boundaries this can look like anything from sharing a funny sexual escapade with your friends, and dirty jokes, to sexual harassment and telling someone hows bad you want to fuck them despite not knowing how they feel about it. Sometimes in these scenarios, people can appear visibly comfortable in attempt to fit in and not seem prudish, or to avoid awkward confrontation. This can also be especially sensitive because this is a topic that can very easily and unexpectedly bring up traumas and insecurities along with the discomfort, and it can perpetuate rape culture.
  • Using pet-names and romantic implications, even platonically, without established consent this one was tough for me to swallow at first because I love pet names and I love using them platonically to show love. But even more, I want the people I love to feel comfortable and safe around me. Some people have deeper more negatively charged, or more intensely charged feelings around pet names than I do, and I wouldn’t want to subject them to that. Some people are also comfortable with certain pet names and not others. Also things like calling platonic meetups dates, cuddling, and platonically holding hands mean different things to different people, which is important to respect.
  • Showing people media or sending articles or news with heavy emotional content either without warning, or with the expectation of discussion part of this is about including trigger warnings, and making sure viewing triggering content is optional in spaces and interactions we have control over. Another part though, is the fact that we often expect people to have interactions and discussions with us about emotionally charged topics, including politics, crime, oppression, natural disasters, etc. without fully understanding how this can affect the other person.
  • Telling someone they’re the only person you feel comfortable telling something to, or be open with this one sucks because it usually (except in cases of abuse) comes out of genuine care and wanting to make the other person feel special. That being said, no matter how you phrase it, it can put a massive responsibility on the person that similar to my first example, can make them feel obligated to help even when they’re not in an appropriate place to. 
  • Expecting people to share personal or intimate information a lot of times we ask emotionally loaded questions because we care about and are interested in the lives of our loved ones. That being said, if we’re not careful people can really feel obligated to share information they’re not prepared to, or don’t want to process at the moment. This can look like “How’s your health been?” “How are you handling [life event]?” and “Why didn’t you tell me sooner?”

so now the more pleasant part! What can it look like to prioritize emotional consent instead- these correspond in order of initial bullets

  • Starting vague and asking if it’s okay an example dialogue could be “I’m feeling crappy about [blank] are you up to listen to me talk about it?” I also love to add “or should I try [alternative coping method/talking to someone else right now?]” to the end of that if I have one so the other person knows if they say no I have something to turn to. Another example could be “Would it be alright for me to vent right now? FYI it may include mentions of [possible triggers] so if you’re not up for it right now I understand?” or simply “Are you comfortable with me talking about [blank?]”. Also talking to a celebrity or idol “You really helped me with [blank]. I don’t know if you’re comfortable with detail so I won’t elaborate, but I really appreciate it.” or “You really helped me with [blank.] [An explanation about what specifically helped or inspired you in more detail rather than graphic description of the event.]”
  • Again! You can just ask example dialogue can include “Can I mention something about my sex life?” “I have a joke but it’s dirty so I want to make sure thats okay with you” “Can I say something nsfw?” “Is everyone here okay with sex mentions?” 
  • Asking still works! Example dialogue can be “Thanks [petname] (are you okay with me using that or would you rather I don’t)” “Are you okay being called [petname]?” “Are you comfortable with [intimate platonic act]?” “Do you want to [intimate platonic act]?” “I’d like to [intimate platonic act] if you’d be okay with that”
  • Ask/Warn ahead of time or clarify you don’t need response example dialogue “I want to process [news event] but I know it’s heavy so I wanted to ask first” “Jsyk this article contains [possible triggers] so don’t read it if you think it’d be harmful to you]” “Can I ask your opinion on [charged topic]. If you’d rather not, I understand” “[thought or link to article] FYI no need to respond. I just wanted to share.]”
  • Show you’re appreciation in other ways using phrases that show appreciation but don’t implicate responsibility like “Thanks for being here for me whenever you’re able to” “I really appreciate being able to talk about this with you” “It means a lot to me that I can feel so comfortable and open with you” “Being able to talk about this with you has been really helpful for me and I’m really glad I was ables to.”
  • Asking with an easy out or optional response examples include “Hey, I know you’re dealing with as lot and grieving right now so I absolutely don’t need a response, but I wanted to remind you if you need support in any way I’m available and have time right now.” “Do you want to talk about [emotionally charged life event] or would you rather talk about something else right now?” “I know it’s hard to talk about these things and I understand if you can’t, but I want to remind you that when you can and want to I’m available and won’t judge you.” “Would venting be helpful or draining right now?” “What’s the best way I can support you, or are you not sure right now?”

Sorry this became a long ass post but I thought it was important. I should also add that the exception of course is therapists and counselors, crisis hotlines, or other people trained and already prepared to cope with these things. but besides that- try and emo responsibly. 

Kiss Scenes 101: How To Write The Perfect Kiss

Anonymous said: Hey there. Not sure what kind of questions you accept but…here goes. Do you have any tips for writing kiss scenes? Not fluffy kiss scenes but really passionate ones. Thanks!

I was hoping to post this on Valentine’s Day, but I got a little busy so it got pushed back. Happy (late) Valentine’s Day, and enjoy!

|| 1 || Detail. Remember that describing a kiss means including more detail than just what is happening and when. Be sure to include description of how the protagonist’s five senses are being affected, as well as some other elements such as:

  • What the protagonist smells
  • What the protagonist tastes
  • What the protagonist hears
  • What the protagonist sees
  • The inner monologue of the protagonist, if the point of view in your story allows it.

|| 2 || Make the kiss(es) realistic. Situational details are a key factor in making the scene more satisfying and memorable. Pay attention to details like the character’s physical characteristics, such as glasses, braces, messy hair, etc. and incorporate those tiny details into the scene.

She turned her head to the left, leaning in to brush her lips against her partner’s, but was interrupted when their noses bumped together, making them both giggle, and the awkwardness fade away.

I mean, sure, that’s not the best example, but at least it’s better than:

Their lips collided, and they made out flawlessly, as if they were in a Nicholas Sparks novel.

Little details like bumping noses, giggling, grinning like an idiot, stumbling, hesitating, etc. can make the scene so much better.

|| 3 || It doesn’t always have to be a full on make out session every time two characters kiss. A lot of the time, kisses are short and sweet and that can be enough to send a substantial spark to the fingers and toes, and send the reader out smiling. Pecks, if only on the cheek, can be more than enough and are extremely underrated.

|| 4 || Pay attention to what your characters do with the rest of their bodies. Kissing is in no way just about the mouth. Keep in mind that most of the time, people don’t just lean forward and mush their faces together. Grab the face, caress the lower back, hold their hand, hell, sweep them off their feet and carry them into the sunset! Don’t just stand there!

|| 5 || Lastly, but not least..ly.. VOCABULARY. Using the right wordage can improve your kiss scene-no, scratch that- ANY SCENE a million times better. I’ve made an entire post on vocabulary and synonyms to use for your sex/kiss scenes {shameless plug} and you can find it: 


|| 6 || Read kiss scenes as a writer would. Read kiss scenes that you’ve enjoyed and nitpick them to find what you do and don’t like about them, adding the good things to your own scene and being wary of the bad. 

And now, here are some extra tips to get you going:

 I. Practice - If you’re in a relationship or have a really great friend {;)}, practice the act and take notes on how it actually feels! A lot of people who read these kiss scenes take it as the reality because some have never kissed anyone, so teach them how it’s done!

II. Know your characters - Would they actually bite their partner’s lip like that? Would they actually go as far as caressing the majestical inner thigh? Think about it.

III. Add elements of the setting - Are your characters standing in the middle of a crowd? In a high school hallway? Elevator? Include details like sounds and smells and lighting to give the reader a more full-sensory experience.

IV. Dialogue can be fun to play with - Kissing doesn’t always have to be silent. Maybe they break for a second to say “You’re so beautiful” or “Did you pop a mint when I wasn’t looking, oh sneaky one?”. Include those little mutterings or comments because they are some of the best parts.

V. Have someone you trust read it - If you’ve got a good friend who will be honest, have them read and suggest edits. Google docs is fantastic for having your friends read and help you edit your work, because you can change the setting to “suggest edits” and you can see everything they’ve suggested without permanently altering the scene.

local psych and writing major with bad grammar here to tell you about subtle body language shit people do when they’re talking to help out with writing interactions:

  • note that people who are high self monitors will notice these behaviors more often and can adapt to different conversations more than those who are low self monitors, who may not realize that they are reacting inappropriately in a situation.
  • second note that we only remember a fraction of dialogue and conversation, what sticks in our mind is how a person made us feel during the conversation
  • women, parents, good teachers, and actors are more sensitive to gestures and expressions and noticing subconscious behaviors in others.  
  • please note that some of this may not apply to everyone, keep in mind where these social situations could change for your neurodivergent, mentally ill, and disabled characters

under the cut, i go through non-verbal interaction, gestures, personal space, and eye contact

Keep reading

A Killer First Chapter

Anonymous asked:

Do you have any advise on how to open a story? I have all my characters and my plot and my conflict and everything but I don’t know how to start. How to keep a reader hooked and interested enough to keep going.

This is a little ironic, because I’m about to rewrite my opening three chapters for The Warlord’s Contact from scratch for about the tenth time. But practice does make perfect, and boy have I learned a lot through this process.

Sometimes you look at a story and you just know how it needs to open. It’s the most obvious choice in the world, and it’s clear why no other option would work.

Unfortunately, that’s not often the case. Usually, the beginning to your book will take preplanning and rewriting and replanning and bit more rewriting, and all the while you’ll never quite be sure you chose the best spot to open to, or the right characters to introduce, or the proper setting. 

Here are a few specific methods of thought for tackling your first chapter…

Keep reading

Things I’d like to see in Stardew Valley

SV is such an awesome game but like let’s be real there are some things missing and these are some of my ideas:

  • so i dont know if im the only one but i feel like the relationships aren’t that great? like the dialogue needs some work, and there should be more scenes w/ bachelors/ettes and non bachelors/ettes!!
  • be able to send other villagers mail! I would love to send friends as much stuff as they send me!
  • add a place to set up a “shop” that you can use to sell items to the people in town! And if you sell stuff that certain people like, their hearts go up or something
  • Have more dialogue with personal character questions, and have the townspeople bring that same answer up later
  • place to buy a jukebox for you house? I want to play music!
  • let townspeople visit your farm!! Have your farmer give a tour or something!
  • i know there’s a mod for it but have the wizard sell you a character change/styler for your house
  • obvi multiplayer
  • MAKE THE KIDS GROW UP!! I can’t stress how much i loved this in previous harvest moon games! I want my kids to help around the farm or follow a career of art with leah as a mentor or music with sam!! this would be super cool to see!
  • more dialogue with spouse! I married abigail because i loved her characteristics and dialogue, but i feel like she lost that once i married her (she didnt have that much to begin with but still,,)
  • speaking of spouses, ENOUGH WITH THE DROPPING DREAMS. I hate seeing how certain spouses stop what they want to do just to marry you. Like, shane should own his own coop on you farm, seb should have a garage extension where he works on his motorcycle and sometimes isn’t there because he’s “riding” it, leah works on art in a separate building, etc
  • i want to have anniversary cutscenes with my partner!
  • also cutscenes for birthdays/giving presents with spouse and kids!
  • ((the farmer should have a birthday too))
  • more furniture
  • allow you to get a dog/cat that you didn’t have later in the game, or other random pets
  • rival marriages (except for clint- he sucks) or at least show the townspeople growing as well, following careers etc
  • make one of the big tasks to build linus a house or something! like a small shed or house similar to the farmer’s in the beginning

WOW okay i wrote down a lot more than expected! If anyone has any other ideas feel free to add them (i might add some more too :O)!

random things my fragile bi heart gets really emotional about: axton the commando, and the treatment of his sexuality in the game. just hear me out for a second.

like, for all intents and purposes axton is pretty much the most stereotypical video game character ever— a ruggedly handsome, confident-bordering-on-cocky, square-jawed white guy with a crew cut, a couple carefully placed facial scars, and a military career that’s probably just a bit too illustrious for his age.

but then he’s also canonically bisexual!! and not even on purpose originally, but because of a glitch that made him flirt with everyone instead of just the attractive female character the line was intended for.

and when fans saw this and were like, ‘oh this must mean axton’s supposed to be bi! awesome,’ the writers, instead of 1. freaking out and trying to quash those headcanons or 2. turning the situation into a gross queerbaiting mess (which seem to be the two things that happen most often), were like ‘oh, yeah, looks like axton is bi. let’s add some dialogue to the dlc that confirms this and make it irrefutably canon.’

and that was that. like, there was no uncharacteristically dramatic and emotional coming-out scene. no awkward forced romantic subplot with a male character to ‘prove’ he’s really bi. just a couple stupid and perfectly in-character lines about having dated lots of ‘people’ instead of specifically women and that quip about ‘guns and women… and sometimes dudes.’

and i just want to throw those moments in the face of every writer who’s ever claimed that it would be too hard to make a character bi, or that they can’t do it because it wasn’t the original intent of the character. all it took was two lines of dialogue for the bl2 team to confirm what players had already picked up on. it’s literally that easy and i’m just really tired of excuses for why characters ~can’t~ be bi!!!

Objectophile!Oikawa ft. Why is this Happening to me!Iwaizumi

“It’s like ‘Mmmm yes ~ Show me your sexy cross, Mr. Bow Tie~!’ - Right, Iwa-ch-”

“… Please tell me you’ve never jacked off with a handful of cilantro.”
“Ew, Iwa-chan! How foul! Of course not!”
“Oh thank god–”
“–I just smelled it while jacking off.”
“… :D”
“… That’s it. I’m leaving you.”
“I-Iwa-chan! Iwa-chan, wait! Where are you going? I WAS JOKING.”

“We are COLLEGE STUDENTS, Shittykawa.  It isn’t happening.  I’m not dropping that kind of dough on fucking SHEETS.”
“I’m not sleeping on that.”
“Seriously, then you can go sleep on the couch.”
“I’m not fucking on that.”
“… Again, the couch is an option.”
“I am not fucking you unless we have 1000 thread count sheets.”
“OMFG as if you could even hold to that promise–”

Somehow, they wind up buying the sheets. Iwaizumi complains the whole time: while paying for the sheets, while putting the sheets onto the mattress, while fucking Oikawa that night —-

So. This all started when @right—meow, @kenbrah and @konekat and I were getting red ribbons for our group cosplay coming up at Anime North 2017. … I was looking for a ribbon on Amazon but came across someone selling cross ties. If you know me from my Hetalia days, you KNOW that I LOVE THE CROSS BOW TIE. It is elegant, sexy and sleek. I always will draw characters in it if I have a chance and I have been doing so for years. In any case, I told them “Guys, if I had to fuck a bow tie, it would be a cross bow tie.” … And Kat said “That sounds like something Oikawa would say.” … AND THUS, THIS WAS BORN. 


I also effing LOVE cilantro. It has a such a vibrant and springy smell and freshens up any dish. Threadcounts is another thing I love. Smooth and silky bed sheets ~ So gentle and snuggly? Um. Yes. Yes every single damn time. … And so this post became literal THINGS I FIND SEXY???? IS THAT WEIRD??? 

I also wanted to add pastel colours - like, the concept of pastel colours… Because I have, many a time, said, “I am such a whore for you, Pastel Colours.” … But didn’t end up drawing that lol

Are there literal things you guys find sexy? … Or am I the weird one…

Got7 as students

anonymous asked:

um…Ik in your description you don’t do this..but i was wondering if you could do a thing like what kind of “whatever” this band would be…if you know what I mean?. If you can, can you do got7 as types of students.

OK so I’m going to do this a little different like add how would their dialogue would be. Hope you like it still. *REMEMBER THIS IS FOR ENTERTAINMENT DON’T TAKE ANYTHING SERIOUS* Also pretend if the members wasn’t close like they are in reality, they are just peers to each other in this text.

Jackson-Type of student: Class clown

JB-Type of student: Serious student

Jr-Type of student: Quiet student, laughs and smiles from time to time.

Mark-Type of student: Student who doesn’t pay attention to his surroundings and have to ask what’s going on most of the time.

Youngjae-Type of student: Does really weird things out of nowhere for no reason at all. Sometimes the stuff he does can first be taken out of context.

BamBam-Type of student: The second class clown, right hand man to the original class clown.

Yugyeom-Type of student: In their own world, just plain crazy.

Interactions in the classroom.

BamBam and Jackson fooling around

Originally posted by jaebumiie

JB: “Can you guys stop it, your distracting me I’m trying to focus”

Originally posted by defsouljb

Jackson: “Boy if you don’t getcho yo I’m tryna focus lookin ass” (Don’t mind Mark in the back)

Originally posted by wangmeup

 *Dies of laughter*

Originally posted by markjinbum

*Looks up from his work because of BamBam*

Originally posted by peachprincejr

*Sees BamBam* Mark: “What is he doing?”

Originally posted by jordragon

*Eye contact with Jackson*

Originally posted by dailygot7

*Eye contact with Youngjae first, then looks at teacher*

Originally posted by awesomemeowww

*Teacher looks at him*

Originally posted by myjaebutt

*Vibing in his seat*

Originally posted by got7ish

*Teacher yells his name*

Originally posted by imjacksonsgf

Dialogue/Description Balance

Every writer falls into one four categories of capability. Either they excel at writing description (but not dialogue), at dialogue (but not description), at both, or at neither.

What I usually find is a person tends to be in one of the first two categories: either they have great description but their dialogue is lacking in some capacity, or their dialogue is great but the description is weak. I tend to fall in the latter category.

Nevertheless, I’m going to be talking all about dialogue and description, how to fake it if you can’t do one or both, and how to find a balance between them so that the story flows effortlessly (well, that’s the hope).

Before I start in, I just want to clarify that description includes not only of the setting and characters but also of their actions in scenes, how they move and react as they converse.

Also, as a general rule, if you are lacking in one or both of these areas (or any part of writing), don’t worry about it when you’re writing the first draft. Just get it down. Then go back in after its done, knowing your weaknesses, and revise the hell out of it.

Description Writing Tips

  • Study the art of good description: To improve your description writing skills, read description that you like, from any story or piece of writing. Really try to break down what exactly you like about it, what they do, where they put the description, what they don’t describe, etc.
  • Practice: get a photo you like—or better yet, go outside (gasp!)—and try to describe the scenery, every detail you can. Be excessive, over the top. Just practice noticing the little details.

  • Details make characters feel real: This is fairly obvious. But what may not be is what details should be included. Many writers do the typical hair and eye color (which I’m guilty of too). This is not a bad thing, but it is nice to try to move beyond that or at least add to it. In any case, any description you have of a character, try to use it for more than just a description. It should be incorporated into the story. Think about what details would be important. Why is it significant that his eyes are blue? Is it because they look haunting or mystical? Because they affect others or perhaps the main character? This is just a simple example, but hopefully you get the idea.

Dialogue Writing Tips

  • Study conversations: Similar to the description section, it’s helpful to study good dialogue in stories, noticing everything about it, like the things being said, what’s not said, and even how it’s being said. Also listen to people converse in real life…Listen to the way they talk, how they say certain phrases, their tones, facial expressions, body language. It’s all a part of the dialogue.
  • Practice: To start off, just try writing the same sentence/thought/idea, but have different people say it. How does it change if someone is shy? Bold? Angry? Bossy? Now pick one character, and try changing who this person is saying it to. Everyone speaks differently depending on the person and situation. For instance, if a character is at work, are they polite and respectful? Formal? Loud and obnoxious? This will say a lot about them as character, without you having to describe it!

  • Not everything has to be said: Whether they’re best friends or enemies, a lot is passed without saying a thing. Maybe two characters are close and read each other’s minds or finish each other’s sentences. One glance could equal not only a whole conversation, but also say a ton about the nature of the relationship between the two characters. Maybe two characters are in the relationship, and it’s clear that they’re not happy, not because they say they’re unhappy, but just by their actions and words (or lack thereof). For instance, if they’re angry at each other, they’ll probably avoid one another very purposefully and use very short, direct statements. It’s also important to note that some pieces of dialogue are just filler and can be taken out. For instance, if you have a scene with a conversation that takes place on a phone, you don’t want to include the formalities like “Hi.” “Hey.” “How are you?” “I’m fine…” Etc. That will just bog the story down and add clutter to the writing. We all know that people don’t just start right into the meaty part of a conversation. The only instance I can see these formalities being used is if it’s purposeful and says something about the characters’ relationship. For instance, maybe they were close, but now it’s awkward as they both clearly don’t know what to say.

How to Balance Description and Dialogue:

  • Placement of description is important: When it comes to describing scenery, there are separate paragraphs dedicated to it. Usually the details are broadly scoped, with a few smaller, significant details. As the characters move through the scene, smaller and smaller idiosyncrasies should crop up. Sprinkle them in with the dialogue and movement. When it comes to description of a person, it’s rare to find a large paragraph dedicated to just the outer appearance. Maybe a small, flash description (like the first one or two things someone would notice about the person), with more details sprinkled in as the scene/dialogue progresses. It’s important to find a balance so that it doesn’t feel like its separate chunks of description and dialogue. They should mix together a bit in a scene.
  • The point of view can change the balance: If it’s in first person, there will probably be a bit less description than when writing in third. Most people don’t think in such detailed descriptions, so it doesn’t feel quite realistic. Of course, there’s always room for breaking rules. For instance, if the point of view character is an artist of some sort and that’s part of their personality to be flowery and excessive in their thoughts and probably their speech as well.
  • EVERYTHING should push the story forward: it’s difficult to truly know what should be said, what should be described, and what should be perhaps left out altogether. My piece of advice is that whatever you’re writing, it should push the storyline forward. Basically, everything has a purpose in the story. We learn something important to the plot or characters or situation that is relevant. Of course not everything has to relate to the “main plot”, but it should be relevant in some capacity.
  • General things to keep in mind:
    • Conversations will say something about the relationship of the characters speaking. It just will. What that says can and should affect the plot, in some way.
    • The more detailed the description, the more the reader will think that place/person is significant. If you focus on it, you’re drawing attention to it.
    • Read your writing aloud! I can’t stress this enough. If it sounds/feels awkward. It probably is. Focus on that section, and work with it. Take your time to figure it out. If you can’t fix it or even identify those awkward parts, try to get some readers. Preferably not close friends or family as they can be biased or not what to hurt your feelings.
    • Everyone has their own style of writing. It’s not an exact science.
    • Test styles out. Try a new format. Experiment with a new point of view. Take the time to find what works for you.

Hope this helped. And I’m happy to answer any questions or clarify if needed. Happy writing.

One Piece Live Action

All of the live actions Hollywood has done has been an ass of a disaster. Just getting that out there.

I personally haven’t watched DBZ or the recent Ghost in the Shell but I’ve been in the midst of the generally dissatisfaction, to say the least, about both. And we all know of the unspeakable Avatar the Last Airbender (ATLA) live action.

But with One Piece(OP), that’s a whole monolith of a story that ATLA and Attack on Titan and others haven’t been before with almost a thousand chapters and episodes ongoing.

I think the main problem live action movies and their writers and directors have is that they can’t get the idea of the source being from an ANIME. It just sticks in their head and doesn’t allow them to treat this as a movie as it should be. An anime, a tv series, a book, and a movie are all different mediums and have completely different rules.

The thing I’m afraid about is that the live action will try to get the whole crew together in one movie and the fans know how long it took to get to Brook. I’m thinking that the best way to approach this is by following the animated movies’ lead, such as Baron Omatsuri and the Secret Island and Dead End Adventure, and create an original narrative and plop it into the flow of OP’s storyline, kind of like what they do for filler.

Then comes the main purpose of the live action even existing, which is to appeal to an audience that typically wouldn’t watch anime and haven’t even heard of OP. So if they do as I said and make an original narrative like which was made for only the fans in mind, it might alienate the other half of the population.

Which comes in the whole situation of treating this like a movie instead of an anime. Get your head out of that anime is weird belief that everyone still has, writers and directors. You don’t need to spoon feed us everything by stating it directly and I think the audience who weren’t fans originally would agree even if they don’t have previous knowledge.

Let’s take Avatar again. The writers and director had a hard time with that one as they felt the need to add narration and world building and backstory within the characters’ dialogue and thus sucking any characterization from them and making it seem like the movie was just regurgitating information at you. Narration and Dialogue can be utilized to do worldbuilding, but it needs to be done right and not overused or repetitive. As I’m not an expert I can’t dive into this knowledgeably but I think this is the general consensus, unless they would do something smart and innovative with those things, but I digress. Even taking the anime in consideration, OP doesn’t use its narrator often, he mostly just shows up to recap on the fights or show where Zoro is lost at the moment. There needs to be a balance for both the fans and the ones who don’t know what they’re getting into. So worldbuilding is important, backstory is important, but what I believe should be the main focus is selling the characters and the spirit of One Piece.

This doesn’t mean doing as Percy Jackson the movies did by changing things unnecessarily, such as the character’s ages and the entire plot and the wit and spirit Rick Riordan put into the books. I think the Harry Potter franchise did the best in this case as they sold the spirit of the books, stuck to the plot, but was good at knowing when to trim some details off to fit the movie format.

So what I’m trying to say is that you’re translating something from a different medium to another, so it should be different from the main material. Of course, OP is going to be better as a manga because it works best as a manga. It has basically no restrictions on when it should stop and this way the writer, Oda Eiichiro, can more freely get people involved in the characters and the backstory. But there is a restriction on movies, and clearly the formula of shoving everything into a medium that has different rules isn’t working. The movies aren’t something the populus should expect to see an entire book in or an entire anime series in.

Another example is Howl’s Moving Castle, which is a stretch as it was inspired by the book and not based. But in my personal experience, I checked out the book because it did beautifully in an ANIMATED format but was completely different from the book.

So, if ATLA had been given and promised multiple movies, then they should’ve stuck to the plot. If possible stick to the plot. But it wasn’t because they weren’t promised another movie. And I believe, trying to fit the entirety of season one into one movie wasn’t the right choice for a solo movie. They should’ve cut it down. They should’ve stopped after the Winter Solstice, maybe cutting out Avatar Kyoshi and Omashu, though those are really important parts in themselves. The success of a movie done right, even though it didn’t have everything could’ve brought on the chance of another and maybe even more live action movies.

If OP is given more movies then they should stick to the plot. But the big difference between OP and ATLA is their versatility. OP as an anime series is more malleable and, in my opinion, has written the better filler arcs of anime. ATLA had a strict almost book like structure that builds off of each episode. So OP can have the possibility of straying off the original plot more than ATLA had.

To sum up, sell the spirit and character, never change things unnecessarily like Percy Jackson, don’t stick to the plot with a giant of a story like One Piece, and treat this like what it is: an action and adventure movie.

I know for a fact, it’s almost a given, that the movie will begin with Gol D. Roger’s execution and his last words about the one piece that prompted the Pirate Era. (and then Cinema Sins will say ‘roll credits’). Then it can go multiple ways. A montage of Luffy meeting his crew, young seventeen Luffy about to leave with his little boat, thinking back to Shanks and his hat, or just the flashback to Shanks putting the straw hat on luffy, and my personal favorite is just cutting to Luffy’s grin and the crew fighting on the deck of the Sunny where they can show their relationship to each other while in combat and their role in the crew. Or maybe a mishmash of all of them.

My hopes are that they will make Chopper cute and– the elephant in the room–not whitewash the Straw Hat crew. Personally, Usopp and Brook should be played by black actors, Nami could be latina, Zoro should be asian, Robin could be filipino or Indian but definitely someone dark skinned, Sanji and Franky can be white but Sanji needs to be or must resemble a french origin. Luffy can be anything to be honest as long as he acts like the character.

And the thing is, One Piece didn’t catch on in America as well as Naruto did back in the day, because of the horrible 4kid’s adaption that tried to make the show kid friendly which One Piece really isn’t (and that whole issue with making things kid friendly or maybe even dumber for kid’s to understand is also something that gets on my nerves). It ruined the chance of the show to be something even more amazing than it already is. The same thing happened with the live action of ATLA which made people disinclined to check out the animated show and affected the success of Korra.

I’m very passionate about One Piece, it’s dear to my heart and I really hope the live action isn’t a complete flop. I don’t remember OP for the fights, honestly, (naruto fights are more well animated and interesting) and I don’t like OP for them either, I like the story, and the characters. Luffy and the others say some profound things that have resonated in me and motivate me to this day. OP makes me laugh and cry and feel a connection to the characters. Not saying it doesn’t have faults, but I can see why it made the top and has stayed the top in shonen manga.

This is just my messy attempt at making a suggestion for the infamous anime live action. Oh yeah, and there’s the whole deal with how weird and wacky one piece can be, especially for western audiences. Well, if they can handle a movie about humanized emojis I think they can handle a rubber man and a talking reindeer.

Really hoping live action FMA is good though.

Thank you to nchanstories who talked this through with me and who I can’t tag at the moment because theyre getting some rare hours of sleep

Originally posted by nicefandom

anonymous asked:

So, ive been reading your fanfics for a while, and i wanna start writing my own!! Do you have any tips/tricks/advice for me???

Keep in mind I’m not the best with advice. Feel free to use or ignore any of these. I have not studied how to write. I just took the normal classes in high school and kinda looked around the internet for some stuff. I’m not claiming to know how to write the best, so please understand that before reading. I’m just going to say things that have helped me (or things that haven’t helped me). Please let that be a warning before we begin. 

Write a lot. Practice practice practice! The best way to get better is to write!

Also, reading helps too. Read a lot and read different types of things. It will help out by giving your story some diversity compared to other stories. 

Don’t post your first draft. Always edit if you want it to come out better. Rarely does someone write the perfect chapter without going back and editing a single thing. I like to do a read through for editing, then a separate one for proofreading. You don’t have to do two, but at least go back and edit once. It will help. 

Rewriting your chapter. It’s a pain in the ass and takes longer, but when you rewrite a chapter it’s usually better. Always save a copy of your original version in case you decide you wanted the first scene more, that way you don’t have to try to figure out what you put in the beginning. I’ve rewritten chapters before and they’ve always turned out better and longer. I put more details in and saw where some parts were lacking. Plus it helps with making sure the chapter flows. 

Flowing. Make sure your chapter comes across fluidly and not choppy. Make sure the scenes blend well together and if you’re going to cut to another scene please remember to put in a line break. It’s very confusing to read a story and it skip to another scene with no warning. One minute they were in the hot tub then the next they’re waiting in line at the movie theater? Doesn’t flow well. Make sure when you’re editing that it goes well together. 

If you’re bored with it, chances are your readers are going to be bored with it. I know some scenes are more tedious to write than others and you want to just skip to the good parts but you need to put in certain information before you get to those parts. Sometimes I’ll write the better parts, then go back and try to make it connect. (flowing) The best thing to do is just summarize that part and move on, and then when you’re editing it make it jazzier. Just make the scene more interesting by either cutting it shorter so you don’t lose the reader’s attention or change the scene to… well, make it more interesting? I’m sorry if that’s not helpful. When I have to write a dull part where I need to add information I try to find a way to present the information in a more entertaining way. 

Don’t rely too much on dialogue. What I mean by that is when it’s talking about a major part of the story, try to foreshadow up to that part and add non-dialogue scenes that reveal pieces of it. For example, in one of my stories I have the main character suffering from trauma he experienced when he was sexually assaulted. I started with small details like he would tense when someone touched his shoulder, or he didn’t want to be touched. Of course when it came to actually revealing about it it was in dialogue, but by that point there were so many clues that not a lot of people were surprised by what happened, but still surprised enough with how it came to be. 

Adverbs. I’ve had people tell me I’m using too many adverbs, and yeah, I can see that. Sometimes you can replace that word with a strong verb, but sometimes you can’t. It’s okay to have adverbs, just try not to have too much. Like, I’ve used “he shrugged nonchalantly.” Technically (adverb haha) shrugging is already pretty nonchalant. I didn’t need to add that last part. Another example would be ‘he said softly’. I can replace that with ‘he whispered’. However, sometimes there’s not a way to get rid of that adverb without making your sentence too long and too clunky. I think it’s impossible to get rid of all adverbs, but that might just be me. If someone’s able to write an interesting story with using absolutely (adverb haha) none, more power to them. That’s not me. I’ve heard the goal is to have 5 or so percent of your story be adverbs and no more. If you can get down to that, great. If not, don’t beat yourself up. As long as you don’t use them too loosely (adverb haha) I think it’ll be okay. 

Try not to use the same verb in one sentence/paragraph more than once. If I used the word ‘look’, I’m going to try to use another word when I need to say ‘look’ again. I’ll use words like searched, glanced, eyes flitted, etc. I’m not saying it’ll be bad if you use the same verb more than once, but for me, it breaks me out of the story when I see the same verb being used too much. 

Show not tell. This is a tricky one, because sometimes it’s better to just tell us instead of show us. I usually (adverb haha) turn some ‘tells’ into ‘shows’ when I’m in the editing phase. Showing is better for your imagination, but if you ‘show’ us too much it might just be a lot of details that you don’t need. I’m still trying to find the happy medium for this concept, but there’s a lot of advice out there for how to show and not tell, or when it’s the best time to use either. 

Details. Okay, so this is more of a personal opinion of mine. I don’t care too much about what someone wears or what their house looks like, etc. It’s good to get a vague idea if it’s needed, but if it’s not, don’t bother with it. I don’t need to know what the character is wearing every single chapter/day. As long as they’re wearing clothes I’m good. If it’s specific to the plot that’s another story, but if the character is just going grocery shopping I don’t need to know that she wore her American Eagle jeans and brought her Coach purse and wore her Oakley sunglasses. I also don’t need details like that either unless it needs to be said. Honestly? I kinda zone out if there’s too much detail about a room/weather/clothes, etc. I don’t need a lot of details because then I have to think too much while reading and I get stuck on those parts trying to imagine it and it limits what I can freely (adverb haha) imagine in my head. Like if I said she was wearing a black dress and ended it there, you can imagine it however you want. I can add some details of course, like it was above the knee or strapless, maybe even that it had lace, but I personally (adverb haha) don’t care about every detail of the dress because I just want to read the story. 

When editing, I suggest this simple trick. Change the size and font of your chapter, then go through and edit it. You’ll be more focused on trying to read it because your brain won’t be able to skip right over stuff even though you know what’s going to happen next. I’ve caught so many mistakes this way, most of them being simple ones too. I always write in ‘Calibri’ size ‘11′, but when I edit and proofread I do ‘Times New Roman’ and size ‘13′. It’s easy and it helps.  

Please please please use proper punctuation and capitalization. I know some people like to write their entire story/chapter in lower case, but it’s a pain (for me) to read. Some people may love that, but I would much rather read something where everything’s how it’s supposed to be. If you want to write in lower case, have at it. It’s your story, and that’s your choice. I’m just saying I wouldn’t suggest it. 

Let your readers know if you accept constructive criticism or not. I do, and I let people know that I do. Some people don’t, and that’s fine. Just make sure you make a note of it so no one tries to give you suggestions. Honestly, (adverb haha) it’s probably (adverb haha- Okay, that’s the last one I’ll point out, just wanted to show how often adverbs get used.) going to happen anyways. Some people don’t listen or don’t even read author’s notes, so if it happens then ignore it unless you decide you want to give what they said a shot. 

If you do take constructive criticism, know that you don’t have to listen to all of it. It’s good to think about every suggestion, but you aren’t obligated to follow it. I’ve had people tell me the pacing is too fast or too slow, and I’ll think about it, but then I’ll decide for myself what I think. (Or I’ll ask a trusted friend what their opinion is and go from there) Some advice you get will hinder your writing, but some will enhance it. If you get a beta that’s cool too. But realize that if you go that route you’ll be working with their schedule too, so keep that in mind before getting a beta. 

Speaking of schedules, I do not suggest making an updating schedule. I’ve had countless people ask me what my updating schedule is, but it’s not gonna make me change my mind. Making an updating schedule adds stress. Some stress is good, but too much is damaging. If you already have a decent amount of chapters stored up then first of all, good for you, second of all, then it’s okay to make a short updating schedule. Like say, “I’ll be updating every Saturday for five weeks, then we’ll see how it goes” or something like that, but don’t commit to an updating schedule unless you want the added stress. As a reader I would love if every story had an updating schedule and stuck with it, but as a writer I know how hard that is. The only times I’ve ever been able to keep up with an updating schedule is when I wrote the story in advance and had it finished before I even posted chapter one. That’s the only time for me. If you’re able to make an updating schedule and stick with it then you deserve a lot of kudos! I can’t do it, so I don’t suggest it, but if you’re up to the challenge then by all means, go for it. It’s your story after all. 

Setting goals. Setting goals is a powerful tool to use. It can help you stay on track and you can feel better when you meet those goals, but also remember not to beat yourself up if you don’t make it. Your goals don’t define you. Sometimes we meet the goals on time, sometimes we finish them early, and sometimes we’re days/weeks/months/years late. That’s okay. It’s not a race. Just because you don’t make a goal doesn’t mean it’s the end of the world. Just take a moment to reflect on it, then get right back to it. I haven’t reached a lot of my goals when it comes to writing (and in real life) but that doesn’t mean I’m a failure. Just keep on moving forward, even if it’s not at the pace you’d like to see yourself at. 

Research. It can help so much! Make sure the source is good of course. Some websites are full of shit, but some are rich in knowledge. I’ve used the internet, real life experiences, and talking with people as research before. (I mean hell, I drank boiled rain water just to see how it would taste/feel like for a story) If you’re writing about mental hospitals, do a lot of research! If you’re writing about a couple having dinner at home and one of them is cooking and you say they put the raw 10lb ham in the oven then thirty minutes later it was done, that’s not gonna fly. They’re gonna get sick and then you’ll have to write about their hospital visit. Make sure you do your research! It can help!

Trigger warnings. If your story has some triggering content, put a warning. It’s not fair to put a warning at the end of the chapter, after someone’s already read the chapter. I know it can spoil what happens, but come on! Some things need warnings. If there’s suicidal thoughts or any type of abuse, let us know in advance so we can either prepare ourselves or leave the story. Or sometimes the person will skim it to get past that part. Just put a warning. It’s better for everyone in the long run. 

Speaking of people leaving the story, let them go. If someone chooses they don’t want to read anymore, don’t try to guilt them into staying. We all have such a limited time in this life. Don’t force someone to keep reading if they really don’t want to. On the same note, if you’re reading a story and decide you don’t want to read it anymore, don’t tell the author, or if you do, be gentle about it. It can be discouraging to hear someone leaving, so be kind about it or don’t say anything at all, especially if you haven’t been commenting on the other chapters. 

Also, it’s better to prepare for low feedback. That way if you get a lot it’s great, but if it’s a little it’s not as bad. I say that, but even I don’t 100% believe that. I’ve had some stories get less feedback than others and it is discouraging. There’s really no way around that, at least that I’ve found. I like to ask questions at the end of my chapters to engage the readers and hopefully get more responses, or… you could use cliffhangers. As a reader, I hate getting to cliffhangers, especially if the next chapter isn’t posted yet, but hey, it’s a good way to get reviews. Another thing I’ve noticed (not saying you have to do it at all, just something I’ve observed while posting) I get more reviews for angstier chapters than fluffy ones. Dunno if there’s a pattern there, but it’s something I’ve seen. Not suggesting you should write angsty stuff if you don’t want to, just mentioning it. Thought it was kinda funny, everyone kept demanding more fluff, then when I gave it to them half the people stopped reviewing? 

Dialogue! Now, this is tricky. You don’t want person A and person B to sound the same, so you need to give them some personality. For my characters that like literature more, I’ll have them say stuff like, “I should have gone sooner before they closed.” Or I’ll shorthand it and have them say, “I should’ve gone sooner before they closed.” But for characters that are more laid back, I’ll do stuff like, “Man, I shoulda gone before they closed.” Or someone saying ‘Kinda’ and another person saying ‘Kind of’. I observe how people talk and try to mimic that. Also, not every sentence has to be full. Sometimes in real life I’ll say stuff like, “Tired. Been working more hours than normal.” That’s more realistic than me saying, “I’m tired. I’ve been working more hours than normal.” Now, for some people the second one is realistic, for me it’s the first option. Know your characters and how they speak, it’ll help out a lot. 

Also, observe people in general. You can draw inspiration from normal conversations around you. You can also pick up certain mannerisms. Little details like ‘He played with the ends of his scarf when he was nervous’ or ‘His fist clenched as he listened to what she had to say’. Just small things like that help set a scene without adding too much detail. Plus, it helps break up dialogue. Too much dialogue without anything else happening can be bland. Also, too much narrative without any action/dialogue can be bland too. It’s all about finding that happy balance. 

I’ve heard that there’s no such thing as writer’s block, and I kinda believe it. The theory was if you hit a writer’s block what you actually did was write yourself into a corner that you can’t get out of. To fix it you need to go back and change the path. This could be going back a few sentences or paragraphs, sometimes half or more of a chapter. I hate to admit it, but when I hit a writer’s block I try that trick and it helps. I end up changing the path of the scene and it works out better. I’ve had to sacrifice so many words/time because of it, but hey, I progressed the story in the end, so that’s something. If you can work past that writer’s block without changing the path, that’s awesome, I’m just saying what’s worked for me before. 

Don’t update too often. I know that might sound weird, but it’s helpful. Give your readers time to build up anticipation, let them think about what they read and process it. It will also give more people time to review. Too often I’ve seen people read through all the chapters and only review the most current chapter. I understand why people do it, but it would be awesome if they reviewed every chapter. I’m not saying they have to, but I am saying you have better odds of getting more reviews if you wait a little bit before posting. It’ll also give you more time to work on the next chapter after that to build up a little stockpile of chapters. If you can help it, try not to update within a week. I think a week is a good amount of time to wait between chapters if you already have the next one finished. 

On that same note, don’t feel bad if it’s been longer since your last update. Real life happens. Sometimes documents get deleted on accident, sometimes you get scheduled more often at work and can’t write as much, or sometimes something happens that takes up all of your time. Don’t feel bad about not updating as often as you wanted to. Sure your readers will want an update, some might even demand one, but it’s your story and your life. Take care of yourself before attending to your reader’s needs. Real life comes first, you come first. End of story. Most websites have a ‘follow story’ option or something like it. If they want to read that badly they’ll subscribe or follow and wait for the updates. I know some people don’t have accounts, but if they’re interested in your story enough they’ll check on it periodically to see if there’s an update. Just focus on you first before your story/readers.

Write based on experiences. If you’ve hurt from laughing so hard, draw off those experiences if you’re making a character do that. If you’ve cried yourself to sleep, write based on that. Emotions are powerful things and sometimes hard to nail down, but if you write off your own emotions it can bring a scene to life. So next time you’re exhausted after a long day at work, thing about how your muscles feel, how your mind feels. Next time you hear/see something confusing, think about how your face changes. You can also write off other people’s experiences too. That goes along with the whole ‘observe people’ thing. Just write how it would feel, and it should start coming together better. 

Here’s something that helps. Wait a few days after finishing a chapter before editing it. It will give you time to forget some parts of your story and help you read it with fresher eyes. You can catch more mistakes that way and see how it would flow better if you change some scenes around. I use that trick and it definitely helps. 

Find a good place to write. My best writing happens when I’m on the couch, surrounded by throw blankets with two or more waters ready on my end table. Yours might be different, but whatever it is, try to find the best way for your to write. I personally can’t have any noise going on, some people have playlists they use for certain stories. Whatever works for you, do it!

There’s so much writing advice out there, I feel like I haven’t even scratched the surface. There’s stuff on keeping a character in character, how to write well developed relationships, how to build suspense, so much stuff. I have a sideblog where I reblog writing advice. Some helps, some I keep around just in case one day I could use it. It’s @fairytailandchill if you wanna check it out. There’s not a lot there, but it’s something to start with. 

If anyone else knows a helpful trick, please mention it. Once again, I don’t claim to know all. I can only tell you what has and hasn’t worked for me. I can tell you the best advice though. 

Have fun. Writing shouldn’t feel like a chore or homework. It’s something we do for fun. Sometimes we have to take a step back when it’s becoming too stressful, and that’s okay. Just make sure you’re having fun while you’re writing. It’s the best way to keep writing. Thank you for your ask. I hope this was helpful. :) Congratulations on wanting to write! I sincerely hope it makes you happy!

(Also, sorry if there’s any typos in here. I’m ironically not going to proofread this because I’m tired as fuck and need to go proofread my actual story lol)

Accidental: Chapter 3

 “I don’t know, Connor, you walk into lunch first!”

“For god’s sake Evan, why can’t we just walk in together?”

“People will assume…”

“Are you even ok to go in? Sensory overload’s a bitch, and I know this from personal experience.”

“Don’t treat me like a child, Connor!” Evan snapped, then paused. “Ohmygod, I’m so sorry, that was so rude, I’m sorr-”

“Dude,” Connor smiled at him, grabbing his hand in the deserted hallway, “It’s fine. I was out of line. Now, are we going in together, or not?”

“Yeah. Let’s. Um, I mean, well, what do you want to do? I don’t really have that strong of a preference at this point, just-”

“Together. But if you don’t want anyone to assume…” Connor smirked, looking down at the space between them, “you might want to let go of my hand.”

Evan jumped, dropping Connor’s hand like it was burning and blushing furiously. For once at a loss for words, Evan pushed the door into the cafeteria and walked in, Connor rushing to catch up.

“So…” both of them said at the same time, before looking at each other and laughing.

Connor continued, “Do you have a table you’re normally at? I don’t really ever sit with anyone…” he paused, unsure how to continue - how do you tell someone you have no friends? - and opted to just smile instead.

“Oh, well, sometimes I sit with Jared, um, Jared Kleinman, if you wanted to find him? I don’t know too many people, just you really, now, I guess, I’ve never had too many friends…” Evan said, words blurring together as he stumbled to reach a tangible thought (and reach his table).

Connor was in awe of this kid. You generally do friendships the other way around- emotional intimacy is the last  thing, not the first. So, seeing Evan stumble over words and blush was a wake up call from seeing Evan slide down a wall and sob. Deep in thought, he didn’t notice Evan stop until he heard his name called from a few feet behind him.

“Connor? We’re here. That is, if you want to sit with us, I understand if you don’t-”

“Oh! Yeah,” Connor exclaimed, backpedaling and sitting down at the table with Evan. “I assume you’re Jared?” he asked, but was cut off by the kid in front of him - Jared, he presumed.

“So what were you guys doing all day?” he said, accompanying his words with the waggling of an eyebrow.

“Shut up, Jared,” Evan muttered, then looked to Connor and spoke up. “This is Jared, he thinks everything is gay and is a walking meme. Jared, this is Connor, and we’re not dating.”

Jared, however, wasn’t listening anymore. “Evan, you look really tired…” he spoke, looking worried and distant.

“Probably ‘cause you were ‘sleeping’ with this Connor kid, right?” Jared suddenly joked, all worry gone from his voice, replaced by unexpected humor.

Connor almost choked on his food. If only Jared knew how true it was.

Out of the corner of his eye, Connor saw Evan make a gesture as though he was tucking his hair behind his ear and smile apologetically at Jared.

“Oh!” Jared said softly, seeming to forget that Connor was there, “It was… You could’ve come and found me,”

“Look, it was spur of the moment,” Evan replied, “Conn- I handled it. I’m going to the bathroom.”

Evan shouldered his bag, wincing in pain, and left the room. Connor watched him go with the nagging feeling he’d managed to miss half of an important conversation.

There was a pause as both remaining boys stared after Evan’s retreating back before you could hear Jared muttering.

“What happened to his back…”

He then turned to Connor with an unexpectedly serious face and began to speak.

“Look, if you’re sitting here, I assume there was a painful ‘let’s be friends’ kindergarten-disney moment. Evan’s gonna want your number, and given how it seems you guys met, he doesn’t have it yet,” here he pulled out his phone and handed it to Connor, “Put it in. I’ll get it to him.”

Connor awkwardly added his number into Jared’s contacts. 

What did I miss?

The bell rang for class.

Keep reading

More Random Thoughts

One of the best things about this show is the simplicity of some of the dialogue having wished it would have been in actual Star Trek at some point. 

Minor spoilers ahead probably?

For instance, in episode 4, when they give Ed food to eat and he tries it and it’s clearly awful. Now, maybe it’s just me, but obviously across all the Treks a bunch of them went to different planets and new places and just ate the food never really commenting on taste or whatever. Of course, it could be assumed that they had already had food like that since (other than Voyager) they already knew most of the species they came in contact with. Still, when they found other planets, or had to interact with a species and not violate the prime directive, they had to have run into situations where the food was just awful. Yet, this was another thing never drawn attention to even though it’s entirely realistic. Though I doubt a Trek captain would have been as unprofessional as Ed was, still, was this ever touched upon? 

It’s the same with small things like Alara getting nervous and puking. Or people saying they have to use the bathroom. Now I get that this is “toilet humor” but to the same extent, who ever went to the bathroom on any of the series? As far as I’m aware people got sick but they never went into the heavy implication of vomiting. This, all of this, is normal behavior. Also the commentary about star mapping being boring. For us watching, it’s cool, but that’s their job. They’ve done it a lot. I’m sure it’s not always exciting. 

I don’t deny that some of the one liners can fall flat, but I do like this way of drawing attention to realistic problems of Star Trek that everyone would have questioned but never would have actually said in the show. Is some of it unnecessary? Probably, but I certainly like it. I think it adds a more relatable realism to the aspect of space travel. Obviously this isn’t the only appeal to me, but I think it makes the show work out well. 

To put it simply: I feel much more like I’d personally fit in on a ship like the Orville than a Star Fleet ship, simply because I like the more casual and relaxed dialogue and atmosphere. 

Failure to Collaborate

“Once upon a time–”

“No, no, no! Absolutely not, no way! You aren’t seriously suggesting we start our story so…clichéd?!” she sputtered.

He closed his eyes and pinched the bridge of his nose. “Look, I was thinking we could as a joke, you know? And–”

“Yes, our story would be a joke then, that’s for sure! Oh, I know! What about ‘It was a dark and stormy night…’?!” she snorted.

He was already experiencing a pang of regret at agreeing to her collaboration request, and they were just sitting down to write. He sighed and decided to push through it. “Okay, forget that, how about–?”

She gasped suddenly. “Hold on! Something brilliant just came to me!”

He watched as she typed at her laptop furiously. Then kept typing…and typing, for longer than he had expected. Yet he remained quiet, not wanting to disrupt her obvious flow of ideas.

She stopped typing and tapped triumphantly at the screen. “Read this and tell me what you think.”

“Whoa! This looks like a full story.”

“It’s cool, you’ll see. We can change it as we go, adding your ideas here, editing what you dislike there.”

He read what she had, then commented, “Okay, I like where you went with this. But I think the secondary characters need work. Also–”

“Need work? How?”

“Well, for instance, the dialogue–”

“What about the dialogue?” she asked testily.

“You know what, nevermind. I have a suggestion for the plot. I think we should add a bit of backstory here,” he offered, pointing to the paragraph in question.

“I think that’s completely unnecessary and would take away from the momentum.”

“Ummm…okay, then. But I believe it should be separated into two paragraphs.”

“Why? It’s just fine as is…”

He squeezed his eyes shut tight and counted down in his head backwards from ten. Feeling a bit more patient, he tried again. He pointed out a few places where the words could be stronger, but she insisted hers were just right. He gently tried to correct a couple of grammatical errors…only to be told he didn’t know what he was talking about. He showed her where her punctuation was off, and she looked at him like he was off his rocker.

Finally, he threw his hands up and said, “I guess there’s nothing left to do, since it’s so perfect!”

“Wait, there’s no title,” she reminded him.

Frustrated and no longer able to hide it, he suggested one facetiously. He was surprised when she exclaimed, “That’s it! Okay, now it’s done. It’s perfect!”

“Yeah, it’s so seamless, you can’t even tell two people wrote it!”

Then she mentioned something about trying it again some time, but he was too busy looking for the exit to take note.

Character Creation - Where The Hell Do I Start?

How do I create characters is one of those questions in the writing world that no matter how many times it’s answered, and no matter how much content is out there we still see it over and over and over, so today I’m going to break down one of the reasons I think this question never feels answered for some writers.

I often see this question answered in two polar opposite ways.

The first way is to say just make up as much as you need to for the character in question, and while that’s true and helpful, it’s only helpful for those that already have a character idea particularly set out.

It doesn’t help someone who’s just trying to create character from scratch.

The other way I see this answered is with long character sheets or questionnaires.

These come in the forms of roleplaying style forms to fill out, or a hundred questions, or a list of traits and favorites.

These are great to flesh out a character that you already have a good solid idea on, but the problem with this answer is if you are just starting to build a character this is overwhelming.

So what we’re going to talk about today is a niche I think is being missed when a lot of writers ask How do I create a character by breaking down just a few specific things every character needs.

Keep reading

dragonofsorrow  asked:

Hello there! I'm having a tough time writing scenes that involve a character using magic. A part of me wants them to use an incantation for it, but a part of me feels that would add in unneeded dialog that could distract the reader. Any advice you could offer here? What about adding in magic without incantations? What are some better ways to describe it? (Love the blog, by the way!)

Luckily, I’m mildly (majorly) obsessed with magic, and have created a handful of different ways for magic to work!

1) Incantations are fine! If you’re worried about adding unneeded dialogue, you don’t have to expressly quote the incantation. You can always describe it like so: “He fixed his eyes on the enemy, murmuring the spell underneath his breath as they approached” or similar descriptions. Or, if you have short incantations, it really won’t make much of a difference.

2) Consider another kind of conduit. Wands and staves are common devices that magic is channeled through. These can be combined with incantations or used on their own. Usually, these sort of magics are displayed with a visible energy blast of some sort, or an elemental response. You can always go into some detailed description of it, (”As she thrust her staff forward, the air itself stilled momentarily. A gust of wind routed itself forward, hurling leaves, twigs, and pebbles along, morphing the landscape itself into a weapon finer than what the town blacksmith could have offered”) or you could keep it more simple (”He shouted the spell, a bolt of cyan sprouting forth from the tip of his wand towards the other.”

3) Go the superpower approach. You can make your magic presentation like the way a superpower might be displayed: without a conduit and without a spell. Maybe the energy of their magic surrounds their body in a field of energy, or an element. Perhaps the user gestures towards something and it responds without any other indication anything has happened. This way eliminates the need for extra dialogue, and once you’ve explained it the first few times, it also eliminates the need to explain how and why things are occurring; you can just have your character fighting as usual.

Really, there’s no wrong way to describe your magic. All that’s important is that you give it specific rules and limitations to keep yourself in check! (Also, sorry if the thoughts here are inconsistent. I didn’t sleep much last night and was distracted by a number of things while formulating the reply. And glad you’re enjoying my blog!)

anonymous asked:

(May or may not be a confession) I never understood why the Warden doesn't have a 'voice'. I mean, technically we chose a voice when making them, so why do they not have real dialogue? Maybe this is common fandom knowledge, but I'd like to know

The first game was announced in 2004 and did not come out until 5 years later.  And given the fact it was an Origins game the cost of employing 5 different voices would have been expensive which is why you only have battle voices. Perhaps there’s more info our followers can add.  :)

anonymous asked:

I'd like to request Sentence 5 with Norman and whoever you want and Dialogue 7 with Dipper and Coraline and whoever else you wanna add

“I am under no obligation to make sense to you.”

Hi! I ended up not being able to do your second request only because Coraline or Dipper would have to be drunk and I’m still writing them pretty young here. I like your prompt, but I can just see it more when the kids are 18-20 :) Hope you don’t mind, I’m just very particular of things staying in character for my timeline. 

Anyway, I hope you like the one I did do.

Time Period: Third Summer

“Norman, hold still, I think you have a concussion,” Coraline said as she tried to wrangle her younger cousin onto the couch, but he seemed insistent on standing up.

“No… no… no concussion. It was a vision… or omen, or whatever I have!” he protested, blinking blurrily at the world around him.

“Yes,” Coraline agreed. “And then after that you fell to the floor and hit your head, hence the concussion.” She finally managed to sit him down on the couch. She had given him so many pillows that he had sunk down between them and was unable to get back up. “There!” she exclaimed happily.  

“But I have to tell you guys… about the vision.”

“We’re listening,” Dipper said. “But you can tell us from there so you don’t fall over again.”

Norman nodded, but the motion made his head spin.

“Uhh… so there was this deer.”

“A deer?” Raz asked.

“Yeah, but it was a completely white deer, and it spoke. It said rain from the sky will reach the bones down below. Something… something… the time has arrived, and their spirits will grow… then something about a flood or… or maybe an ancient grudge… I don’t remember.” Norman paused. “Was it always this fuzzy-looking in here?”

Coraline patted her cousin’s shoulder. “Maybe you should just take it easy for now. You can tell us about the omen when you are a little more… coherent.”

“Nooo,” Norman protested. “I might have forgotten something important by then. I… I think I know what it means, anyway. It’s like in the Sibling Brothers books. Book number five, I think. When the boys have to go to that boarding school and, and they meet their old nemesis and they think he’s behind the kidnappings. But then the boys find out the real villain was the janitor the whole time. It’s probably like that.”

“Uhh… so the omen is about ghost school boys who get captured by the janitor?” Raz asked. “You’re not making any sense Norman.”

Much to Raz’s surprise, Norman glared at him and pointed a finger directly in his face. “Shh, I am under no obligation to make sense to you.” He then lowered his hand and patted Dipper’s arm. “Besides, Dipper gets me, don’t you Dippy?”

“Yeah… yeah I totally get you, man. Totally get you…”

Coraline looked over at him. “Do you really?” she whispered.

Dipper shook his head and lowered his voice. “Not in the slightest.”

My main goal this month was to finish the Journal portion of the menu, this catalogues all the goodies and baddies that Poppin and Jupa encounter, along with some flavor text. It took me a while to figure out how to organize the way stuff gets saved and loaded, and I finished writing a lot of the entries.

With the game involving a mini map, I worked on a method for editing. It’ll be a while before I can even make use of it, but it’s one less thing I have to do in the future.

I also made progress on designing enemies, and writing notes on their behaviors. This set here are all toy themed.


That should be it for now! Sadly, I’m not sure how much the next update will have: my final quarter is starting in college, and it’s going to be my busiest yet. If I can squeeze in anything, I really would like to add in the rest of the pause menu, starting a dialogue system, and finishing up story-writing/file saving.

Okay so i just saw Falsettos on The Big Screen™ AND HOLY SHIT IT’S SO MUCH BETTER THAN I THOUGHT IT WOULD BE, AND I HAD HIGH EXPECTATIONS. Their facial expressions and just the smallest things they do add so much to the story and you can’t really see that when they’re on stage or when you’re watching a bootleg. There were so many things I missed (and i’ve watched this show like a million times) and so much dialogue that I thought was throw away dialogue at first gained so much more meaning. It was beautiful. Also– in case anyone was scared that they wouldn’t have the camera on certain people when they weren’t the biggest focus of the scene– DO NOT BE CONCERNED, you can see a lot of what I thought would be ignored in the background (Whizzer during Making A Home, Marvin during Trina’s part in Love Is Blind). ALSO. FUCK. If you’re a person who likes March of the Falsettos, it’s just??? better??? It’s so fucking good on-screen I can’t even explain why but it’s??? so good??? I love?? All of the beautiful emotional songs are amazing as one would expect. You Gotta Die Sometimes was slightly underwhelming? which sucks because that’s one of my favorites, but Year of the Child makes up for it. Also, the lesbians were amazing. For some reason I didn’t really understand the hype around them at first? Like i loved them don’t get me wrong but it wasn’t overwhelming; however, now I TOTALLY GET IT. Again, I can’t even express why–because i don’t really know myself–but oh my god i love them so much more now. ALSO I REALLY REALLY WANT TO BE ABLE TO BUY THIS ON ITUNES OR ON DVD??? ITS SO GOOD.