would have liked to add dialogue

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

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…

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!!!

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.

Anonymous asked:

Here’s a writing question. When it comes to writing thick accents through writing; well, I have a character who has a thick Irish accent and he uses words like “yer” and “arse”. When writing his dialogue, is is acceptable to add words that he pronounces differently or would that confuse the readers?

So, there are a lot of things to unpack here…

1) There’s no such thing as an “Irish accent.” Ireland, like all other countries, encompasses numerous accents, all of them different and region specific. So, saying that someone has “an Irish accent” is like saying someone is wearing a beautiful “pastel-colored dress.” It gives us a general idea of what’s being described, but it isn’t specific at all. 

2) Portraying an accent phonetically requires misspellings and other acrobatics that are confusing to the reader, often inaccurate, and are almost always offensive.

3) It’s best to use other means to clarify that a character has an accent. Here are some things you can do instead, alone or in combination:

- Just say where the person is from. “Maryann was from County Kerry in Ireland.” 

- Just say what accent they speak with. “From John’s accent, I could tell he hailed from the north side of Dublin, or thereabouts.” 

In both of the above cases, it’s accurate and to the point, even if the reader has to use their imagination. If it’s important, a lot of readers will look it up. Have a little faith in your readers. :)

- Describe the way the accent sounds. Accent videos are a YouTube staple, so you should be able to find videos of just about any accent. Some of them will describe the characteristics that make the accent stand out from others. Things like “long O sounds” or “dropped D sounds” for example. 

You can also add atmospheric descriptors which aren’t really accent specific, but can help readers imagine an accent. This is especially helpful in fantasies, when you can’t use real world places to describe accents. Something like, “She spoke with the melodic accent of the southern coastal grasslands, all drawn out vowels and clipped Ts and Ds.” WORD OF CAUTION, however: don’t attempt this with a real accent unless you have a legitimate source (preferably someone who actually uses the accent) or are familiar enough with it to describe it correctly.

- Use slang words (like “yer” and “arse” as you described) to help place the character’s origin. Do some research and you can find slang that gets very specific, right down to the city most of the time. You can also do a search like “Dublin slang.” Or “1930s New York City slang.”

Thanks for your question! :)

bubblebuttpillowcase said: J.K Rowling did it tho so i dont think it should be that big of a deal.  Just saying a location probably wont do it for most. I donk know accents based on locations like that and i dont think anyone would look it ip. I think this is more of an opinion based thing? Its great to be specific and acuret and its a great way to do it. But i think writing the accent would make it esyer to read and understand the accent to make it flow more.

WQA responded: Yep! It’s absolutely an opinion-based thing, but many things where writing is concerned is a matter of opinion. Yes, J.K. Rowling did it, most of us aren’t J.K. Rowling and never will be. ;) And, in truth, she is British and I’m pretty sure any accents she portrayed that way were also British, so probably accents she was familiar enough with to portray them that way. If you’re comfortable enough with an accent to portray it accurately and non-offensively, then by all means have a great time! I’m simply saying that it’s not ideal because most of us will make mistakes, create something that is clunky for our readers, and will potentially offend some of our readers.

Have a writing question? I’d love to hear from you! Prohibited topics: portrayal of diverse characters, emotions, specialist knowledge questions (medical, etc.), “how to portray/describe,” asking for tropes/cliches; broad, vague, or complicated questions. See master list & main site for more info!

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.  :)

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

My rambling thoughts on DSoD

I’m putting the rest behind a spoiler cut, but I don’t think it’s a spoiler to say that the animation is beyond amazing.  Dark Side of Dimensions is one of those rare movies where you could erase the dialogue (more on that one behind the spoiler cut) and I’d sit in the dark watching the images – and still feel like I’d seen a complete movie.

My completely Kaiba-centric thoughts are below the cut. 

Keep reading

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.

Tips for writing dialogue
  • It doesn’t have to be complete sentences. People talk in fragments all the time, especially in response to questions. Example: “Where are you going?” The response doesn’t have to be, “I’m going to the store.” The character could say, “To the store,” or if they’re a VERY brief sort of character, they could just say “Store.” It all depends on how casual you want the conversation to sound.
  • Don’t be afraid to put some “um”s and “uh”s and “like” in your dialogue. This is another thing that people do all the time. Don’t put an “um” or other pause word in every sentence of course, but if a character is clearly unsure of something, “um” is a good choice sometimes. And they can be long and drawn out, too. “Uhhhhhhh……” is a valid piece of dialogue in some cases.
  • Use contractions. This isn’t a formal essay. People talk in contractions. I mean, unless your character is some extremely verbose and formal person. Then spell those contractions out, my dude.
  • Don’t swear too much! I know some of you might say “fuck” in every sentence you say, but for writing it just doesn’t work in most cases. There’s a lot of people who don’t swear much, and by using the fuckwords in every. piece. of dialogue you’re isolating a large portion of your audience because they just don’t talk like that. The dialogue is sort of lost on them because they can’t really identify with it and they’re distracted by the fuckwords. Swearing isn’t off limits for sure! But use it sparingly. You can create much more interesting dialogue without it most of the time.
  • Say your dialogue out loud. Sometimes things sound different in your head than they do when actually spoken. Does your dialogue sound good? Does it sound like something the character would actually say? Do you have a hard time saying it?
  • Use italics/bold sparingly. Please. Italicising every other word all the time is frankly distracting, and people just don’t talk like that. This is another thing where saying your dialogue out loud to yourself can help. Does your emphasis sound good where it is? Is that word really that important?
  • Have someone else read/listen to your dialogue. Fresh ears can help pick out the awkward places in your dialogue.

I’m thinking of making a webisode series of pigeons discussing things with a dialogue component similar to home movies where the voice actors improvise dialogue according to a vague script which allows for wit and such…this summer I’m gonna video like maybe 30 minutes total of pigeons doing pigeon things and then sort of line up the best of the best and make a 5 minute short of two of them and will add audio and edit the video to fit the audio…would anyone wanna be a voice actor? It’s all like hypothetical but I have lots of fun ideas and it’s a very practical short idea :) anyways let me know what y'all think!

thevikingwoman  asked:

For DWC: Dorian and "I think I must have misheard - care to repeat?"

Thank you for the prompt!


Note: I’ve been challenging myself with dialogue. Hence the prompt request.  I really hope you like it!

Characters: Dorian and Scout Harding

Title: Invisible

“I do admire your fearlessness. It adds a shimmer to your eye.”


“Now that I think about it, I have never really seen you in anything but your scout armor. Tell me, is there a woman under there who secretly likes frilly dresses and equally delicious frilly cakes?”

Scout Harding had been entertaining Dorian’s banter on their long walk to the Exalted Plains. Usually, she would already be there when the Inquisitor and her companions arrived; however, there was trouble ahead and the scouts under her command were having a difficult time with the increase in demon activity. No one ever really paid attention to her besides giving the report so she appreciated the opportunity for conversation.

“I’ve never really needed an occasion to wear a dress,” she said, her arms swinging purposefully at her sides, her bow and an arrow clutched one in each hand.

“Who needs an occasion, my dear. If you have the dress wear it whenever you like. I would personally enjoy seeing the look on the Herald’s face were he to see you at our next location outfitted in fine delicate fabrics.”

She scoffed. “The Inquisitor doesn’t notice me. No one notices me. I could be wearing Corypheus’ head on my wrist like a fine jewel and I’m sure everyone would still breeze right past me.”

Dorian stopped walking. He looked on at the scout, her eyes scanning the path ahead, her ears twitching slightly at every noise they picked up. She was a remarkable shot with a bow and arrow and an even more remarkable scout. Without her, they would have walked into much more dangerous situations. He never knew she felt so unseen.

“You think we don’t see you?”

“Yea. Not just because I’m short, though that probably has something to do with it. I’m a tool. A precision instrument wielded for the Inquisition’s uses. I am a scout. It’s my job and my duty, and I like doing it. Other than that, I don’t really matter.” She stopped a few paces ahead when she realized that he was no longer following.

“You are just as important as the rest of us. More important, since you typically stop things from killing us before we arrive. Thanks for that, by the way.”

“Just doing my job. And, you’re welcome.”

They started walking again, but Dorian was now rife with questions about the scout. Perhaps because he was curious or perhaps because he wanted her to feel special. It did not matter either way because he was going to ask them.

“So, do you have your eye on anyone special? The Inquisition is full of men and women and wonderful hormones waiting to be taken advantage of.”

She laughed with a light snort at the end of each lull. “What does it matter. I just told you I’m practically invisible. Even if I did have eyes for someone, they would never see me.”

“Indulge me please, Scout Harding. I love knowing forbidden juicy details. It’s like air to my lungs. Forget this ‘not noticing you’ nonsense. If you could have any one of us Inquisitioners, who would it be.”

She ceased walking again, looking around for onlookers or listeners. Considering her confession of feeling unnoticed, the action was more for irony than anything else.

“The Commander,” she whispered, “I would jam an arrow up one million demon assholes just to get the chance to lick that scar.”

The shock was very evident on his face, and since he too harbored such feelings for the Commander, he could feel a little heat rising within him. “I think I must have misheard - care to repeat?”

Her laugh was heartier this time and she clutched her hands over her belly. “The look on your face,” she breathed between gasps.

“Ha, ha. Very funny. I was asking a serious question you know.”

“Oh, I know. And if I like someone, you’ll never know. And neither will they.”

“That’s a shame. Anyone would be lucky to have a little more Scout Harding in their lives.”

She kept walking and looking ahead, searching for signs of danger as she always did. She would never tell him that he made her blush and that, for one brief moment, she felt like the most important person in all of Thedas. 

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

oh yeah, ive mentioned this a really long time ago actually!! ive even been looking to see how hard/time consuming of a project it would be to pull audio clips from other sources the voice actors have been in to add more random dialogue. i felt like arcade had so little, but it also turns out a few lines are locked until you get into his quest. i think with vulpes it might actually have to do with intelligence though, because arcade is the only one who recognizes him. and with fnv i think its more like conversations are between you and the npc only, companions dont/cant interact, so i guessed boone doesnt know the courier gets the mark of caesar. meanwhile fo4 has the cinematic approach and voiced protags so its more natural and easier to let the companions interlude between conversations between player/npc. like when you take arcade to the fort, he does react but it isnt until your actually in the fort, after the long ass boat ride.

it also seems like they did have more content for the companions, like a cut part with cass where you wake up hungover and married to give you the real vegas experience. but ya know, bethesda’d again with that practically impossible deadline.

5 Ways to Write a Good Kiss Scene

Kissing. It’s better than punching and biting and even zombies. Yes, I said it people. 

However, even the hottest, most interesting characters can have the lamest kissing scenes. Here are some ways to make their makeout sessions awesome.

It’s all in the build-up.

Have you ever had a really bad craving? You don’t know how to explain it. You’re sitting there innocently at your computer, probably reading Reddit or Tumblr or something, and all of a sudden, you must have a piece of chocolate or you will die. Or a bowl of Ramen, or a thick juicy steak. And it can’t be the ones from the grocery store–it better be the good melt-in-your-mouth kind, the ones you drive two hours to buy, the ones that cost a fortune per ounce. And the wait was all worth it because oh-holy-mother, is it good. The way it lingers on your tongue, the way your eyes dilate just from the taste, the way your heart rate picks up speed the moment the nutrients hits your stomach.

That’s how a kiss should be. You’ve got to make the characters–and your readers–work for it. The longer the wait, the better the payoff. But you also have to watch out because if you wait too long, then it becomes frustration and eventually the passion dies down. Neither do you want to give them the cheap, instant crap. Who wants a cup of noodles when they can have the authentic stuff made with real Japanese hands? Fine, cup-o-noodles are delicious. But you get my drift.

And then it’s all in the aftermath

Or afterglow, depending on how you see it. In real life, you don’t just make out and then pretend like nothing happened. Unless you’re in sixth grade, I guess. Or really drunk. Sometimes, what’s best about the kiss is the reaction, how it affects each character. Not just physically but emotionally. How will it progress their relationship? Negatively? Or will it follow with mindblowing sex? Or will it add to the conflict? Characters’ reactions to certain situations are also great reflections of their personality. It’s a great opportunity to show depth within a storyline.

Stop using so much tongue.

Do you remember your first kiss? How clumsy and awkward and slimy and cold it was? Okay, maybe I’m the only one who had a weird first kiss. The point is, kissing isn’t just about the tongue. There are lips involved, people. Lips that nip, teeth that nibble. And don’t forget the hands. Hands touching everywhere, the sensations they create, the pressing of body against body. How fireworks explode against the redness of your eyelids. How tingly your fingers feel, how you can’t stop from pressing closer, and how you can’t seem to ever get close enough. That urgency, that almost-panicked need to kiss even deeper.

Include dialogue and beats. 

Kissing can get boring. You’re probably thinking that I haven’t been doing the right kind of kissing. But seriously, in writing, plain kissing is really boring. Who really wants to watch two people make out and make out and make out…without anything else happening? Sure we all like watching a little hot action once in a while, but even that gets tedious if nothing else is going on and the action has no consequences. What would be the point, unless it’s leading to something else? Whether that’s further sexual exploits or a more tense conflict within their relationship, the characters’ kiss needs to lead up to something.

Depending on how well you incorporate dialogue into a kissing scene, having characters talk and banter can add some great tension (and this can be good tension, not just bad) and break up the monotony into something exciting. Adding action beats will also break up the tedium so you’re not just repetitively describing their kiss.

Tell me what the point is.

Listen, every scene within a book has to have a purpose. If you’re having them kiss, it isn’t just for the sake of having them kiss. It should also to prove something about the character, explore a thread within the story, or develop and thicken the plot it some way. Show me how the character feels about the kiss–not just physically, which is important, but mentally and emotionally. How is it affecting them? How will they change because of it? Is the kiss one of betrayal? How will it affect the story?

anonymous asked:

(same anon here)I'm so glad you see them like that too. TBH I never read other people's hcs or ff for them bcus I'm still hurt from the ending & they're rare but I always hc'd shina as more gentle like minato but still with his mom's temperament and I see hanami as more like her dad. I don't see her as this cute girly girl common in manga. To me she's the kinda gal to hang out with the boys & go out and play and come back home covered in dirt lol. To me she's like... tough ya know, spunky thing.

(1) I also want to add that although I have my own hcs & would like to learn about the ns fandom’s hcs in general to align my aus with a common canon, I sometimes ​feel like I’m westernizing the characters & their ideals and interactions and dialogues because it’s the only culture I know. For example, I read an article on GITS where they talked about a scene where the mother and daughter hug and one of the Japanese ladies in the article said J-ppl wouldn’t do that but rather look each other

(2)deeply in the eyes. That’s my dilemma. Is this something J-ppl would say & do & believe? Or am I making them too western. Especially when it comes to the characters personalities. Like hanami as I said I hc her as more rough (?is this how you say it) but I’ve heard J-audiences don’t like those type of characters particularly well & would rather have cute nice girls with soft voices & shit(side-eyes a certain character). Not saying those types are bad but they often become boring & useless.            

Here on the NS wiki you can find info on all the kids and the other canon characters and how we interpret them. It’s not finished, but you’ll find plenty of info on all the NaruSaku kids.


Also on NaruSaku factory, there’s a “family” tag where all the family stuff goes. I’m sure if you go all the way back to the beginning of the tag, you’ll find the first juicy canons about Shinachiku and Hanami


I just checked it out myself and one headcanon I forgot is that Shinachiku detests Naruto and Kizashi’s dad jokes while Hanami really likes them.

As for tips on Japanese culture, well, in that case, I suggest finding a buddy who is Japanese who is willing to double check your western bias. You can also do a ton of reading yourself on the differences between western and eastern culture. Another thing you can do is visit websites such as Pixiv and see what kind of fanart they create. (twitter is a good place too)

There are a couple of Japanese youtubers who go around on the streets of Tokyo and ask cultural type questions so you can tell the difference (such as what is not very modest to wear in Japan, the revealing answer was too much shoulder)

Always double check, but don’t be afraid to make mistakes. It happens. Just acknowledge it and try your best to fix it or get better moving forward.

As for Hanami, I personally think she’s fine. I’m not sure I would call Hanami a tsundere, but there are just as many people who appreciate rough girls like there are who appreciate the “moe” culture. Hanami simply wouldn’t work as a doe eyed soft spoken girl all the time, just look at her parents.

She can certainly be cute when she wants to be.

The Boogie Man Translator's Notes: Electric Boogieloo

Due to my role in this game, plain old translation notes wouldn’t really suffice this time. Instead, you get translator’s notes: pretty much everything I can say about the game and its development, with the actual game script just being one part of it.

This is kind of long, and spoils everything. Make sure you’ve gotten the happy ending before reading.

Keep reading