Author: iamhavinganemotion

everythingfanblogkingsman:

thatsthat24:

I Speak Fluid References đź’¬

@spacevirgil Here you go, don’t ever feel terrified for asking for captions.

Thomas: Aww man, its like so hard to explain how I felt at the time, its like… um… its like “oh!” do you remember that one meme with th–

Kenny: Ah nah, I don’t look at memes…

Thomas: [obviously shocked] You don’t… You don’t look at any memes?

Kenny: I’m not online much.

Thomas: No memes, like nothing?

Kenny: Nope.

Thomas: Okay… Um, Well, okay, so [deep breath] If I was in Hogwarts and I–

Kenny: I never read Harry Potter

Thomas: What?

Kenny: I’m not a reader per say…

Thomas: Okay… Well, It’s like that one episode of spongebob.. where–

Kenny: What is spongebob?

Thomas: Are you kidding me?

Kenny: Oh I’m sorry, you’ll just have to convey your point in your own original thoughts and feelings.

Thomas: Uh, use, words, like what, I, don’t [distressed noise]

red-squared:

shedoesnotcomprehend:

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives.

And in time it came to pass that a young man by the name of Outis came of age in that city; and, as with all who lived in that city, he was taken to a secret place where a wise elder showed him a small cold dirty room. And in that room there was a small cold dirty child, naked and hurt and starving, who had never known the least human kindness.

And the wise elder said to Outis, “In our city, everything is good and no one suffers. But it all depends on this child. If the least kindness is shown to him, our city will become like all other cities. There must always be such a child in Omelas.” …

…And Outis said to the elder, “If our city becomes like all other cities, many children will suffer.” And so he became a citizen of Omelas. And Outis led a good and happy and fulfilling life; and the child continued to suffer.

…And Outis said to the elder, “I will have no part in this evil thing.” And he walked away from Omelas. And Outis led a cold and short and brutish life; and the child continued to suffer.

…And Outis said to the elder, “I will have no part in this evil thing.” And he took the child and bathed him and cared for his wounds. And the city of Omelas became like all other cities; and many children suffered there.

…And Outis said to the elder, “I will have no part in this evil thing.” And he took the child and bathed him and cared for his wounds. And the city of Omelas carried on as it always had; and from that day forth no child suffered there.

…And Outis said to the elder, “I will have no part in this evil thing.” And he took the child and bathed him and cared for his wounds. And the city of Omelas became like all other cities; and many children suffered there.

But Outis, who would leave no child to suffer, worked tirelessly to save each one of them, and to build with his own hands a city in which everyone lived a good and happy and fulfilling life; and so in time it came to pass that the latter days of Omelas were greater than the former. And for ten trillion years Omelas carried on, and no child ever suffered there again.

…And Outis said to the elder, “Nevertheless, this child is my son, and I will not leave him to suffer.” And he took the child and bathed him and cared for his wounds. And the city of Omelas became like all other cities; and many children suffered there. But Outis did not care, because he valued the well-being of his son over all of them.

…And Outis asked the elder, “Why?” And the elder showed him to a library filled with books. And Outis studied the books for many years. And when he was an old man with a gray beard, Outis went out of the library and returned to the child and took the child out of the room, and in the child’s place he put a stone. And the stone was naked and dirty and cold; and the child Outis took and bathed and cared for. And Omelas carried on as it always had; and from that day forth no child suffered there.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives; except for one child, who suffered so that the city might prosper. And all who lived there knew of this…

…And each citizen of Omelas, having looked into himself and seen that he would stand by while a child suffered in abject misery, found in himself a new willingness to do dark and evil deeds. And in time, all those who lived in Omelas suffered.

…And each citizen of Omelas lived with the gnawing guilt of his complicity, and the abiding terror that his own child would be chosen as the next to suffer. And in time it seemed to them that they could take no joy in any of the glories of Omelas.

…And one night, the child rose up and went out of his room and killed all the people of Omelas in their sleep.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives. And each morning, each citizen of Omelas was taken to a small cold dirty room, and shown a small cold dirty child, and told that the child must suffer so that his day might be filled with all good things.

And all in Omelas agreed that it was better that one child should suffer than many; and none of them ever asked if it was the same child they saw each morning. And after all, one small cold dirty child looks much like another.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives; except for ten thousand children, who suffered so that the city might prosper. And all who lived there knew of this…

…but none of them were ever taken to see the children in person, so none of them ever did anything about it.

…and whenever anyone saw such a child and “shouldn’t we rescue that suffering child?”, the other citizens of Omelas laughed and replied to them, “Naïve fool! Don’t you know that a child must always suffer in Omelas, so that the city may prosper? Otherwise it would become like all other cities, and many children would suffer.”

And everyone nodded wisely and went along with their days; and so ten thousand children continued to suffer where it might have been only one.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives.

And
in time it came to pass that a young man by the name of Outis came of
age in that city; and, as with all who lived in that city, he was taken
to a secret place where a wise elder showed him a small cold dirty room.
And in that room there was a small cold dirty child, naked and hurt and
starving, who had never known the least human kindness.

And the
wise elder said to Outis, “In our city, everything is good and no one
suffers. But it all depends on this child. If the least kindness is
shown to him…”

“…the city will continue on as it always has, only your internet will be slightly slower.”

And Outis went back up into the city, and on that day he became a citizen of Omelas; and the child continued to suffer.

“…the best predictions of our scientists suggest that there will be a slight average decrease in various hard-to-measure kinds of happiness, which nevertheless in total adds up to more suffering than this child experiences.”

And Outis said to the elder, “I will have no part in this evil thing.” And he took the child and bathed him and cared for his wounds. And the average happiness increased in some ways and decreased in others, and the net effect might have been negative, but the best results on the matter had p > 0.05, so the scientists of Omelas could not rule out the null hypothesis.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives.

And in Omelas there was a naked dirty child in a small dirty room; because the child was agoraphobic and was making mudpies.

Once upon a time there was a city called Omelas, where everyone lived good and happy and fulfilling lives.

Very few people told stories about Omelas, but it was a very nice place to live in.

The Ones Who Walk Away from Omelas, from The Wind’s Twelve Quarters, by Ursula K. Le Guin.

When Diversity Is Bad

tropesaretools:

Sometimes, a work relies on having the privileged group as certain members of the cast. Diversifying those works/roles? A terrible idea.

Lord of the Flies is a critique on the assumption rich white boys are the panicle of civilized behaviour. Rebooting it with an all-female cast misses the point.

Heathers is a story of how a clique of rich white girls run a school. Rebooting it with an all-marginalized group of Heathers misses the point.

While my list of works that are super bad ideas is short, since 1- Hollywood has only recently decided to expand their cast away from white bread (let me know if you have more!) and 2- I tend to try and forget bad examples, these ideas point to a very, very troubling trend:

Taking works whose whole point is lampooning privilege and assuming they’d work the same way if you removed the core concept.

If we actually reached parity between marginalized representation and privileged representation, those types of reboots might be safe ground to tread on. But right now marginalized people are still very much marginalized, and as a result their cultural systems are different from the privileged group.

Rich white people have a wildly different frame of reference from rich black people. A rich black person will usually have a living relative who wasn’t allowed to own a house in a certain area because of skin colour, or whose parents weren’t allowed to. Meanwhile, even a new-money white person doesn’t have the recent historical racist barriers that actively tried to prevent their upward mobility.

The two groups are going to think about money differently. While both can flaunt it for the same reasons— it’s new, and they want to show it off— the sheer amount of ex-legal baggage a black person is carrying around is something I can’t speak about, but know is there.

If you’re starting to think about tossing in a little diversity into your cast, look very hard at the social structures you’ve put in place. Are the villains relying on wealth? Social power? How about the ability to act with impunity? All of those are highly tied to privilege— the type of privilege somebody marginalized simply would not have.

It’s different if you’re doing a single-marginalized-group cast. Black Panther doesn’t suffer from having rich and power-hungry black people as villains because there’s a bunch of rich heroic black people as protagonists, to name one example. In those situations, you’re dealing with equals. The same thing would apply in a secondary world fantasy where everyone in the cast is of the same or similar ethnic groups, or if you had a group of characters who all shared the same axis of oppression in general.

It’s also different if the power structures don’t rely on privilege. All female Ghostbusters? Awesome, because Ghostbusters was primarily about stopping ghosts. The amount of black girls and women in A Wrinkle in Time? Lovely, because we need more stories where the important figures are not white.

But if you’re recreating any sort of power imbalance where one group relies on privilege, and you have multiple ethnic groups in the cast ? Take a good hard look at making too many villains marginalized, especially if they’re kingpins within the organization. Also consider what they can get away with, and if they have to use different tactics from the privileged villains; chances are, they’ll have to. 

This applies for both works set in the real world and in secondary world fantasy. Because secondary world fantasy is still read in the real world, and you can reinforce some extremely toxic ideals if you recreate real world marginalization.

Sometimes, diversity is a very bad thing. Keep that in mind when deciding what group plays what role.

Thanks for reading! If you liked this content, please consider supporting me on patreon. It’ll get you access to a bunch of cool stuff!

Helpful things for action writers to remember

ladyscientia:

ave-aria:

starforgedsteel:

berrybird:

  • Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 
  • Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 
  • Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 
  • Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 
  • Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 
  • ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy – meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 
  • Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.
  • Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 
    • A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 
  • If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 
  • ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)
    • If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 
  • People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 
    • Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 
    • If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

How to apply Writing techniques for action scenes:

– Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap.
– Same thing with words – short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere.
– Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts.
– Go back and cut out as many adverbs as possible.
– No seriously, if there’s ever a time to use the strongest verbs in your vocabulary – Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze – it’s now.
– Don’t forget your other senses. People might not even be sure what they saw during a fight, but they always know how they felt.
– Taste: Dry mouth, salt from sweat, copper tang from blood, etc
– Smell: OP nailed it
– Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain.
– Pain will stay with a character. Even if it’s minor.
– Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack.
– If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too.
– Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.

Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate – no theories or what ifs.

If writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction.
(Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)

Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.

Reblogging to read this wisdom later yo