Rocky dumbing down his speech for Grace only reinforces the idea that Grace is a kid in the other Eridians eyes and multiple conversations are happening at once..
Eridian scientist: why did they send a baby to space?!
Rocky: Grace is not a baby. He’s a fully grown human and you all need to respect that-
At the same time another Eridian: the human is thirty!! Are you COMPLETELY sure he’s not a child? He’s barely coordinated!
Rocky: Grace is very sick!! Of course he’s not coordinated you fucking idiot-
ALSO at the same time: did you not think to teach him how to understand us properly?? Let alone communicate with us.
Rocky: he doesn’t have the vocal cords for most of our sounds!! And we were WORKING on him being able to understand proper speech but he’s delirious?! The fact he’s conscious is a miracle-
Grace who is visible stressed and half covering his ears but also trying to listen: what’s going on?? I can’t hear you guys it’s too loud- Rocky what’s going on?!
Rocky: apology apology other Eridians ask dumb dumb dumb questions, Rocky tell Grace later. Grace sleep now Rocky handle.
Grace just nods with bleary eyes and knocks out almost immediately, and the other Eridians are giving Rocky the equivalent of a raised eyebrow in unison.
We're used to thinking that circus performers have horns under their hats, but this has never been officially confirmed. Where did we even get this from? Silhouettes and hazy images from the past? That comic with the old costumes?
If it were all so obvious, why would Neko avoid answering this question so often and so much? That's interesting. It's been there from the very beginning, but now the situation seems more glaring, as if all the little details from the past are finally asking us to look back and think: "what if it's not horns at all?"
Let's just go ahead and drop this idea altogether. If it's not horns, then what? We know that monsters have extra limbs and all that. So, purely in theory, these could even be some kind of "arms" or other body parts that humans don't have.
From the comic about Pierrot's old outfit, we see a piece of something black under his hat, visually resembling a horn. But what if it's not horns, but, for example, quills like a porcupine's? Look at how narrow his hat is here, and how wide it is in the new version:
If he had horns, they probably couldn't be tied back like hair into a ponytail. But if these are long quills or something similar, they could easily be pressed closer to the body and against each other. And when agitated, porcupine quills stand on end — maybe that's why his hat got damaged and we saw this body part.
Also, take a look at Harlequin's hat:
The initial assumption was that either his horns grew over time and changed shape a bit, or it was just an artistic convention. But his first hat really is quite different from the second. It's a crazy idea, but what if it's something like ears?
We haven't seen monsters' ears yet (TT in human form doesn't count). So, you know, they could look like anything and be in the most unexpected places. The only thing that contradicts this idea is Harlequin's hat with bells. If there really were ears under it, it would be agonizing — constantly hearing that ringing inside, pff.
But look at the original design of the hat, and then look at his new hat — do you see anything that stayed the same? Those extra pieces of fabric covering the ear area.
It seems this only exists on Harlequin's clown hat. What if he just presses his ears closer to himself, and this fabric is exactly what hides them? You know, like rabbits or Nubian lopped goats:
Not every cap has to hide something — that's what I'm trying to say.
And what about Jester? What immediately catches my eye is that in his old costume, his front "little horns" stick out from the fabric, as if he wanted to hide exactly those.
In the new version, they're already visible, and his hat has become longer overall. But interestingly, it seems his old hat had only two compartments (I could be wrong, but it really does look like two, right?)
So what he's hiding under his hat might not even exist at all. Want to hide something? Put it in plain sight — and that's exactly what his horns did.
So, most likely, only Pierrot actually has something under his hat — horns or quills, doesn't matter. But what about the other two? Maybe there's something hidden under theirs too. Or maybe they're just empty. We don't know for sure, and honestly, that's not the main point right now. What matters more is this: even if Jester and Harlequin have nothing under their hats, it still works as camouflage. Because the most important thing is that we look where they want us to look, and not where we really should.
There's also another interesting detail — some elements in the costumes repeat. For example, as I already mentioned, these clown hats. They're the reason we all assumed that at least three performers have horns under them. But there's another curious detail. What about the cloak?
When we hugged Harlequin in the game, he wasn't very happy, and we felt something "strange" under his clothes. And when the Doctor was asked in the AMA if he could be hugged, he said "you might get scared". Hmmm, interesting, isn't it? At first, I thought we might be scared of the Doctor himself, since he's so big and frightening to many people. But when hugging, our hands touch the back — so that must be it.
Most likely, the Doctor's cloak isn't just a costume element — it's meant to visually conceal his physical features. And if someone as cautious as Pierrot lets us hug him, then our theory might be right — and the most obvious signs of monsters are indeed on the backs and bodies of Harlequin and the Doctor. (I could actually try adding TT to this list, but I'm not sure if his fitted jacket can be considered similar in purpose to the cloaks of these two.)
So what do we have in the end? We spent so much time studying hats, trying to guess what's under them — horns, quills, ears, or nothing. And the answer, perhaps, was never on the heads at all — but on the backs. Under the cloaks. In the details we've gotten used to overlooking.
Under Harlequin's hat, there might be something flexible — something he's learned to press flat against his head, because otherwise the bells would hit it with every step. Jester, perhaps, has nothing material under the fabric at all — just an unusual skull shape or growths that don't need to be hidden, but also aren't worth showing off.
Every detail of a costume is meant to hide something, but it can also exist purely for misdirection. And that's a brilliant survival tactic! If only Pierrot wore a hat, we'd immediately know he's a monster. But when the others wear similar hats — even if with different contents — attention scatters. You look at their heads, not noticing that the real clues are elsewhere: on the backs, under the cloaks, in the tactile sensations during hugs. Maybe we were looking in the wrong place all along, when the answer was always right on the surface — behind the fabrics we just got used to calling "part of the costume".
Random pieces of advice about worldbuilding and plot.
If every story is worth telling, there are some elements to take into account to make it right.
Every cause has consequences. A story is logical in one way or another. Whether you plan your story or go with the flow, if you ask about: the origins, reactions and actions to be taken following an event, the pieces somehow will ‘click into place’.
Everything has a cost. Magic system, war, life in general... Don't forget that resources are not unlimited. Consider the societal, social, natural, (magical, if need be) limitations.
Challenge the statut quo and the villain's motivations (if there's a villain in the original sense of the term) : Ask yourself why the villain wants to ‘change the world’ (and really question his legitimacy) and what the world should look like after the final confrontation. If we come back to the original point, it's that the plot didn't serve any purpose, being no more than a ‘historical aside’. Remember that everything happens for a reason, so make that reason a good one.
Make actual research about geography and climate: forest, desert and especially rivers can't pop out of nowhere, they must respect certain natural principles. For example, a river must have its source somewhere, often high up in the mountains. So it seems logical that a river should be close to a mountain. Be careful if you want to incorporate a map in your story !
Be careful when you rely on chance, fate or whatever you call it. I still can't work out whether it's worse than deus ex machina - especially if it's done badly. As far as I'm concerned, if you work well enough with the cause-consequence chain and have a good grasp of the limits of your universe, you won't need to rely on this kind of process. this one is actually pretty personnal, you have every right to disagree.
Other Words for "Look" + With meanings | List for writers
Many people create lists of synonyms for the word 'said,' but what about the word 'look'? Here are some synonyms that I enjoy using in my writing, along with their meanings for your reference. While all these words relate to 'look,' they each carry distinct meanings and nuances, so I thought it would be helpful to provide meanings for each one.
Gaze - To look steadily and intently, especially in admiration or thought.
Glance - A brief or hurried look.
Peek - A quick and typically secretive look.
Peer - To look with difficulty or concentration.
Scan - To look over quickly but thoroughly.
Observe - To watch carefully and attentively.
Inspect - To look at closely in order to assess condition or quality.
Stare - To look fixedly or vacantly at someone or something.
Glimpse - To see or perceive briefly or partially.
Eye - To look or stare at intently.
Peruse - To read or examine something with great care.
Scrutinize - To examine or inspect closely and thoroughly.
Behold - To see or observe a thing or person, especially a remarkable one.
Witness - To see something happen, typically a significant event.
Spot - To see, notice, or recognize someone or something.
Contemplate - To look thoughtfully for a long time at.
Sight - To suddenly or unexpectedly see something or someone.
Ogle - To stare at in a lecherous manner.
Leer - To look or gaze in an unpleasant, malicious way.
Gawk - To stare openly and stupidly.
Gape - To stare with one's mouth open wide, in amazement.
Squint - To look with eyes partially closed.
Regard - To consider or think of in a specified way.
Admire - To regard with pleasure, wonder, and approval.
Skim - To look through quickly to gain superficial knowledge.
Reconnoiter - To make a military observation of a region.
Flick - To look or move the eyes quickly.
Rake - To look through something rapidly and unsystematically.
Glare - To look angrily or fiercely.
Peep - To look quickly and secretly through an opening.
Focus - To concentrate one's visual effort on.
Discover - To find or realize something not clear before.
Spot-check - To examine something briefly or at random.
Devour - To look over with eager enthusiasm.
Examine - To inspect in detail to determine condition.
Feast one's eyes - To look at something with great enjoyment.
Catch sight of - To suddenly or unexpectedly see.
Clap eyes on - To suddenly see someone or something.
Set eyes on - To look at, especially for the first time.
Take a dekko - Colloquial for taking a look.
Leer at - To look or gaze in a suggestive manner.
Rubberneck - To stare at something in a foolish way.
Make out - To manage to see or read with difficulty.
Lay eyes on - To see or look at.
Pore over - To look at or read something intently.
Ogle at - To look at in a lecherous or predatory way.
Pry - To look or inquire into something in a determined manner.
Dart - To look quickly or furtively.
Drink in - To look at with great enjoyment or fascination.
Bask in - To look at or enjoy something for a period of time.
Calling all aspiring storytellers with hearts full of whimsy! Get ready to sprinkle a touch of enchantment into your scenes with my Scene Wo
683 members, 435 posts about #creative writing #creative writers #helping writers • Guiding Writers to New Heights
Googling a word as a writer that you've always assumed has one meaning is so stupid because, on one hand, why doubt yourself? You used that word before, it's a normal word, and it will mean what you think it meant. You're just wasting time that you could use for actually writing.
But on the other hand, what if you find out that it's not what you always thought it is? What now? Now you question your whole existence, and there is no time left for writing anymore.
The truth is it disturbs your writing flow. I'm mostly writing in my second language. If I start second-guessing words I'm using and looking them up, trying to find them in a similar sentence to make sure I'm using it correctly, then I stop writing. With writing, there is time for research, there is time for editing, and then there is time for actually writing. Mark the words you're unsure about and look them up later when you're editing. Don't disturb your flow because it might be difficult to get back into it.
»-♡→ Eyed
»-♡→ Sized up
»-♡→ Studied
»-♡→ Observed
»-♡→ Watched
»-♡→ Measured
»-♡→ Scrutinized
»-♡→ Kept an eye on
»-♡→ Regarded carefully
»-♡→ Looked over
...or if they're watching from a distance:
➺ Observed
➺ Monitored
➺ Followed with their eyes
➺ Kept watch over
➺ Tracked
➺ Shadowed with their gaze
➺ Looked on
➺ Witnessed from afar
➺ Viewed
➺ Surveyed
...or if they're confused:
➵ Squinted at
➵ Peered at
➵ Blink-and-missed
➵ Looked twice at
➵ Examined
➵ Stared at
➵ Tried to make out
➵ Struggled to see
➵ Looked uncertainly at
➵ Focused on
...or if they're remembering or realizing:
̗̀➛ Recognized
̗̀➛ Discovered
̗̀➛ Realized
̗̀➛ Found
̗̀➛ Noticed at last
̗̀➛ Became aware of
̗̀➛ Caught themselves seeing
̗̀➛ Finally spotted
̗̀➛ Identified
̗̀➛ Perceived
...or if they're in awe:
⬩➤ Beheld
⬩➤ Witnessed
⬩➤ Gazed upon
⬩➤ Took in
⬩➤ Marveled at
⬩➤ Stood transfixed by
⬩➤ Basked in the sight of
⬩➤ Soaked in the view of
⬩➤ Absorbed the sight of
⬩➤ Looked on in wonder
NOTE: You don't always have to use an alternative to said in order to get your point across! Please avoid overusing dialogue tags, and remember to spice things up in other ways.
There are going to be days (or weeks, or months) where you sit down to write and feel... disconnected. From your voice, from your characters, from your ideas. Like the person who used to write your stories just packed up and left.
They didn't. They're just tired. Here's how to keep writing anyway:
Lower the bar (Until it's on the floor)
You are not here to write something brilliant. You are here to write something. A paragraph. A sentence. A single line of dialogue. Movement matters way more than quality.
Write around the story
Don't force it. If you can't write the scene, try:
⋆ A character ramble / journal entry
⋆ A conversation that won't be included in the final draft
⋆ A list of things the character would never admit out loud
⋆ A messy summary of what should happen
Engage with the story from a different angle.
Borrow a voice until yours comes back
No, not with AI. Read something that feels close to what you want to write, or watch a scene that captures the tone, then write immediately after. Not to copy, to reignite your instincts.
Write the emotion, not the plot.
What is your character feeling in this moment? What are they afraid of? What do they want but won't say? What's being kept from them? The emotion leads, the plot catches up later.
Stop trying to "feel like a writer" first.
You don't write when you feel like a writer. You feel like a writer because you write.
You are still a writer, even on the days it feels distant. Especially then.
Hello destiny, do you think you could give us a rank on who's most of lest self conscious about their monstrous form?
Hm? Interesting.....
I would say Pierrot and Doctor are UP there. Both are VERY self-conscious---Doctor thinks he is too scary (even his dick is too big in his opinion). Pierrot is scarred by how movies portray monsters and fears he will never be enough for someone he loves cause he isn't human-looking.
Harlequin seems fine with himself, calls himself handsome. But when dating a human, he does feel that.....fear. He is afraid that everything fun with them will end if they catch one GLIMPSE of him. Harlequin tries to push this feeling down, thinking: "Oh...well if that happens I'll just eat them.." ---Meanwhile, doing so brings out a whole new set of conflicting feelings/PTSD.
TicketTaker is self-conscious of how NOT scary he is. Other monsters have tried to judge/take advantage of his kind for not having sharper claws or teeth. Bil knows he is often underestimated. While he is fine with his overall appearance, he does carry himself differently with humans as opposed to monsters---always on edge.
Jester is fine with how he looks. He's fucking hot and thinks that frightening humans is a power (Bil shares this too). Jessie just be strutting down that runway tbh. Jester's confidence however, helps Pierrot feel less self-conscious.
writing advice i live by (as someone who writes as a hobby):
your first draft is allowed to be awful. let it be awful, you can always improve it later.
if you’re writing as a hobby, it should be enjoyable and not feel like a chore.
if you’re stuck on a scene and can’t get the words out, skip it. write a note for yourself to come back to it later and move on to the next scene. sometimes you just need to look away from the scene and come back to it with a fresh pair of eyes for the words to flow again.
that also applies to finding the right words and metaphors.
consuming media is one of the best cures for writer’s block.
another thing that helps writer’s block is asking yourself: “what is the most fun/best/most devastating thing that could happen next?”
do not rush your writing. quality work takes time, so don’t ever beat yourself up for being a “slow writer”. it’s always worth taking your time building the right plot and finding the right words to make something you’re proud of.
you’re allowed to take a break from your writing. writing is hard work and burn out happens. take a break if you need, and come back to it when you’re ready. writing is not a race.
writing a story/plot you love > molding your plot to trendy tropes you don’t enjoy.
when you’re writing as a hobby, your work doesn’t need to be perfect. it just needs to make you happy. that’s it.
having more words doesn’t mean higher quality work. don’t feel bad for having a low word count.
if you like your own story, chances are others will too.
