buni₊˚ෆ

﹒⟡﹒; she ﹒﹒︴ her !!  ◎﹐ ☆﹒ꕀ﹔izzy / bun / buni﹒ꕀ﹒ ꕀ﹒ᶻz ; bi aroflux / fem / infp !! リ﹒Ꮺ — ♡﹒; “ long live the people inside ”

[buniimai]

what a wonderful

caricature of intimacy

buni ૮꒰ ˶• ༝ •˶꒱ა

she her + neo hoard ᡣ𐭩 white british

autism adhd ocd ⊹ ࣪ ˖ regressor

christian faith ˎˊ˗ sys host ๋࣭ ⭑

severe paracosm

kins (me irl - not da) ૮ ˶ᵔ ᵕ ᵔ˶ ა

amy santiago .ᐟ rapunzel .ᐟ charlie .ᐟ stolas

byf ₍⑅ᐢ..ᐢ₎

basic tone tags rqd , very few tws , posts about faith

dni ૮₍´˶• . • ⑅ ₎ა

basic dni , minors , +23 / -19

hyperfixations ໒꒰ྀིっ˕ -｡꒱ྀི১

fnaf (whole franchise) , detroit: become human , hazbin hotel , helluva boss , brandon rogers cinematic universe, marvel (avengers) , black widow (I project so deeply) , screenwriting

[hyacinth-in-a-haze]

Something something about gentle yanderes.

The ones who plead with you as you hide behind a locked bathroom door, begging for you to please let them back in. The ones that make you your favourite foods over and over until they can cook it perfectly, hiding all the burnt mistakes inside the bins. The ones who come home every day with gifts in and because they missed you so much during their eight-hour shift. 

The ones who hold you so sweetly every night, hoping one day you'll aclimitise enough or become so touch starved that you eventually reciprocate their hugs. Maybe one day those hugs can evolve into more, into bare skin against bed sheets and breathlessness, but for now you allowing yourself to be held is a luxury they hold deeply against their hearts every night. Its progress from at first, when you first woke up in a home that wasn't yours, kept in a guest room until you were settled enough to move into the master bedroom. 

Everything was taken at your pace, he is patient, and he wanted so hard to prove how patient he can be, thinking of you, knowing just how much he cares for you than perhaps you can stop being so terrified of him. Don't you know, sweet thing, that he would sooner burn off his own hands than ever lay them on you in anger? That he'd sooner cut off his tongue and feed it to himself before yelling at you or calling you something he would never dare say before his mother? How mother raised him right after all, raised him to be gentle and kind, he could never disgrace her memory and how hard she worked for his sake to ever harm you. He begs you to understand that no matter what you do, he would never dare to hurt you. He sits you down one night and makes a promise on his mother's well-kept grave that if he ever were to lay a finger on you in violence, then he will unlock the door and allow you to leave him. Because by the lord, he already doesn't deserve your sweetness in his life, and if he can't be grateful for you, he will not allow himself to have you. That was the first night you slept soundly beside him.

And he tries, you have to understand how hard he's trying for you, he doesn't expect you to be grateful. In fact, he expects you to hate him, to curse his name out and fight back like a cornered dog. He doesn't deserve any better than that treatment from you; he knows full well what a selfish, irredeemable man he is. How you were all set to live a beautiful life, but he stole you away from your rightful future because he could not stand that that future could never include him, as he wants to be included. Not as your friend, co-worker, or a stranger on the bus, he could never accept that role from the fates. So instead, he stole your fate from you.

You had so much promise, didn't you? So much potential? All that means nothing now as you lie down beside him on the couch, watching an old DVD copy of your favourite childhood film, the bright colours clouding together from behind your stifled tears.

[buniimai]

-Ayano

[ybon-paramoux]

Vision of Faust, 1878: Luis Ricardo Falero

[balkanparamo]

Temptress at the River: Fernando Amorsolo

[buniimai]

Try writing your scenes backwards!!

If you have a spontaneous scene idea, or perhaps one that's not fleshed out properly, try writing it backwards!

★ - Start with the end. Character got shot? First, determine whether the survive the shot or not.

★ - Not? Write their final moments. Write their final struggling breaths. Write their last words, if they have any.

★ - Getting shot hurts right? Go back and describe the pain. Do they fight it? Do they let themselves die? Is there someone to help them?

★ - Who shot them? Was it the villain? The hero on accident maybe? Maybe even they themselves were holding the gun. Write the moment the gun goes off.

★ - Why did they shoot? What was happening before? Did they get into a fight? Did they get caught up in something that didn't concern them? Write that.

Once you have that, you can fill in the blanks and connect it all together.

I often find that when I'm writing, I get blocked or stuck trying to get to the end of the scene. So by writing it backwards, you can write the juicy stuff! And everything else can come after!

[aberrantcreature]

When I read a fanfic I like, the author becomes a mini celebrity to me. So when an author with a work I like kudos’ or comments on my own fanfic I just-

[ybon-paramoux]

The Book Lovers: Nigel van Wieck

[buniimai]

Writers summit with Paramount! - COMEDY WRITING

Recently I had the honour of being invited to Paramount HQ in London, for a screenwriters summit, where I met with many amazing writers and distributors for networks tied to Paramount such as Comedy Central, Nickelodeon, MTV, Channel 5, Milkshake and more!

One of the speakers was a woman who worked in Distrubution for Comedy Central and MTV, and from her, I picked up a bunch of helpful information about the process of getting your work picked up, and I thought I'd share! This is particularly helpful if you're interesting in writing comedy!

★ - when you send through your scripts and pitches, it'll be in there with a lot of others. They will have a designated script reader who's job is to read everything that gets sent in, and they will select the ones that have the most likely chance to get picked up. These will get sent off to commissioners.

★ ‐ channels like CC and MTV are always looking for fresh and new voices and characters. If you think something is too different, send it anyway! You never know.

★ - there are SO many reasons why certain works get rejected. I.e. shift in budget, or similar ideas are already in the works. It's not always because the ideas aren't good.

★ - with this in mind, do not let go of rejected ideas. They will likely remain on file. So it doesn't mean no permanently. It just means not now.

TIPS FOR GETTING INTO WRITING COMEDY

★ - writing sketches is a great way to get into comedy writing! (I personally recommend brandon rogers' comedy sketches, but for something more tame, asian parent AI with Uncle Rogers is a good one!)

★ - punch up scripts are good! this just means filling it with jokes upon jokes (1 joke per page at the least)

★ - "ck" sounds are funny! (fuck, duck, shuck[s], etc etc)

★ - funny/unexpected words at the end of lines are likely to get more laughs.

HOW TO CREATE GOOD PITCHES

★ - usually a good pitch will already have talent attached to it, i.e an actor that is known, a writer (or co writer) that is known. It makes the process easier if there is a known name attached to your pitch.

★ - distinctiveness is key. Make something that stands out. Something you don't often see. Something that the scriptreaders and commissioners are likely to remember.

★ - personally connect with your characters! make them relatable to you. People love seeing relatable characters, so write them.

★ - authenticity. Write something authentic to you. Write about your ethnicity, your culture, your experiences, the people in your life. It makes it more distinctive to write comedy about something that isn't a standard white american sitcom.

★ commissioners and scriptreaders can ALWAYS tell when somebody isn't connected or authentic to the background, stories, or characters they've written.

I hope this was helpful! These were all tips given by a commissioner and writer for Comedy Central and MTV!

[buniimai]

villain main characters!!

As per the traditional story tropes, i see a lot of stories that are Good Vs Bad. The good guy is normally the leader of the story, and the bad guy is always the opposer or the "second" character.

But what if it was flipped, and the story follows a villain. A bad vs good, instead of a good vs bad.

You're supposed to want to like the main character of your story. You're supposed to want to root for them, you're supposed to hope that they reach their goal and obtain their desire at the end of the story.

I think it would be far more interesting to have a main character that you're not entirely sure you want to root for.

★ – an amoral MC (a character who has no concept of right or wrong - not to be confused with immoral, who knows the difference and chooses to go with the wrongs.)

★ - an MC who's part of a cult and truly believes that their actions are for the greater good

★ - a character who was previously good, and an event (or combination of events) caused them to snap

★ ‐ a highly driven MC who will stop at nothing, and I mean nothing to obtain their desire, so much so that they lose all moral compass along the way.

★ - a MC who is deeply misunderstood, and doesn't know how to not be bad.

★ - an MC who has gone through specific conditioning that causes them to commit the acts they do (think like the winter soldier)

I FEEL THE NEED TO ADD – if you are writing an abusive character, DO NOT villainise any mental illnesses they may have. People with specific mental illnesses are not inherently abusive! Do not write an abusive character who abuses because of their mental illness. This has been a PSA.

[ybon-paramoux]

Otto Schoff, Siesta. 1920s. Two Friends