a beautiful disaster @cloudbreaker11037 - Tumblr Blog

rethinking the anime "magic girl site" and lowkey it'd have been really good if it wasn't trying so fucking hard to be madoka magica, except edgier.

madoka magica was so good because even amidst all the horror and despair, there was still hope to be found in the form of godoka, and also the fact that any girl can wish for basically anything from kyuubey.

magic girl site doesn't offer such relief. if any of the girls use too much magic, they just die. there's no relief system in place. the site admins are all just evil, and aya's brother is just evil.

i know the manga ends with the timeline being reset or smthn so that the site no longer exists or whatever and aya's brother isn't evil anymore but that to me feels like a cop-out. all it tells me is that nothing that happened mattered.

when the universe was reset in madoka magica, there were still consequences. the first time it was reset, it came at the cost of madoka existing in living memory. the second time it was reset, it came at the cost of homura taking her place.

as far as i am aware, there is no such consequence in magic girl site.

it's a shame too because magic girl site offers so many good and interesting ideas but it gets sent to the wayside for the sake of angst and fanservice (the latter specifically with nijimi and shioi bc wtf)

idk this is mostly a rant

wordsnstuff

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Portraying a kleptomaniac.

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Writing a character who lost someone important.

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themonopolyhat

yooo reblogging so i don’t lose this

mr-lancers-english-class

If anyone needs to write

orcboxer

Things that work in fiction but not real life

torture getting reliable information out of people

knocking someone out to harmlessly incapacitate them for like an hour

jumping into water from staggering heights and surviving the fall completely intact

calling the police to deescalate a situation

rafting your way off a desert island

correctly profiling total strangers based on vibes

effectively operating every computer by typing and nothing else

ripping an IV out of your arm without consequences

heterosexual cowboy

orcboxer

This post breaching containment has taught me that a lot of people seem to think they can accurately profile complete strangers. For the record, no the fuck you can't.

gasteracanthacancriformis

have i ever shown u people my hand sofa

gasteracanthacancriformis

my prized possession is this loveseat I bought from a divorced dad who couldn’t tell me anything about it and in the years i’ve owned it i’ve never been able to find out who made it or where it came from. it’s got nails and finger creases and palm lines but they’re all kinda hard to see in this pic.

sepdet

emeraldwhale

kleefkruid

professionalchaoticdumbass

versegm

Literally cannot emphasize enough that my #1 writing advice is to stop being afraid. Stop being afraid of sounding too cringe, or too stupid, or too horrifying, or too horny, or too weird, or too much, or too little, or too you. You need to put your entire pussy into your art. Sure, it won't be to everyone's tastes, but if you keep yourself to the blandest tamest safest roads possible you will be of no one's tastes, not even yours.

cranberry-queen

Tips from a Beta Reading Writer

This one's for the scenes with multiple characters, and you're not sure how to keep everyone involved.

Writing group scenes is chaos. Someone’s talking, someone’s interrupting, someone’s zoning out thinking about breadsticks. And if you’re not careful, half your cast fades into the background like NPCs in a video game. I used to struggle with this so much—my characters would just exist in the scene without actually affecting it. But here’s what I've learned and have started implementing:

✨ Give everyone a job in the scene ✨

Not their literal job—like, not everyone needs to be solving a crime or casting spells. I mean: Why are they in this moment? What’s their role in the conversation?

My favourite examples are:

The Driver: Moves the convo forward. They have an agenda, they’re pushing the action.

The Instigator: Pokes the bear. Asks the messy questions. Stirring the pot like a chef on a mission.

The Voice of Reason: "Guys, maybe we don’t commit arson today?"

The Distracted One: Completely in their own world. Tuning out, doodling on a napkin, thinking about their ex.

The Observer: Not saying much, but noticing everything. (Quiet characters still have presence!)

The Wild Card: Who knows what they’ll do? Certainly not them. Probably about to make things worse.

If a character has no function, they’ll disappear. Give them something—even if it’s just a side comment, a reaction, or stealing fries off someone’s plate. Keep them interesting, and your readers will stay interested too.

ruchi-writes

enemies-to-lovers is about power, actually

I think a lot of people misunderstand why enemies to lovers is so popular. It’s quickly become one of the most pervasive tropes in many novels. Is it the banter, the tension? That’s definitely part of it. But if that were true, then friends-to-lovers and literally any romance with good dialogue and characterization would scratch the same itch. For some, it does, but for many…enemies-to-lovers just hits different.

My theory is that it isn’t actually about love, not really. I think it fulfils a fantasy that no other trope can provide: the fantasy of being seen as an equal.

Think about what specifically makes someone an enemy in fiction. It’s not just someone the MC dislikes, it’s someone who can affect them in tangible ways, maybe even have the power to ruin them, challenge their worldview, expose their weaknesses, etc. The relationship begins with conflict because the characters are fundamentally opposed in some way. It doesn’t matter why, but they’re fighting. There is a struggle for dominance.

I would argue that the most impactful enemies-to-lovers moments are never the romantic moments, they’re the scenes where power shifts. They BOTH lose: they’re forced into a position that would have horrified them at the beginning of the story. They end up needing (or wanting) each other.

That’s why I think people are often disappointed when a supposed enemies-to-lovers story turns out to be a milquetoast attempt where they’re just kinda mean to each other for a few pages, and then immediately start making out. Where’s the risk, the actual threat? If the characters aren’t capable of genuinely affecting one another, then the relationship isn’t actually transforming in a satisfying way. The appeal is in the fact that they have power over each other, because the eventual trust they build requires real surrender.

Because here’s the thing about enemies; they pay attention, and usually more attention than anyone else. They notice weaknesses because they’re actively looking for them, they notice strengths because they need to account for them. They notice habits, blind spots, ambitions, fears.

They study the MC with a level of scrutiny that borders (and later crosses) intimate, but unlike friends (or supporting characters in the MC’s corner) they’re not willing to give them the benefit of the doubt, they don’t overlook flaws out of affection. Which is exactly what makes the eventual romance so satisfying. It feels earned.

It’s easy to imagine being loved by someone who sees the best version of you, but it’s an entirely different thing to be loved by someone who has seen you at your worst. That’s why this dynamic often feels more convincing than romances where the characters are immediately into each other.

I imagine there are many who go through life feeling misunderstood, or worse, that the people who love them only love the polished, perfect version they present to the world, almost like impostor syndrome. But what if there was someone who couldn’t be fooled by this carefully constructed image?

When someone more powerful chooses someone, maybe the fantasy is protection. When it’s someone less powerful, the fantasy might be admiration. But if there’s someone intelligent and observant enough to see the MC as an equal, the fantasy there is the most intense and honest validation.

Which means enemies to lovers was never about turning hate/annoyance into love, it was about turning power into vulnerability – which is a terrifying loss of power, which THEN leads to intimacy.

ruchi-writes

I'm sorry but that is the opposite of what this post was about??? Is this a 'we piss on the poor' situation? Enemies-to-lovers is about power in that it is the fantasy of being loved by someone WHO SEES YOU AS AN EQUAL.

Not wimmen like big stronk man cuz biology.

fella-lovin-fella

i hate it when people mistake "etymology" with "entomology." like, i know where they coming from but it still bugs me

clionadraws

afternoon band practice

hallownest-archive-deactivated2

imo the best way to interpret those “real people don’t do x” writing advice posts is “most people don’t do x, so if a character does x, it should be a distinguishing trait.” human behavior is infinitely varied; for any x, there are real people who do x. we can’t make absolute statements. we can, however, make probabilistic ones.

for example, most people don’t address each other by name in the middle of a casual conversation. if all your characters do that, your dialogue will sound stilted and unnatural. but if just one character does that, then it tells us something about that character.

jauntylittlefrillyboy

sandersstudies

Every time you go in a public place and something ISN’T disgusting it’s because somebody cleaned it. Every time you feel comfortable using a public bathroom or sitting at a restaurant table or setting something on a gas station counter or playing on a playground it’s because somebody cleaned it.

Thank you to everyone who cleans the world, especially those who are underpaid and under appreciated.

my-life-is-a-sidequest

I worked in a supermarket for 7 years and I don't think I can understate just how much cleaning you had to do for it to look clean (it very often where not in the places you aren't supposed to see)

sandersstudies

True for food service, retail establishments, gyms, outdoor areas, schools, religious buildings, office buildings, etc. People usually only notice when a space is NOT clean, meanwhile every time a space is clean it’s only because of the diligent work of janitors, maintenance staff, custodians, parks workers, or volunteers.

there-is-still-some-liquor-left

a body count not as in homicide nor as in sexuality but as in the trail of people from my childhood and adolescence i should’ve been a better friend to and taken better care of but i was too busy being caught up in my own heartache to recognize their own and therefore our relationship tapered off in an extremely unsatisfying way that continuously manifests itself as a thrumming sense of grief in my chest. anyway which restaurant chains have the best free pre-meal bread?

patchworkdevil

Trigun is objectively hilarious if you look at it from a dnd perspective.

Vash is the main character energy pc who has a direct relationship with the bbeg (knives) and an extensive backstory including a dead adoptive mom and a severed arm that one of the villains uses for his powers, who thought that everyone was going to make a complex character and thus put a lot of work into his.

Wolfwood is the emo dude who wanted to do a whole betrayal arc but got too attached to the group and also got way too invested in torturing his character but he somehow still comes off cool as hell despite being an edgelord.

Now depending on which series it is, 98+manga meryl and milly are the two people who made joint joke characters with just a little lore for the dm to attempt to sew into the rest of the story. Stampede+stargaze meryl and Roberto are basically the same except Roberto’s player moved right before the main fight against the bbeg so they had to kill him off, milly is the new player who joined halfway through and is still getting the hang of dnd.

bauliya

so women are supposed to grin and bear the books, the comics, the movies, the plays, the tv shows, the stories, the sci-fi, the translated ancient poems, the fucking millennia of men writing about their self inserts torturing women and it being declared as High Art by other men, we’re supposed to read it in our free time, study it in classrooms, include their styles in our own writing, accept their cultural influence as natural, watch it in the cinema, write about it, talk about it, accept it, aspire it, but men can’t tolerate three seconds of female wish fulfilment of a woman snapping the wrist of a creep without feeling personally kicked in the balls.

darkshrimpemotions

This reminds me of something I observed in college while I was doing my honors thesis on women in modern horror films. I watched a LOT of horror during that time as part of my research, and sometimes that was done with my family around.

And my dad and brothers? Were deeply disturbed by the movie Jennifer’s Body. I was flabbergasted. It’s not scary! It’s not even that gory. But they were horrified by it. These men who grew up on 70s slashers were legitimately shook by 90 minutes of Megan Fox eating a few teenage boys, mostly off-screen.

Similarly, my all-male reading panel for my thesis? Were so disturbed by my synopsis of the film Teeth that they couldn’t even talk about it. One of them said he couldn’t look at his wife for a week after reading it.

Again, grown-ass men who study and teach media for a living. Who definitely watch and enjoy horror movies. One of whom was a huge Tarantino buff. We watched and read worse in his intro to mass media class! But one movie about a girl whose vag could bite was enough to haunt him.

Then of course you have things like the Gone Girl backlash–men yelling that Amy Dunne is evil and women clamoring to assure everyone that they know she is not someone to emulate–the backlash against Carol Danvers, and, more recently, the griping from MRAs against the upcoming film Hustlers, which is about strippers scamming their Wall Street clients.

My conclusion? Most men–at least most straight, cisgender men, who are both my sample population and most of the ones whining that Carol is a “villain”–are perfectly fine with, and desensitized to, media where men do violence to women (horror movies), or men do violence to men (horror and action movies). They’re even sort of fine when women do violence to women (“ooooo cat fight!”).

But they get intensely uncomfortable when women are depicted doing any kind of violence to men, especially in films that tilt the balance of power to the other side of the m/f gender binary beyond a single moment or scene.

So woman as flesh-eating monster with men as her preferred cuisine? Woman who responds to unwanted sexual contact by biting it off? Woman who frames her cheating husband for murder? Woman whose response to harassment–behavior that many of the loudest whiners know is both creepy and reflective of their own thoughts/actions–is to break something?

Too scary. Unacceptable. Disturbing. These men hate being presented with the idea, even in fiction, that their position of power is socially constructed, that it could easily be flipped the other way. It terrifies them.

In feeling that terror, they experience a tiny modicum of what living, existing, moving, being perceived as a woman in the world is like.

And they flinch every time.

tzikeh

Here have a newspaper comic from 1993

lastoneout

I really do think it comes down to desensitization and a lack of learned sympathy. Imo it’s why cishetperisex white abled majority men tend to react so badly when the protagonist of a game or movie or whatever is a woman. I think when society more or less caters to you via media and representation you never have to learn to sympathize with people who don’t look like you, or at least not in the way marginalized people do. Black men and boys have to learn to see themselves in white ones, women in men, queer folks in straight, disabled in abled, we do not get catered to, so we learn to find ourselves in places we don’t exist and we learn fast. It sucks, and it never feels 100% natural, but we learn.

And yes, we all are supposed to learn to see ourselves in others by default, that’s an important part of being a person and also engaging with stories, I should be able to understand why my lesbian neighbor is upset that her amazon package got dumped on someone else’s porch even though I’m not a lesbian, and I feel like Clark Kent and I could talk about growing up in the middle of nowhere and find common ground even if I’m not a white male alien superhero but like, it’s different when you HAVE to do it ALL the time JUST to engage in media and feel represented and seen. And that’s what we do and we get really good at it because if we didn’t we’d never enjoy anything.

Quick obligatory disclaimer that plenty of men are perfectly capable of learning to do this, as well as everyone else, and do it all the time, this is not a natural state of white manhood this is something chosen that can be discarded–but your average white dude who grew up with all the media around him being about him just straight up does not have years of hard training in “seeing myself in the other” because he doesn’t have to. He doesn’t have to try to find himself, he’s Luke Skywalker, John Wick, Superman, he’s always seeing a reflection of himself.

So what happens when suddenly he’s looking in a mirror and sees someone else? He gets uncomfortable, angry, confused. Which at it’s core is understandable, this is a skill that you have to learn and it’s normal for your brain to respond with discomfort or anger when you don’t know how to do something, but that doesn’t mean it’s okay to let it fester into resentment and bigotry and hate….which is what these dudes do. He can’t relate to this person, he doesn’t know how to look for things that are similar like where they grew up or shared interests, things that we look to when connecting with a character to relate to them enough to be invested in their story. And some are so bad at dealing with that discomfort they lose it at the thought of having to think that hard about relating to a story, get pissed that they’re being asked to consider that humans exist who aren’t like them and who also deserve to be in the spotlight sometimes, but I think at the core it’s insecurity born of a lack of a skill our society necessitates everyone but these men learn. They don’t know how to do this and they have no idea how to handle that.

That’s similar to the logic of the horror stuff, women and minorities spend so long learning to like horror despite us being the fucking bad guys and victims in everything, but I remember I thought of this originally after people got mad at the Charlie’s Angels remake having the biggest male character turn out to be a villain. These guys weren’t just mad that there wasn’t more men, they were mad that they were specifically being painted as the bad guy, and I was like…confused? At first, because like yeah dude that doesn’t actually say much about you as a person, sometimes the bad guy looks like you….and then I was like oh. Oh. The bad guy never looks like you, does he? And you don’t know what to do now that you’re looking at a character you’re supposed to hate and seeing yourself.

Because the other thing we as minorities have to learn to do is love the bad guys because WE’RE the bad guys. The torn queer kid who wants to be Aladdin but sees so many of his mannerisms in Jafar and has to just…deal with that. It’s like horror for me, I love horror, but I’m disabled and mentally ill. I am almost always the bad guy in horror. The face in the mirror is my own, and I like horror, so I and everyone else in the same place learns a delicate act of like, sympathizing and seeing yourself in the characters but also not and trying to root for the good guys who aren’t like you or just not doing that and rooting for the bad guys the whole time, like I’m not describing it well, but it’s hard to articulate despite being something again, almost all of us have to go through at some point.

And god I remember Ghostbusters 2016 having the bimbo be a himbo instead, dudes were SO fucking uncomfortable and I was just laughing because yeah wow that….that sure is just how some men write women!! And they do it all the time, and it’s really fucking stupid and sexist and weird especially seeing it come from a male character, but like dude fr me @ these men do you seriously have absolutely 0 tolerance for a depiction of a person who looks like you in a story being negative??? You literally never learned how to deal with that???

But they didn’t. They never had to. Because even when the bad guy looks like them there is always a good guy who does too. Charlie’s Angels and Jenifer’s Body and Ghostbusters make them uncomfortable and angry because the bad guys look like them and the good guys don’t. They have no tolerance for that discomfort, they are not desensitized to their only representation being the villain or the victim or the idiot, and they also seemingly have no idea how to not internalize the idea that the bad guy looking like you doesn’t mean the story is saying you are the bad guy.

I mean they do to the rest of us but for majority white men it doesn’t because:

I mean fuck half the horror movies out there explicitly just say “all mentally ill people are crazy dangerous murderers you should never trust” and I learned to live with that somehow while Charlie’s Angels just says “this one particular dude sucks” and it’s the end of the goddamn world to every white dude who suddenly forgets other people aren’t them. Almost funny if it wasn’t so infuriatingly immature and deeply bigoted.

It plays out in smaller ways, white people failing to see themselves in folks of color, skinny people refusing to humanize fat ones, hell it even plays out in adults refusing to attempt to relate to children, every axis has a side that is not asked to see themselves in the other as often and it leads to this disconnect and discomfort and anger and lashing out when you actually do get asked to do it. To learn to like a story even if the bad guy is wearing your face, to relate to a hero you know has nothing in common with you, seeing yourself in the other is not something asked of everyone, and not being able to do it messes you up.

I think that’s why it’s so uncomfortable for men to see themselves as the victims of women or as the bad guys, they never have to learn to be okay with being treated like shit by a narrative, or at LEAST just not being the main character, and they hate that.

But they’re just experiencing what the rest of us have been for all of human fucking history and we’re perhaps a bit too exhausted by it to humor it for long and just gotta give a firm

golongbyjoannanewsom

obsessed w this person in the replies

depsidase

chekhovs-raygun

'im gonna put together a best selling horror collection without anything scary or gross in it' sounds fine, seventh grader

writing-prompt-s

You are a mystery detective that solves fake monster crimes. When you finally meet real monsters, they reward you for being their most trusted agent against identity crimes

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