A logline is a one (or occasionally two) sentence description that boils the script down to its essential dramatic narrative in as succinct a manner as possible.

#extradirty
Stranger Things
almost home
Cosmic Funnies

titsay
hello vonnie
cherry valley forever
No title available
KIROKAZE
sheepfilms
Lint Roller? I Barely Know Her
occasionally subtle

Love Begins

❣ Chile in a Photography ❣

roma★
I'd rather be in outer space 🛸

Andulka

Kiana Khansmith
No title available
Sade Olutola

seen from United States
seen from United States

seen from India
seen from Philippines
seen from Germany
seen from Egypt
seen from United States
seen from Malaysia

seen from Bangladesh
seen from Türkiye
seen from United States
seen from Canada
seen from Egypt
seen from Colombia

seen from India

seen from Türkiye

seen from Germany
seen from India
seen from Malaysia
seen from Türkiye
@itsaworkingtitledammit
A logline is a one (or occasionally two) sentence description that boils the script down to its essential dramatic narrative in as succinct a manner as possible.
OC fact swap.
Send me a fact about your OC and I’ll answer with a relevant fact about mine. I want to learn about your OCs.
“May I please draw your OC?”
Reblog this message if you encourage anyone that wants to draw your OC to do so. No need to ask for permission in advance.
Go for it. Draw my OC. If you want, I’ll even give you reference posts. Go to town on it.
You are welcome to draw my OC and surprise me with the result. Seriously. In fact, I encourage it. I will proudly display whatever it is you submit to me regarding my OC. There is a chance that I will squeal about it for several days.
Even if you feel you aren’t good at whatever artistic adventure it is you do, please feel free to submit it to me. I want to see what you have done.
someone: so what do you do in your free time?
me: i’m a writer.
someone: oh cool, what do you write?
me:
make me rank my OCs!
send me a quality (tallest, most flexible, best legs, most socially inept idgaf) and I’ll give you my top three OCs with that quality.
Not A Weak Boy
[Not A Weak boy]
[2,977 words]
[14.04.2018]
Mortimer Du Font is many things, but he is not weak.
—-
Mortimer Du Font has never felt weak. He was raised not to know the word, not to know it’s meaning, nor experience it. He has never heard the word outside of sacrificial speeches, and only knows it’s accociation to those that are killed on the alters that hide underneath his family home. His family and those it asociates with do not believe in raising weak sons and daughters, they do not wish to bare children that are easily crushed, they take no issue in disposing of those children who are not good enough for the cult or the families. They do not allow their children to cry, or to complain, nor do they allow their children to think it is acceptable to show vaunribilities that those beneath them might exhibit outside of the cult. From the moment they are born into the cult, the children learn that above all else, if they are not powerful, they deserve nothing but death. The strong rise above and do not crumble. There is no place for weak people in the new world, and the only way to prove that you are not weak as a child, is to show that you are strong.
Mortimer excels at this, at demonstrating how better than his peers he is. He takes gleeful joy in breaking others down to prove himself superior. He hurts others for the fun of it, too; chases them until their legs can’t carry them, beats the other children with branches from the yard to show that he is stronger, and in sacrifices, he sits as closely as he is allowed, his smile never wavers as the cults weak victims scream out in agony and in fear. The sound of weakness being abolished makes him giddy, and after each sacrificial gathering, he asks his father if he may join in at the next. So far Mortimer has always been refused, but he knows he will earn his place one day soon; he just needs to prove himself more.
Mortimer Du Font does not know weakness, it has been bred out of him, and so when he is struck violently with a fever like he has never before experienced, he has no idea what what the feeling means.
He keeps quiet of course, it does not occur to him to go running to his mother or father; he is not a weak child, he does not need their help as a weak child might. Instead, Moritmer lays in his bed, limbs heavy and difficult to control. Even to just roll to his side takes an effort that seems almost impossible to him. He feels cold, and yet is damp, nightclothes soaked through as if he has been out in the sun all day, the sweet sick smell of his own body off putting and foreign to him. He does not know what to do, but trusts that whatever this trial is, it will only make him stronger. It is a test, he tells himself; this is a test to see if he truely deserves what he has been seeking so long. Only the strong survive, but the strongest are those allowed to rule. This is a test to see if Mortimer is strong enough to be amongst those people; he can think of no other reason why he might be in this bizarre and alarming condition.
Mortimer is still young, only ten and still a boy in every sense of the word. As a young and privileged elf, he does not yet know the cruelties of the world, though he has experienced many second hand. He has always found those cruelties beautiful in their own right, the snapping of bones, or casual disregard for life has never disgusted him, and in being so young, Mortimer has never seen the violent hand of the cult turned on one of it’s members. He knows only of the punishment that the weak must face, there is no reason for him to suspect that somebody there might be responsible for what has happened to him today. They punish the weak, not the strong, and so tells himself that some higher power that blessed him when he was born is responsible for the sickness he feels now. He lays there, so close to death, and fights back through his test. Naive and blindly faithful as he is, Mortimer is a strong boy, he will one day be the head of the family, he has his whole life ahead of him, and he will not yield to this nor any other challenge placed forth before him.
He does not understand that somebody might seek to snuff that light out. Without the concept of weakness to explain his heavy limbs and the chills that strike him so, Mortimer simply accepts that he must suffer to prove his strength. He lays there weak, and yet does not know it. He cannot grasp that he might be something other than strong in that moment, he simply sees it as being less strong. His strength will come back to him so long as he proves himself worthy, and Mortimer is so confident in that fact, that the misguided understanding of the world may just keep the elf boy alive.
One day, Mortimer will realise how close he was to death, when he is older and has learnt much about poisons, when he learns to use them against others much in the same way he now beats the other children with sticks; but for now, he is forced to lay there with his blood boiling as his body fights to stay alive, and attempts to shut down at the same time.
His bedroom door opens slowly, as if somebody is trying to sneak in. Mortimer knows exactly what the door sounds when somebody is trying, he has snuck in himself many times before, long after he was supposed to be in bed. He has spent so many long nights exploring the cultists sacrificial chambers underneath his fathers estate. He has learnt their every in and out, knows every secret passageway there is to know, and knows exactly what his bed chamber door sounds like as it’s carefully opened in the hopes of not alerting anybody to whoever is sneaking in. The door opens slowly, the bottom hinge on the door squeaking in protest, and though it’s hard to keep his eyes open, Mortimer watches as two of his fathers associates walk in. His chest rises quickly, though not in fear, every breath burning as if he has run all night, eyes blurred slightly as if he is staring into the sun. It hurts to look so far across his room, to try and focus on one thing, but Mortimer will not relent. He will pass this test. The elves look at him from the door, before entering fully, closing it behind them with the same gentleness that Mortimer uses as so not to be heard. He does not know why they are there, but knows that he does not want them there. This is his room, they are not allowed to enter, especially not without his permission.
He tries to tell them to leave, but his throat closes over and traps the sounds in.
“The wicked boy is still alive.” One grunts. He is the taller one, with dark hair that’s kept in a tight ponytail at all times. Mortimer has heard that he has an attraction to humans, though his father says it’s only a lie to lure more sacrifices into their home. His name is Omhar. “He should be dead by now, you said that the dose would be enough.” Why they think Moritmer would be dying he does not know, but now he finds his tounge heavy in his mouth when he tries to ask, little more than a groan escapes as he tries to get an answer. He has never struggled to talk before, and wonders if that is part of the test.
The elves ignore his efforts completely, they ignore his sounds as if he is not even there. Moritmer has never felt like nothing before now, but he vows with what consciousness he has left that he will never allow anybody to disregard him like that again.
“It makes sense that he is fighting it, I suppose.” The second, the rounder, shorter, of the two concedes. Mortimer does not know his name, though he has seen his face before. “He was a blessed child, it will take longer, but it will come.” He walks over and feels at Mortimers face, from here, Mortimer can clearly see the smirk on the second’s face as he checks. “He is close, not long now and he will be gone. A way can be made for a second child. Convinent for the family, there can only be one, after all.”
There can only be one. Mortimer has heard that phrase so many times. A second child would mean that he would be replaced. Siblings are pitted against one another in the cult, each of the families in the inner circle of the cult can only have one successor. There was a fight last week, two siblings, twins far older than Mortimer, fought to see which one would begin their training to take over their family, to join the cult, and which one would die there on that day.
They mean to replace him, Mortimer realises, but he will not allow it. This is not some test from some higher power, this is the work of men.
Whatever they have done to him, he will fight it; he is a blessed child, strong and cunning, he will not die to make way for a lessor one than him. He has the strength of eight men and women inside of him, he is the heir to the Du Font name, and he will not die because weak men like those in the room with him demand it. He bends to nobody, not even the death they have somehow put inside of him.
“Blessed be damned!” Omhar one walks forward now, joining his shorter friend. “We should plunge a dagger through his heart and be done with it! This boy is a demon, he’ll only bring us ruin.”
“If we kill him with a dagger, they will know.” Mortimer closes his eyes, thinking of what it would be like to kill these men with a dagger instead, he thinks of how he would do it, sitting atop them in their beds, he would strike fast and true, just as he has seen on the sacrificial tables. “We cannot run the risk, it must look like he was overcome with illness.” He would be covered in his blood, the strongest of them all, rising above them. There is no room for the weak.
“He has never been sick a day in his life. They will know regardless. Best to own what we have done, and rid us all of the boy.”
They continue to argue like this over Mortimer’s body, and he finds that he cannot bring himself to listen. Each sound becomes more and more dull, his body goes from feeling heavy and hard to control to being completely unable to be felt. He feels light, as if there is nothing holding him back from flying like a bird, but he cannot open his eyes to see if he is indeed in the air.
It feels as if he might be going somewhere without his body, and he realises that he can no longer hear the voices in the room with him. It’s peaceful, and there’s an inviting sensation that envelops him, calling him to let go, to give in, to give up.
But Mortimer Du Font does not give in. He does not surrender, he is not weak.
He has never vomited before in his life, but as he throwing himself out of that blissful nothing that so sweetly tormented him to give in, Mortimer makes up for all the times that he has not. It comes in waves, thick in his throat, first all over his bed and then the floor beside it, acidic and painful as it comes up and out of his mouth. He has no idea what it is, and as his day of firsts continue, Moritmer feels afraid for the first time. His insides are coming out, and he has no idea how he might get them back in, has no idea how so much could come out in the first place. The two elves that came into his room watch on in horror, he hears them shout in disgust and perhaps surprise as his body purges itself of the toxin they have tried to kill him with. The smell is disgusting, and as tears prick his eyes, Mortimer is sure that he will never be allowed to call himself strong again.
He is a blessed child, he tries to remind himself as he stares down at all that has come out of him. He is a blessed child, eight men and women where sacrificed in his name as he was concieved, and eight more when he was born. He is so much more than others, and yet he can’t help but to shake as he looks down at the mess he has made. He does not understand what he feels, an icy and prickling sensation wrapping tight around his throat as he tries to breathe and finds that he cannot, invisible daggers from every angle driving themselves into his body as he stares down at his insiders splattered thickly over himself, his bed, and the floor.
His bedroom door bursts open, guards brought forward by the alarmed shouts from the elves who had snuck in to watch him die, their swords drawn as they charge into the room. In his state, Mortimer cannot tell what is being said, he only sees the men dragged out of the room.
Somebody else enters, a man he has never seen before, followed by his father. His father towers above most, he is built wider than most elves, strong and impassive, near white blond hair platted several ways to keep it from his face. Moritmer hopes he’ll grow up to look like him, the exact definition of what strength means, both mentally and physically. He’ll work hard, unafraid of what it takes to get there.
He’ll change his mind in years to come, but for now it is all that Mortimer can hope for.
“Poison.” The strange man says. He has run his hand through Mortimers insides, tasted it on the end of his tounge. “He should have gotten rid of it all, he is a strong boy, blessed, he will be fine.” His father nods at the words and waves the other man off, the other man leaves without further command, Mortimer’s father can do that, he controls people without needing to say a thing, Mortimer often wonders if it is some magic that allows him to do so.
“How do I get it back in?” Mortimer knows not to seek comfort from his father, he is not even sure of what that might look like. A handshake, perhaps, he is seldom touched unless it is needed, he has never been held in his life. “All of my insides— how do I put them back in?” His father looks between his son and the mess, and Mortimer wishes he could tell what the look on his fathers face means. Cold eyes fix onto his ruined night shirt, before he removes a water skin from his hip and sets it on the unspoiled drawer next to his bed.
“You don’t.” He replies curtly. “You clean it up and get rid of it. The shirt and bedding too. Get it done.”
“Yes father.” Mortimer, though his legs feel once again like lead, stands up and begins to remove the bedding and his clothing, hoping to mop his insides up with them, save ruining anything else. When he turns back around, his father has already left. He does not know what he will do now that he has no insides left, but he supposes he is strong enough not to need them. He cleans the mess up himself, and when he is done, follows the sounds of screaming to find Omhar and the other elf being followed in the courtyard of his family’s estate. He’s too tired to watch for long, and instead finds a tree to climb so that he might rest.
There will be many more poisoning’s, and many more attempts on his life, but when they come, Mortimer will be more prepared. He is a strong boy, a blessed boy, and he will not fall to the hand of lessor men.
I’m Not A Bad Man, But I’m Not A Good One Either.
I’m Not A Bad Man, But I’m Not A Good One Either.
[1,598 Words]
[05.04.2018 - Camp NaNoWrimo]
A short piece for NaNoWrimo, because many short stories does 30k make.
(Also how the heck do you put in a read more on the Tumblr App?)
I always looked at those faces on the screens as my heroes, people to group up to be, and I really did try my hardest to get there. I never interned to end up here, to end up on the other side where people don’t like to picture themselves. I never wanted to be the bad guy, never thought I’d step into those shoes; I’d aimed for the hero my whole life, but something you don’t learn from watching movies is that real life is a hell of a lot tougher. You don’t get to call in your stuntman, and at the end of the day all those murdered loved ones don’t get back up and you don’t all go out for coffee or a couple of rounds of cheap whiskey. When you bury people in the real world, they stay buried. All the tears are reall, and the pain you feel doesn’t go away an hour after it happened because you know they aren’t ever coming back. Technology hasn’t advanced that far yet, and I'm pretty sure if it ever did, they’d have some pretty heavy sanctions on who was and was not allowed to come back. They’d bring back Eienstine before they brought back my brother, and they’d bring back Any one of the US Presidents before they brought back my dog.
I never meant to end up on this side, but if there’s one thing that the movies taught me when I was a kid, it was that if you want something done right, you have to do it yourself.
Bank robberies came easy. They weren’t really part of my job, but they paid well provided you didn’t get caught or drop the money on the way out, and money helped a hell of a lot when my line of work meant I had to travel a lot. Digger -we called him that because he used to work in construction- joked a lot that my job was digging the worlds deepest grave, but still had my back any time we went into a bank. The other faces came and went, I didn’t really bother to learn them, but Digger was always there. Bank Job? He’d hold the bag open while I stuffed it full of money. Breaking into an office to steal a few important files?Nobody was a better safe cracker than him. Needed to beat the hell out of a guy because you needed information—
Well, you get my point. Digger had my back, and as far as criminals went, he was as loyal as they came.
I made myself a name back somewhere in the mid 2000’s. Somewhere around 04’ maybe, it was hard to remember sometimes, I’d rocketed through the ranks and come out on top, working out when and where I got what wasn’t as easy as it sounded. Somewhere in 04’ I scrambled out of a tight spot and straight into a penthouse apartment with a view that I had literally killed for. It was a long game, and damned if I wasn’t going to be comfortable doing it. Nobody said that revenge had to be this hard slog through life, all tears and dramatic camera angles. Of course, most people wouldn’t reccomend hitting the most wanted list just for a bit of revenge either.
My brother was hit by a car in 2002, he was dead before he hit the ground, probably dead before he was even airborne. We’d- I’d been out drinking, he was sober, my designated driver for the night, and we had been crossing the road to get to the car. Having the time of our lives, we had no idea that there was a high speed chase hurtling right towards us. I made a run for my brothers car, some dumb race, I was always trying to prove myself, trying to be better than my big brother, and he’d walked across casually with no care in the world. When I turned back to face him, drunkenly leaning on his car, crowing about my victory, I watched as he dug his hand into his pocket to find his keys, he’d been half way through removing them from his pocket when the car hit him. They had no lights on, something about getting away from the cops easier, something I’d remember later on in my life, it was a useful trick, admittedly. I remember thinking ‘god, that’s gotta hurt’ before realising what had actually happened. My drunk ass stumbled over while the car left the scene. It didn’t stop, just corrected itself on the road with loud screeching tires and left my brother dead on the ground.
They never caught the driver, but they knew who it was. Some gang that had been causing trouble all over the city, robbery, murder, extortion, drugs, all sorts of bad shit. When the police couldn’t bring them in, I decided fuck it. If you want something done right, you’ve got to do it yourself. The problem was, I was a car dealer, and not even a good one, and they were a high profile gang shooting up the streets. They were untouchable, nobody screwed them over and got away with it. I thought back to all those movies I’d watched as a kid, thought about all the lessons I’d learned from them, and made my decision. I thought I was being the good guy, though it turns out, those good guys in the movies, aren’t really good guys in real life. Or maybe I’m just not a good guy. Whatever, it doesn’t matter. All that matters is that the people responsible for my brothers death get what’s coming to them.
The police and the media are calling it a gang war, it’s really the only explaination they can come up with. In reality, it’s just me and whoever I find who wants to push back a little. No lock in contracts, no interest, drive away as is. All I want are people who want to fuck the people I don’t like over. Nothing motivates men on my side of the law like a bit of revenge. Everybody here thinks they’re always in the right, and it makes for good business. Oh, you didn’t get paid right? Well you know that Marcus actually owns that business yeah?Yeah, he set it up to fail, here I’ve got the proof; and now I’ve got myself a driver for the job I’m doing next fortnight. It’s as easy as that. When you’re the biggest crime ring in the city, you’ve got a lot of enemies, and sure, those enemies don’t want to work together, but they will work with me. I'm nobody, just some guy doing jobs, some idiot riding high.
Soon, I’ll be riding my damn car into them. Call me petty, sure, but poetic justice looks great on the big screen, so why wouldn’t it look good in real life?
I never meant to become this sort of man, but I’m okay with it. I’ve got to own what I’ve done, or I’m just like the rest of them. Don’t get me wrong, I'm not on some high horse, I don’t think I'm better than anyone, but I like to think that I’m seperate because if I was arrested tomorrow, I’d plead guilty. I’d do everything in my damn power to get out, because I have a job to finish, but I’d own up to what I’d done. Maybe I'm trying to be the good guy still, I don’t know, I just think my brother would want me to. He’d just want my to move on from all this too, ‘I'm in the ground, I can’t thank you for this’ he’d say, but he wouldn’t get it. He’s dead, and I’m here without a brother because of those fucks. He’d want revenge too, he’s just smart enough to do it the legal way.
But I’m not him. I'm going to do it with my car, and nobody this side of fucking Saturn can stop me.
It’ll be done by the end of the week, I told myself that on Monday. It’s Friday now. Tomorrow, I’m going to drive my car straight through that fucking bakery they love so much. I’m going to run the bastard over that killed my brother, and then I’m going to put a bullet in every single other bastard that’s there with him.
I just wanted to leave a note, I suppose. I doubt I’ll make it out after this, I know it’s not a movie, and I know I’m not the good guy, I just don’t want people thinking that I was a bad guy either. I want to say sorry to anybody I’ve hurt, I did my best not to kill anybody who didn’t deserve to die, I know that a lot of people will still look at me and just see a criminal, and that’s okay I guess, I can’t go around changing people’s minds, especially if I’m right, and I haven’t survived my attack. If by some miracle I don’t die, I'll hand myself in, that’s a promise. I Never meant for this to be a long term thing, it was just harder to get to them than I thought. I know it’s not the right thing to do, but the real world isn’t black and white, there’s no clear line like there is in the movies.
Sometimes you’ve just got to do something, right or wrong.
You’ve just got to do it. I’ve just got to do it.
For him.
I’m so excited to work with @legit-writing-tips and get my WIP E Class edited. I’m freaking out, and I’m gonna cry no matter what happens, but at least I’m finally doing something with my writing and working on that next big step forward to the ultimate goal.
If you know anybody who’s published a book,
Don’t ask for a free copy
Don’t ask for a free copy
Don’t ask for a free copy
To follow up:
Although you might ask with good intentions, to an author, it feels as if you don’t believe the book is worth the financial investment. Writers put a lot of time and effort into their stories. They should not be expected to dish out free copies, especially if you weren’t even a beta reader.
Also:
If you did get a free copy because the author specifically gave it to you, consider buying a copy for someone in your friends/family.
This is more important than buying another copy for yourself because it might create a new fan who will buy the author’s future books and/or tell their own friends and family about the author!
Other things you can do to support authors:
Carry the book with you places so strangers see you with/reading them.
Tell your friends and family you enjoyed the book.
Post pictures on your social media that include the book in clear view.
Write genuine reviews of the book on goodreads and amazon.
(If you can) request the book from your local library.
(If you can) draw fanart or write short bits of fic for the book.
Rant about how awesome the book is in fandom spaces.
Writing With Color Top Posts + Other Useful Ones
Oh hey– here’s a list ranked by Writing With Color’s most popular posts since opening in 2014 up till now, the start of 2017. Pulled together for the interest and usefulness for readers like you. Thank you.
Top 7 Popular Original Posts
Words for Skin Tone - This two part guide offers an array of words for describing skin color. Part I focuses on the problems with food descriptors. Part II provides alternatives. (68k+ Notes)
Common Micro-aggressions: African Americans and/or Black People - An extensive list of common micro-aggressions towards Black people with some links for further reading. (46k)
Words to Describe Hair - As with the words for skin tone, an offering of words to describe hair, from curls to different colors. (34k+)
Black and White Symbolism: A Look into the Trope - Discusses concept of black as evil and white as good, from its history & problem implications. Guide offers alternatives & solutions. (10k)
Describing Accents - An example-based post for describing accents and voices. (5k)
How to Research your Racially/Ethnically Diverse Characters - Self-explanatory. (5k)
Describing Asian Eyes - A guide to describing Asian eyes with further useful commentary. (4k)
Honorable Mentions
Other recommended WWC Posts.
The Key to Moving Beyond Checklisting is Not Less Diversity - “The problem with pasted-on diversity is not the diversity; it’s the pasted on part.”
Stereotyped vs Nuanced Characters and Audience Perception - Discusses one of our more common ask themes: the writing (or rather, the not writing) of stereotypes.
When We Read: Mod Wishlist - A list of what we as mods would like to see of ourselves in media. Check out the Native American WL too.
Bad Representation vs Tokenism vs Diversity just existing without justification like in the real world -Title says it all.
Stereotyping Tropes List - A categorized tropes list reposted from the TV Tropes website with links to their topics on the subject matter.
–WWC
How can i use flashbacks to help tell part of a story? And more importantly how can i use them naturally without them feeling forced or lazy?
First you need to distinguish between the 2 main types of flashback: full scene and expository.
The “full scene” is what most newer writers think of, and it’s the type of flashback where the entire scene is written to place the reader in the past and is separated from the narrative typically via a scene break.
Expository flashbacks are woven into the scene as (guess what) exposition and have a near seamless transition. Like a memory embedded in the story. Here’s an example (flashback in bold):
Now that he thought about it, he never saw his father’s body, but he could never forget his mother’s ashen face when she came home after identifying the remains, or the way she locked the bathroom door and vomited until he begged for her to come out. That could have been nothing but a genuine reaction, and the memory doused the tiny flare of hope in his chest.
You are much more likely to write a “forced” or “lazy” flashback if you’re writing it as a full scene because the jump cut is already “breaking” the moment to show the past. That method should never be relied on to tell majority of backstory because the general past doesn’t need to be shown in that level of detail and too many flashbacks are an easy way to destroy a story’s forward momentum. Do not use them as a crutch to make your story “better”. This is an example of taking “show, don’t tell” too far (believe it not, it’s a thing) when you don’t need a full standalone scene to “show” something. If you wanted to write a story about the past, then why are you even bothering with the story the flashbacks are taking place in?
Now, if we’re talking about the main event in a character’s past that defined who they are today, that’s a little different. You still don’t have to use a full scene flashback for that, but I’d take it as an acceptable moment for a full flashback as opposed to some conversation between the protagonist and a friend that relates to a basic plot point. Still, you want to be careful when doing this, because that main event is likely to be tension-high and the reader hasn’t been following the past, they’ve been following the current story, so it’s easy to lose a reader without the proper setup.
The more natural-feeling flashbacks will always be the the expository ones, simply due to the lack of cut and the fact that it keeps the story “in the now”. (And it saves on word count by being more concise. More words aren’t always better.) Laziness becomes a problem when you start relying on flashbacks to tell story for you, instead of focusing on the current plot (or if you flashback to a scene that you didn’t feel like writing at the time).
Timing of flashbacks also matter. They’re generally viewed as a character taking the time to zone out and think, especially with full-scene flashbacks, so that’s not going to be happening in the middle of an action sequence. It’s possible to integrate a quick expository flashback in an action sequence though!
All that said, there’s nothing wrong with full-scene flashbacks, and I’ve read some stories where they’ve enhanced the narrative. But those stories were specially built around the parallels between the past and future, they weren’t using the flashbacks to just show information. It was a planned, well-thought-out, and integrated part of the narrative that worked for the specific story type.
It really comes down to this question you should always ask yourself when debating a full-scene flashback: do my readers need to see the full past scene to understand what I want to convey? Most of the time, the answer is no.
Good luck with your flashbacks!
writer dilemmas
emulating writers I admire and using tried and true formulas
writing in my own style and standing out
staring blankly at an empty page
I like to think that I’m a pretty cool human, what with my casual instance to constantly act like I’m in an action movie. It’s something I pride myself on, because my stories are fun to tell, and I honestly just love living like an action hero, be it one who is a giant hermit...
But I’m occasionally reminded of how un-action-movie-like I am. Like today, when I enthusiastically detailed my favourite types of pen, and offered unwanted advice on what pen to buy to a friend who wasn’t in the market to buy.
For ten minutes.
Coming this Summer: You should really try this pen because honestly, it flows so nicely on paper, and it allows you to write quickly which is something I really appreciate. Just be aware that the ink smudges a little if you’re not careful. If that’s a problem, you should check out these ones, they’re aren’t as good of a quality, but the cartridges are replaceable, and really that’s the most important part, and they come in as small as .038 which I really love-- you have to appreciate the customisation. Plus they’re only $5(AUD) and you technically get 3 pens so really I think it’s worth it.
Movie yet to be rated.
youtube Swordman standing up to gender roles
while you were living under gender roles, i studied the blade
Men are on average more muscular than women and can wield heavier weapons more easily, so it’s a practical advantage for the woman to prefer the rapier and the man to prefer the longsword. Gender roles? I’d rather win than try to “rebel for rebellion’s sake” and lose.
surprise both swords were used in totally different time periods for totally different purposes and this is a joke post no one cares
Not to mention long sword vs. rapier. The rapier has more speed and precision then the long sword. The long sword is crazy heavy for a hand held weapon and would quickly die.
Several Of The Above Points Are Shit-Wrong And I’m Going To Tell You Why: A Point By Point Dissection By Me
Point 1: “Both swords were used in totally different time periods for totally different purposes.”
Partially right. A rapier is indeed suited to a different fighting style than a longsword. The slender, blade with a highly developed tip makes the rapier an amazing thrusting weapon, designed to pierce through the holes in chainmail or the seams between plates. They can be used to cut, but their primary focus is to thrust. A longsword, however, has a much thicker and heavier blade as well as a longer hilt that gives it the ability to be wielded in one OR two hands (it’s often referred to as a ‘hand-and-a-half’ sword because of this) enabling it the leverage and strength to cut (or bash, but that’s far less ideal as it could damage the blade) far more easily.
Rapier:
Longsword:
HOWEVER, there was at the very least a large period of overlap in the uses of longswords and rapiers. The difference in their utility (besides cutting vs thrusting, the longsword was largely a military weapon and the rapier was largely a civilian weapon and for dueling) saw to it that they could coexist. The longsword as we know it has been found to date back at least to the 14th century, if not earlier and was used in sporting duels and tournaments up until the 16th if not the 17th century (though its military use ended long before its sport use did). The rapier was first created (or at least first recognized by scholars as being created) around 1500 in Spain. Even if we take only the centuries during which they saw the most use (longsword = 14th-16th cent. and rapier = 16th-17th cent.) there was still a whole century of overlap.
Sources:
https://www.albion-swords.com/articles/oakeshott-typology.htm
http://www.e-reading.club/bookreader.php/135704/The_Sword_in_the_Age_of_Chivalry.pdf
http://www.pbm.com/~lindahl/paradoxes.html
http://www.salvatorfabris.org/SectionRapier.shtml
Point 2: Rapiers are lighter than Longswords (and also the point that longswords are “crazy heavy for a hand-held weapon”).
This is wrong. Rapiers are, on average, around 2-ish lbs (1kg). Longswords are also, on average, around 2-ish lbs (1kg). This is for your STANDARD LONGSWORD, a hand-and-a-half sword that can comfortably be wielded in either one or two hands. Of course, both can reach higher or lower weights, but the top of the weight range for them tends to be around 4 lbs. The heavy fuckers you’re probably referring to are true 2-handed swords, such as the montante or the zweihander. Even then, they don’t get too much above 7 or 8 lbs. You know what weighs around 7 or 8 lbs usually? Most newborn babies.
(in order top to bottom: a 1-handed sword, a longsword, a montante)
For reference, other hand-held weapons? Shotguns run between 5 and 8 or more lbs. An M60 machine gun? Around 23 lbs. Handguns are between 2-4 lbs.
So yes, a longsword is heavy…when you’re comparing it to, like, a knife or to not wielding anything.
Sources:
https://www.youtube.com/watch?v=9wDjjLnKRcI&t=1s
http://www.thearma.org/essays/weights.htm#.WMsiVfkrKUk
http://www.ejmas.com/jwma/articles/2005/jwmaart_dawson_0205.htm
http://modernfirearms.net/machine/usa/m60-e.html
http://www.militaryfactory.com/smallarms/detail.asp?smallarms_id=38
http://www.chuckhawks.com/shotgun_weight.htm
https://www.sigsauer.com/products/firearms/pistols/
Point 3: Larger weapons are slower.
No
they
REALLY
aren’t.
That’s a video-game-ism so that 1) you don’t feel like shit when you get wrecked by an opponent wielding a fuck-off huge sword and 2) they don’t have to program in proper form, technique, and handling of said sword.
Point 4: “Women can’t wield longswords.”
Really now?
(Have some more videos because tumblr won’t let me embed any more.)
https://www.youtube.com/watch?v=W3o5sFI56V8
https://www.youtube.com/watch?v=-nzpvVuSwc0
https://www.youtube.com/watch?v=1bE4v6e6iss
Thank you. Longswords just aren’t that heavy. They really are not. A good one balances in the hand and feels almost effortless to hold. They are a real pleasure to handle and I think everyone should get the chance to do so at least once just to understand what I mean. Shitty wallhangers are fuckoff heavy, but that’s because they are made from crappy materials, are not properly shaped/tapered, are too thick, are poorly balanced so they feel even heavier than they are, and were never actually intended to be *used*.
Now, within the modern field of western martial arts women are often pushed towards rapier and subtly discouraged from longsword. The weight and strength issue is raised, and there is concern from their male opponents about women getting hurt–rapier thrusts tend to land softer because the blade flexes, while longsword cuts tend to leave more bruising and risk more damage, especially in organizations that have very different rules for rapier and longsword.
But as a woman who was pushed into rapier and smallsword for a decade before discovering that longsword was her true passion, I am glad to see people disputing this gender divide.
A whole slew of excellent points here 🏳️🌈😊⚔💋
@obaewankenope here have lovely, lovely sword meta
I love this post.
Talking with writers online
Their stories: Amazing grammar, soaring vocabulary, beautiful imagery and prose which flows like a river.
In chats: no capitalisation or punctuation, swears like a sailor, misspellings everywhere, acronyms and abbreviations every five words, idek
#listen #listen do u know how much braining it takes to make the words go? #it is a lot #it’s like wearing fancy clothes all day #and then when you’re at home and comfy #u just put on ur pj’s ( @feynites)
I have never related to a statement more than “do you know how much braining it takes to make words go?”
I was writing bravely, and badly, but I hope to never forget that hunger.
Mitchell Glazier, from Sirens Q&A, published in Honeysuckle Press’ 2017 Chapbook Semi-Finalist Feature (via lifeinpoetry)
This is your regularly scheduled reminder that first drafts suck. That’s ok. It doesn’t mean you’re a bad writer, or that you should give up. You can fix it later. Right now, just keep telling your story. Keep writing.