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How to create romantic couples with chemistry
Writing couples is both enchanting and exhausting. How do you make people ship your couple? How do you make them an OTP? How do you make your couple matter to the story? Or matter at all? To answer all these questions, I’ll explain three major must-have characteristics for couples:
1. Realism
Falling in love is a slow process. It’s different from person to person. People are flawed. Relationships are flawed. People make mistakes. People fear rejection. Not everyone will find their soulmate exactly when they need most. People show love in different ways. People are not flirty all the time. Realism is important. Development is essential. When writing a couple, visualize yourself as one of the characters (or both). Imagine their love story as if it was happening to you in real life. See how different it goes? Maybe not as fast and a thousand times clumsier, but also charming and interesting.
Example of strong realism: Carl and Ellie (UP), they take a lifetime to mature their love and mutual respect. Neither are perfect. The relationship goes through bad times, but their love only grows.
Example of weak realism: Caine and Jupiter (Jupiter Ascending), they fall in love in two or three days, not enough scenes are dedicated to developing the relationship. In the end, it feels strange.
2. Balance
Give your couple opposite but complementary features. This is basically the Yin-yang symbolism that a lot of stories shows. If one character is all love-and-peaceful, maybe the other is a furnace of anger. If one traveled the whole world, maybe the other never left their village. If one is a millionaire, maybe the other is homeless. If one is short with dark hair, maybe the other is tall with light hair. However, no matter how opposite they are, always keep the balance. One shouldn’t overshadow the other. They must shine together, but also as individuals.
Example of strong balance: Fix-it Felix Jr. and Sargent Calhoun (Wreck-It Ralph), they belong to different worlds, they would probably never meet. He is a sweet pie that always tries his best, a peacemaker. She is, on the other hand, an explosion, a warrior. They are both relevant in achieving victory. Also, both are the heroes of their own games.
Example of weak balance: Sasuke and Sakura (Naruto), he is way more powerful than her, he doesn’t respect her as a ninja, he doesn’t like working with her. He tried killing her more than once and was never sorry about that. She accepts being overshadowed. She lacks character development compared to Sasuke. There is no opposite-complementary features tying them. It’s unbalanced.
3. Synergy
Make them work together. Make them accomplish common goals. Make them a power duo. Make them laugh of the same jokes. Make it easy and natural for them to be together, talking, sharing and having a good time. Make their conversations flow. Make it easy to touch, and stare, and embrace, and kiss. Make their mind and body work together.
Example of strong synergy: Cat Noir and Ladybug/Adrien and Marinette (Miraculous Ladybug), they are the heroes of Paris. No, they are partners in saving the world. It doesn’t feel uncomfortable when they interact, fight and save each other. It feels right. It feels natural. You crave for interactions.
Example of weak synergy: Kim Tan and Eun-Sang (The Heirs), they are the type of couple that are always fighting, but sometimes indulge in a passionate kiss. However, there’s no synergy between these characters. They are never on the same page. They are never partners. The magic of their relationship never sparkles. Even their kisses are uncomfortable to watch.
Now, think of your favorite couples (even non-canon ones) and try spotting the realism, the balance and the synergy in them. If you ship it,I’m pretty sure it’s there.
Try applying these characteristics to your next writing.
How to create romantic couples with chemistry
Writing couples is both enchanting and exhausting. How do you make people ship your couple? How do you make them an OTP? How do you make your couple matter to the story? Or matter at all? To answer all these questions, I’ll explain three major must-have characteristics for couples:
1. Realism
Falling in love is a slow process. It’s different from person to person. People are flawed. Relationships are flawed. People make mistakes. People fear rejection. Not everyone will find their soulmate exactly when they need most. People show love in different ways. People are not flirty all the time. Realism is important. Development is essential. When writing a couple, visualize yourself as one of the characters (or both). Imagine their love story as if it was happening to you in real life. See how different it goes? Maybe not as fast and a thousand times clumsier, but also charming and interesting.
Example of strong realism: Carl and Ellie (UP), they take a lifetime to mature their love and mutual respect. Neither are perfect. The relationship goes through bad times, but their love only grows.
Example of weak realism: Caine and Jupiter (Jupiter Ascending), they fall in love in two or three days, not enough scenes are dedicated to developing the relationship. In the end, it feels strange.
2. Balance
Give your couple opposite but complementary features. This is basically the Yin-yang symbolism that a lot of stories shows. If one character is all love-and-peaceful, maybe the other is a furnace of anger. If one traveled the whole world, maybe the other never left their village. If one is a millionaire, maybe the other is homeless. If one is short with dark hair, maybe the other is tall with light hair. However, no matter how opposite they are, always keep the balance. One shouldn’t overshadow the other. They must shine together, but also as individuals.
Example of strong balance: Fix-it Felix Jr. and Sargent Calhoun (Wreck-It Ralph), they belong to different worlds, they would probably never meet. He is a sweet pie that always tries his best, a peacemaker. She is, on the other hand, an explosion, a warrior. They are both relevant in achieving victory. Also, both are the heroes of their own games.
Example of weak balance: Sasuke and Sakura (Naruto), he is way more powerful than her, he doesn’t respect her as a ninja, he doesn’t like working with her. He tried killing her more than once and was never sorry about that. She accepts being overshadowed. She lacks character development compared to Sasuke. There is no opposite-complementary features tying them. It’s unbalanced.
3. Synergy
Make them work together. Make them accomplish common goals. Make them a power duo. Make them laugh of the same jokes. Make it easy and natural for them to be together, talking, sharing and having a good time. Make their conversations flow. Make it easy to touch, and stare, and embrace, and kiss. Make their mind and body work together.
Example of strong synergy: Cat Noir and Ladybug/Adrien and Marinette (Miraculous Ladybug), they are the heroes of Paris. No, they are partners in saving the world. It doesn’t feel uncomfortable when they interact, fight and save each other. It feels right. It feels natural. You crave for interactions.
Example of weak synergy: Kim Tan and Eun-Sang (The Heirs), they are the type of couple that are always fighting, but sometimes indulge in a passionate kiss. However, there’s no synergy between these characters. They are never on the same page. They are never partners. The magic of their relationship never sparkles. Even their kisses are uncomfortable to watch.
Now, think of your favorite couples (even non-canon ones) and try spotting the realism, the balance and the synergy in them. If you ship it,I’m pretty sure it’s there.
Try applying these characteristics to your next writing.
WRITING A QUERY LETTER
Feels a lot like:
One crucial part of the traditional publishing process is the query letter. It’s extremely difficult to write, but necessary.
A query letter is a short pitch that is supposed to hook whoever you are submitting to (most often literary agents (look here for info on that)). It is your ticket to possible publication.
Finding an Agent
When to Query
Format & Overall Content
Salutation & Information
Marketing Information
Author Bio & Credentials
Paragraph Two
Pitching a Book Series
Common Problems
Submission Guidelines
Sending Queries
Waiting & Follow-ups
Revisions & Resubmitting
The Call
All Agents Differ
Lots of Links
Keep reading
he had to sneeze
Prompt 1816. “Never telepathically communicate with my cat again.”
He said as they watched the house burn down across the street. "Sorry dude," his friend said. "I thought it would help him stop scratching the furniture." He shook his head at his friend, turning from the window so he would be out if sight when the firetruck arrived.
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Bottles of Gatorade Blue Bolt floating in a bath of Powerade Mountain Blast, 2013
I can’t tell if this is seriously art or if it’s just tongue in cheek sarcastic art or if it’s post-ironic ironic art, or ironic art, or literally just a joke and that is so not okay.
Aesthetic
Your Honor, there is a clear contradiction in this photo.
As you can see from this piece of evidence, Gatorade bottles are topped with an orange lid.
But in the photo above, the lids are black. Which means that the bottles in this photo can’t be Gatorade bottles.
Mr. Wright, didn’t you go to art school? I sure didn’t, but I still know what happens when you mix orange and blue!
In case you forgot, take a look at this!
If you look closely, you can even see an orange tint!
And what else can you see? The classic gatorade G. Your honor, I think this case is closed!
well that was much shorter than usual
she fucking destroyed him that’s why it’s short
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Me and Pokemon GO
Good Guy Nintendo. Trying to get people outside since 1996
Core Values
Core values shape our decision-making. They’re our own moral compass, and each person’s core values are specific to them. That said, there’s no such thing as a “wrong” core value! Maybe it’s something you don’t value, but that doesn’t make it any less important to someone else. Similarly, just because it’s not a core value doesn’t mean you don’t give a shit about it. Just because integrity isn’t a core value doesn’t mean you’re going to cheat on tests and lie to friends or whatever. Just because friendship isn’t a core value doesn’t mean you are and want to be always alone and friendless.
You should do this exercise for your entire main and support character cast. Protagonists, villains, everyone—except maybe George at the cash register. Maybe you can if you want, though. They say you should write every character as if they think the story is about them. Finding their core values will help them make choices that reflect their own beliefs, not just decisions contrived to make a point, further the plot, or support the MC. Take your time. Do it for yourself, too, if that helps you get into it. Reflect on whether or not they’re your values. Just because you were raised in a competitive family doesn’t mean you have to value it like you’re expected to.
Preferably, you’ll print this list out. Read through all of them. Then read through again, and checkmark 10 values that matter to you. Finally, on a third read through, place a second checkmark next to five of them. These five are your core values.
Achievement (sense of accomplishment by means of skills, practice, perseverance, or exertion.)
Advancement (moving forward in your career through promotions)
Adventure (work which frequently involves risk taking or travel)
Aesthetic (involved in studying or appreciated the beauty of ideas, things, etc)
Autonomy (work independently, determine the nature of your work without significant direction from others)
Caring (love, affection)
Challenge (stimulates full use of your potential)
Change & Variety (varied, frequently changing work responsibilities and/or work settings)
Competition (your abilities against others where there is a clear win/lose outcome)
Cooperation (opportunity to work as a team towards common goals.)
Creativity (being imaginative, innovative, coming up with ideas)
Economic security (having enough money)
Excitement (experience a high degree of, or frequent excitement in your work)
Family happiness (being able to spend quality time and develop relationships and family)
Friendship (develop close personal relationships)
Health (physical and psychological well-being)
Help others (be involved in helping people in a direct way, individually or in a group)
Help society (do something to contribute to improve the world)
Inner harmony (being at peace with oneself)
Integrity (sincerity and honesty)
Intellectual status (be regarded as an expert in your field, thought of as smart
Knowledge (understanding gained through study and experience)
Leadership (influence over others, rather lead than follow)
Leisure (have time for hobbies, sports, activities, and interests)
Location (live somewhere that will fit your lifestyle and allow you to do the things you enjoy most)
Loyalty (steadfastness and allegiance)
Pleasure (enjoyment)
Power (authority, control)
Precision (work in situations where there is little tolerance for error)
Responsibility (being accountable for results)
Recognition (getting acknowledged for your contribution)
Stability (work routine and have largely predictable duties, not likely to change over a long period of time)
Spirituality (religion, faith)
Time freedom (flexible work schedule, no specific work hours required)
Wealth (profit, gain, make a lot of money)
Wisdom (accumulation of knowledge)
(you aren’t limited by the values on this list, by the way)
This sort of guideline should lean your character’s choices one way or another. That said, it’s not at all meant to be seen as constraints for your characters. Core values can be a tremendous amount of stress to your character. They bring out what I’ve mentioned before—how people at times seem like paradoxes (remember this post?! Told you it was a topic I’d bring up a lot).
Think about this scenario. Two of your core values are friendship and integrity. Your best friend is going to fail their math class if you don’t help them with the homework! And it’s more than just “helping”… they’re so far behind that they want you to actually do some of their homework for them. Helping them would be friendship. But helping them also goes against integrity. How do you decide? How can you justify putting one value over another? If you choose friendship and help her, you’ll get that knot in your stomach. You know it’s not right to cheat like this, and it stresses you out. If you refuse to help, same thing: you’re feeling terrible for not helping. Friends should always help each other, and you’re letting your own morals damage a friendship that you really value.
In this way, sometimes a character with integrity will make a choice that’s not all that honest. Is it out of character? Paradoxical? From a surface view, yes. But they haven’t abandoned their integrity. In fact, they’re feeling miserable about putting integrity on a back burner. And they’ll continue to feel miserable about it until they find a balance.
Closing thought—core values give your character dimension and depth. A character that values integrity and always, every time without fail chooses to follow the road of integrity is often flat and predictable. So make your character uncomfortable! Make them stress over their decisions. Make them miserable. Only then will they be miserably human like the rest of us.
–E
Ways to un-stick a stuck story
Do an outline, whatever way works best. Get yourself out of the word soup and know where the story is headed.
Conflicts and obstacles. Hurt the protagonist, put things in their way, this keeps the story interesting. An easy journey makes the story boring and boring is hard to write.
Change the POV. Sometimes all it takes to untangle a knotted story is to look at it through different eyes, be it through the sidekick, the antagonist, a minor character, whatever.
Know the characters. You can’t write a story if the characters are strangers to you. Know their likes, dislikes, fears, and most importantly, their motivation. This makes the path clearer.
Fill in holes. Writing doesn’t have to be linear; you can always go back and fill in plotholes, and add content and context.
Have flashbacks, hallucinations, dream sequences or foreshadowing events. These stir the story up, deviations from the expected course add a feeling of urgency and uncertainty to the narrative.
Introduce a new mystery. If there’s something that just doesn’t add up, a big question mark, the story becomes more compelling. Beware: this can also cause you to sink further into the mire.
Take something from your protagonist. A weapon, asset, ally or loved one. Force him to operate without it, it can reinvigorate a stale story.
Twists and betrayal. Maybe someone isn’t who they say they are or the protagonist is betrayed by someone he thought he could trust. This can shake the story up and get it rolling again.
Secrets. If someone has a deep, dark secret that they’re forced to lie about, it’s a good way to stir up some fresh conflict. New lies to cover up the old ones, the secret being revealed, and all the resulting chaos.
Kill someone. Make a character death that is productive to the plot, but not “just because”. If done well, it affects all the characters, stirs up the story and gets it moving.
Ill-advised character actions. Tension is created when a character we love does something we hate. Identify the thing the readers don’t want to happen, then engineer it so it happens worse than they imagined.
Create cliff-hangers. Keep the readers’ attention by putting the characters into new problems and make them wait for you to write your way out of it. This challenge can really bring out your creativity.
Raise the stakes. Make the consequences of failure worse, make the journey harder. Suddenly the protagonist’s goal is more than he expected, or he has to make an important choice.
Make the hero active. You can’t always wait for external influences on the characters, sometimes you have to make the hero take actions himself. Not necessarily to be successful, but active and complicit in the narrative.
Different threat levels. Make the conflicts on a physical level (“I’m about to be killed by a demon”), an emotional level (“But that demon was my true love”) and a philosophical level (“If I’m forced to kill my true love before they kill me, how can love ever succeed in the face of evil?”).
Figure out an ending. If you know where the story is going to end, it helps get the ball rolling towards that end, even if it’s not the same ending that you actually end up writing.
What if? What if the hero kills the antagonist now, gets captured, or goes insane? When your write down different questions like these, the answer to how to continue the story will present itself.
Start fresh or skip ahead. Delete the last five thousand words and try again. It’s terrifying at first, but frees you up for a fresh start to find a proper path. Or you can skip the part that’s putting you on edge – forget about that fidgety crap, you can do it later – and write the next scene. Whatever was in-between will come with time.
PSA FOR ASPIRING WRITERS EVERYWHERE
So, the amazing Maggie Stiefvater has done something for all of us that we should all know about!
Critique partners are important! Whether you’re published or unpublished, agented or un-agented, you should have eyes on your manuscript before it gets published to get varying opinions about what’s working and what isn’t and how different people perceive what you’ve written. Now, if you don’t like the whole critique-partner/beta-reader vibe, that’s swell! But this is for the people who DO like the whole critique-partner/beta-reader vibe.
So, our girl Mags has created a Google Group for Critique Partner Match-Ups. It’s been going on for about six months and I want to signal boost it so people who don’t know about it can know about it and use it! Personally, I haven’t posted on it yet but I’m planning to very soon and for the rest of us, here’s the handy-dandy link:
https://groups.google.com/forum/#!forum/critique-partner-matchup
I kindly ask anyone who’ll use this to reblog this and even if you won’t use but you think it might interest some of your followers, reblog this to help an aspiring writer!
Signal boost this and happy writing!!