Sweet Seals For You, Always
Peter Solarz
blake kathryn
trying on a metaphor
tumblr dot com
d e v o n
祝日 / Permanent Vacation
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we're not kids anymore.
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taylor price
almost home
will byers stan first human second
Origami Around
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if i look back, i am lost
Sade Olutola
wallacepolsom
❣ Chile in a Photography ❣
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@seateas
What is Lions & Men: The Musical?
Lions & Men is a WIP 10-episode show that reinterprets the Trojan War into a sci-fi setting
As of now, it’s just a passion project, but I would like to make it into a real thing eventually!
On this blog, I’ll be posting a lot of concept art (mostly character art), as well as progress updates, character explorations, and some song demos
I LOVE getting asks! ask any questions/feedback you may have!
IMPORTANT LINKS:
Celestial bodies symbolism etc etc Joel is Car etc etc- GUYS. ARTISTS. COOL SCENE WHERE IT'S JOEL LAYING ON THE HOOD OF HIS CAR AND STARING UP AT THE GALAXY OF WINNERS LIKE A SAPPY 80S MOVIE. IT WOULD BE EPIC.
I know everyone loves the idea of Epic Athena being handed Telemachus as an infant by Odysseus and feeling warmth, kindness, and protection like a surrogate aunt or grandma
But I think it'd be funnier if at first she was just kind of confused because she thought it was an offering.
"Hold out your arms Athena... His name is Telemachus"
"I... I don't really want this"
it's so important for your health and well-being to get overly attached to a fictional man who is both deeply amoral and unbelievably, pathetically sad
Odysseus: “Then I’ll become the monster” 😔
The 43 Bois: “YASS KING YASS HE IS THE MAN-MADE MONSTER” 🗣 🗣 🗣
Odysseus: does something monstrous
The 37 bois: 👁👄👁
the Pines family somehow fits in the ‘found family’ trope despite being biologically family and that can be something so personal
9 Traditional Forms of Poetry:
Sonnet- 14 lines, written in iambic pentameter (a meter with five pairs of unstressed and stressed syllables per line), with the rhyme scheme ABAB (Also known as Shakespearean)
Haiku- traditional Japanese form with 3 lines and a common syllable pattern of 5-7-5. It often focuses on nature. (You can also do patterns of 7-5-7 or 3-5-3)
Villanelle- 19 lines with five three-lined verses (ABA) followed by a four-line stanza (ABAA).
Limerick- a humorous five-line poem with a rhyme scheme of AABBA and a specific rhythm.
Ballad- A narrative poem with song-like qualities, usually written in four-line stanzas with a rhyme scheme. (like ABAB or ABCB)
Ode- a formal, often ceremonious lyric poem that addresses or celebrates a person, place, thing, or idea. It typically follows a specific structure.
Elegy- a reflective poem that grieves the loss of someone or something.
Sestina- a complex form with six stanzas of six lines each, followed by a three-line conclusion stanza.
Pantoum- composed of quatrains where the second and fourth lines of each stanza become the first and third lines of the next stanza.
There are more but this is all for now!
something something the fact that Ares, Athena's rival, is the one to ask if she's dead.
at the end of the day, she's still his sister.
calling a stranger online bestie is the modern equivalent of going up to a stranger in an old tavern and calling them “my friend”
hail, bestie! what news of the northern realms hath you to deliver!
absolute vibes my esteemed friend!
"Get lost."
"Can't be any more lost than I already am, I'm afraid."
Things about the Wisdom Saga that have plagued me all damn day
Legendary
Whether intentional or not, Miguel's Telemachus really sounds like a younger version of Jorge's Odysseus. And that hurts.
"If I fight those monsters, is it you I'll find?" The layers. Could he go out and hunt for his father? Could he find his 'legendary' strength within himself? Or will Odysseus be the 'monster' he finds?
"Somebody help me, come and give me the strength" And his call is answered T_T
20 years.
Antinous fully interrupts this bop. Rude.
Ayron sounds legitimately scary and Telemachus taking a stand is so O.O
Little Wolf
I wanna fight this guy. Love that Athena agrees. (The beat of the song and sharp bursts of vocals really emulate blows.)
The quaver on "I don't know how".
Athena is immediately charmed by Telemachus' enthusiasm. She sounds so fond.
The fact she sees heart in him as an advantage when it was Odysseus choosing heart over mind that drove them apart. Guh.
Did she tell him to bite Antinous? XD
"Oh, maybe I pushed you a bit too hard." The change in her perspective is already so apparent - she wouldn't have admitted a mistake or miscalculation to Odysseus.
We'll Be Fine
"I had a friend before..." A FRIEND? FRIEND?!?!
An admission that she didn't fully appreciate what Odysseus was going through, that she feels guilty for having "missed it all".
It's unclear to begin with if she's come to Telemachus for Odysseus, or to try and replace him. Both are equally heart-breaking.
"I don't know who your friend is, I don't know what he's like" UNKNOWINGLY ECHOING HIS OWN THOUGHTS IN 'LEGENDARY'. NO IT'S FINE I'M FINE.
"The best day of my life because I got in a fight and I didn't die! :D" Telemachus, child, please.
"We'll be fine" using the same run as "this is my goodbye" T_T
Him immediately offering up friendship to Athena, like Odysseus once did, must hit her so hard. "You're a good kid." Yes he is - because he's more like his dad than he knows.
Love in Paradise
"Old friend..." FRRRRRIIIIEEEENNNNNDDDDD!!!!!
10 years.
The memory fragments sounding so fraught and chaotic together, hitting harder because they're hitting Athena all at once. She missed a lot.
"She's my wife." "Anyways..." Calypso, girl, please.
Love that they're singing completely different melodies through the first half of this song for two reasons: because Odysseus is revisiting previous motifs, once more trying to hold onto the man he was, and also because it shows Calypso is not willing to compromise on what she wants.
"Last I checked goddesses can't die." We'll come back to this later.
Then Odysseus realises he is truly trapped and he sings along to Calypso's melody in muted horror.
POLITIES OUT HERE STILL HAUNTING THE NARRATIVE.
Just the words "open arms" are enough to confront Odysseus (again) with all he's lost. All he hears are screams.
And the one he screams out for is Athena.
"He needs my help." NO KIDDING GO GET YOUR BOY.
God Games
"Father, God, King..." There's a lot to unpack in that fun family dynamic.
"To untie apprehensions that were placed on that Greek?" Zeus is like, nobody likes that guy, why do you care?
The gods being called out like X Factor finalists is everything.
So there's a great contrast against the previous song - unlike Calypso, Athena is matching each of her singing partners with their tone and beat as she convinces them. She isn't winning by 'imposing her will', she's meeting them where they are.
Rational arguments work until Aphrodite, where Athena says "please" for the first time. She softens to appeal to Aphrodite, which is why Ares has to step in.
The way she says his name XD
Ares' lines sound like as much of a fighting chant as 'Little Wolf' did, which makes it all the better that the mention of Telemachus is what gets her to 'fight back'.
"His son's my friend!" YES HE IS. And Athena of all people declaring "a broken heart can mend" is fascinating. Can't help but wonder if she's talking about herself coming around to forgiving Odysseus.
"Never once has he cheated on his wife." Handwaving the source material is worth it for this line ALONE.
Zeus is so pressed by everyone openly knowing he cheats on Hera. Stop doing it then my dude.
Ares sounding genuinely concerned for Athena is doing things to me. Goddesses can't die, huh?
Her time motif flitting in and out like a weak heartbeat.
The soft piano of 'Warrior of the Mind', touching on a whisper of 'Legendary', then rising to a triumphant crescendo as Athena regains herself. I will be forever haunted by visions of Odysseus and Telemachus helping her to her feet.
And then, finally, she faces her own father and begs. Because Odysseus and Telemachus deserve a chance to be father and child.
The parallel, by the way, of Athena entering this saga to help an outnumbered Telemachus, and now closing it with him/Odysseus unknowingly helping her win her own battle too. JORGE HOW DARE YOU T_T
I need tumblr people to be insane with me too
can we already talk about how, for renchanting, the spring actually came
new season, new place, the Renwood mound, green grass and fresh trees and bright flowers
red winter is over, the spring has begun
*muffled screaming*
hey its a gaggle of possessed (not really) toby fox (not really) children
"Keefe and Fitz are best friends" babe, they haven't been best friends since keefes "betrayal" in book 4
Writing Notes: Plot Development
The Save the Cat! Beat Sheet is divided into 3 acts (or parts), which are further subdivided into 15 total beats (or plot points).
You can use this as a reference at any time to quickly remind you of the beat’s primary purpose and where it goes in your manuscript.
Remember: Novels can vary greatly in length, so it’s important that you use this resource only as a guideline. Be flexible.
The Transformation Machine
The beat sheet is often also called a transformation machine:
A flawed hero enters on one side and comes out the other side magically transformed.
Do the beats have to come in the exact same order outlined here?
Not necessarily. The point is, the beats are all there.
In almost every great story ever told. Because these beats do not create a formula. These beats are what make stories work, because they’re what makes humans work.
The Transformation Test
Self-Workshop Checklist to make sure your beats pass the transformation test:
Opening Image
Is your Opening Image one scene or one group of interconnected scenes?
Is your Opening Image visual? (Are you showing, not telling?)
Is one or more of your hero’s flaws evident in this scene?
Theme Stated
Does your theme directly relate to your hero’s need or spiritual lesson?
Is your theme stated by someone (or something!) other than the hero?
Can your hero easily and believably dismiss this theme?
Setup
Have you shown at least one thing that needs fixing in your hero’s life?
Have you introduced at least one A Story character?
Did you clearly establish your hero’s want or external goal somewhere in this beat?
Have you shown your hero in more than one area of their life (such as home, work, and/or play)?
Are your hero’s flaws evident in this beat?
Have you created a sense of urgency that imminent change is vital (stasis = death)?
Catalyst
Does the Catalyst happen to the hero?
Is it an action beat? (No revelations allowed here!)
Is it impossible for the hero to go back to their normal life after this?
Is the Catalyst big enough to break the status quo?
Debate
Can you sum up your Debate with a question? Or if it’s a preparation Debate, have you clearly defined what your hero is preparing for and why?
Have you created a sense of hesitation in your hero?
Have you shown your hero debating in more than one area of their life (such as home, work, and/or play)?
Break Into 2
Is your hero leaving an old world behind and entering a new one?
If your hero isn’t physically going somewhere, are they trying something new?
Is your Act 2 world the opposite of your Act 1 world?
Is the break between Act 1 and Act 2 clear and distinct?
Does your hero make a proactive move or decision to enter Act 2?
Is your hero making a decision based on what they want?
Can you identify why this is the wrong way to change?
B Story
Have you introduced a new love interest, mentor, friend, or nemesis character?
Can you identify how your B Story character (or characters!) represents the theme?
Is your new character in some way a product of the upside-down Act 2 world? (Would they stick out like a sore thumb in the Act 1 world?)
Fun and Games
Do you clearly show your hero either floundering or succeeding in the new world?
Does your Fun and Games deliver on the promise of your premise?
Does your Fun and Games visibly illustrate how your Act 2 world is the upside-down version of your Act 1 world?
Midpoint
Can you clearly identify either a false victory or a false defeat?
Have you raised the stakes of the story?
Do your A (external) and B (internal) stories cross in some way?
Can you identify a shift from the wants to the needs (even if it’s subtle)?
Bad Guys Close In
Is the path of this beat a direct opposite of your Fun and Games? (That is, if your hero was succeeding in your Fun and Games, are they floundering here? And vice versa?)
Have you shown or identified how the internal bad guys (flaws) are working against your hero?
All Is Lost
Does something happen to the hero in this beat?
Is your All Is Lost big enough to push your hero into Act 3? (That is, have they really hit rock bottom?)
Have you inserted a whiff of death?
Does this beat feel like another Catalyst for change?
Dark Night of the Soul
Is your hero reflecting on something in this beat?
Is this beat leading your hero toward an epiphany?
Does your hero’s life seem worse off than it did at the beginning of the book?
Break Into 3
Does your hero learn a valuable universal lesson (theme) here?
Does your hero make a proactive decision to fix something?
Is the decision based on what your hero needs?
Can you identify why this is the right way to change?
Is your Act 3 world a synthesis of Act 1 and Act 2?
Finale
Does your hero struggle to enact their plan? (That is, does your Finale have conflict?)
Is there a Dig Deep Down moment when your hero proves they’ve really learned their theme?
Do the A Story and B Story somehow intertwine in this beat?
Final Image
Is your Final Image one scene or collection of interconnected scenes?
Is your Final Image visual? (Are you showing, not telling?)
Is it evident how your hero has transformed?
Does your “after” snapshot somehow mirror your “before” snapshot (Opening Image)?
Save the Cat! Beat Sheet Mapper
Sources: 1 2 3 4 More On: Character Development, Plot Development
My poor blog has just became a Gravity Falls blog at this point…. ANYWAY! here’s some cut art that never made it into The Book Of Bill by Emmy Cicierega, it was originally posted on Twitter (source)
A thousand whispers telling me to finish what I started. Get out of my head.
Long periods of sleep deprivation cause people to hallucinate. And in Ford's case, it was compounded by Bill's actions too. :(
