𝓶𝓮𝓶𝓸𝓻𝓲𝓪 𝓸𝓫𝓵𝓲𝓿𝓲𝓼𝓬

just passing by

[pikahlua]

Uh oh Katsuki is in danger

I can’t believe it’s come to this. Every word in this post is going to bring me extreme agony.

I haven’t wanted to say anything about this for a while because I was a) scared of being right and b) extremely terrified of being right. I want a certain subsection of my meta posts to just fade into obscurity and have no one remember them. I want them to be wrong. I didn’t want to have to come back to this.

Fuck it. We’re here. It’s the endgame now.

Hi, let’s talk about how Katsuki is gonna have a bad time.

Horikoshi delivered unto us a terrifying message at Jump Festa 2022. @hanashimas​ has a good translation up.

I have desperately wanted to see the Japanese version of it, because holy shit is it cheeky. This asshole. This absolute bastard.

Towards the beginning, he states this:

MHA is at a state where it will reach its goal in a about year….if things go smoothly.

If things don’t go smoothly, then Yamashita [Daiki]-kun will probably be reading the same letter again next year at JumpFes.

I’ve been sluggishly drawing for more than 7 years now, but now that we’re in the Final Act, I plan to vent everything that I’ve been sluggishly saving up until now in it.

The way I read this is, everything he hints about in this letter is related to the endgame. It is the final arc. Any hints here are hints about how it all ends. This is it, buckaroos.

I’ve held off on my opinions about it because I wanted to see the setup of the endgame first. But I did have…feelings when I read the whole message. Those came through in my reblog tags.

I didn’t elaborate further also because I hoped to do so in a post someday (now). At the time I just was too busy and tired anyways. But you’ve asked, and so shall I deliver.

Here’s the line that sent the internet into a tailspin:

I’ve said this to Okamoto [Nobuhiko]-kun in LINE, but Katsuki will be having his greatest scene in the manga in future developments. I hope people who like Katsuki and hate Katsuki will look forward to it.

It’s cute. You’re all very cute. I’m sure Horikoshi giggled maniacally at your freak-out. I know I did.

But as a Katsuki fan, this is the part that had me screeching:

And then, we have Deku and Shigaraki.

Even though his consciousness is becoming more and more ambiguous, he’s [Shigaraki’s] a mass of destructive instincts and frustrations. He’s the greatest obstacle in Deku’s goal of “saving”.

Saving and Destroying are both born out of ego. Whose ego will win in the end? Is it even a matter of winning or losing? How will things go? What shall I do? What am I supposed to do??

Well, everything’s somehow gonna come off alright I guess!

Do your best, Deku! Destroy it all, Shigaraki! Die, All for One!!

“What? This part? Katsuki isn’t even mentioned! This is explicitly a section about Izuku and Tomura. Why on earth would you lose your mind over this vague bullshit?” - Unenlightened You, 2022

Because it’s in code, you sweet summer children.

The whole damn thing is very, very intentionally using conspicuously specific words to avoid setting off the alarms. Except they actually set off all the alarms. And that’s probably on purpose, because Horikoshi loves telling us exactly what to expect and lets our imaginations do the work to fill in the blanks and fool ourselves. He does this all the damn time.

How do I know? BECAUSE I CAN READ THE DAMN CODE!

It’s true, I’m not always right (gasp) about the ultimate meaning, but I can damn well tell when the code is there pointing in the generally correct direction.

And now I’ve gathered the signs and assembled the ruins and drawn the circles and pulled out the translation notes and done the calculations and I’m ready to motherfuckin’ do this.

So here’s the tea.

THEORY: Katsuki Bakugou is gonna be possessed

Table of Contents I. The meta warning signs II. “Wait, didn’t you say Izuku was gonna be possessed?” and other sordid tales III. Maybe Izuku is actually a reliable narrator IV. Katsuki’s greatest fear V. The history of One For All VI. Izuku’s unspoken feelings VII. Izuku vs. Tomura but not like that VIII. Decoding Horikoshi’s prophecy IX. tl;dr À̴̡͍͑͘A̵̢̼̟͘͝A̴̢̪͎͒͑̚A̴̟͓̺͛̓͘À̵̪͔͍͊͝A̴̠͖̟̒̓̚Ä̸̡̙͔́͐͠A̴͔̫̼̿͠À̵̠̠͙͒͆Ä̸̢͔̪́̔͐A̴̙͎̪͋̐̒A̵̡̞̓̓̀A̸̘͖͊͆͊A̸̢̟̝̓̐͠A̴͍̺̟͑͝͠A̸̦͍̠͑̈́Ä̵͓͚͓́́͛A̵̺͓̿̔͘͜A̴͕͔͖̽̽͘A̴͕͖͉͆͊̓A̸̝̻͉̐͒A̵̺̞̾̐͜͠A̸͓͖̺͛̐͘A̸͎̝̻̒̈́͝A̵͇̪͎̾̿A̴̪͙͖̓͒A̸̫͖͖͐͌̕A̵̙͕̙̓͘͝A̵̻̙̼͊̈́͠A̴̞̘̟͊̾̕A̸̢̪͔̓̀͒A̵͎̞̪͊͛̀Á̸̢͇̺̚͝A̴̼͕͍̓̓͝Á̸̝̠̫̿͒A̸͎̫͙͑͒Ä̴̡̘̪́͐̿

Here’s what I’m gonna do for you. First, I’m gonna tell you what’s definitely not gonna happen (section I). Second, I’m gonna point out all the allowances I’ve made in my other predictive metas (section II). Third, I’m gonna walk you through all the foreshadowing and unresolved plot points leading to this theory (sections III-VI). Fourth, I’m gonna put all the pieces together for you (section VII). Fifth, I’m gonna decode Horikoshi’s Jump Festa message (section VIII).

And last: I must scream.

Keep reading

[seetverse]

“WHAT IF”. . .updated!

https://archiveofourown.org/works/25766170

An Archive of Our Own, a project of the Organization for Transformative Works

Happy Holidays!!

[seetverse]

WHAT IFFFF????

[seetverse]

“Mama. . .”

Reference for my future fic!! I would want some beta readers tho,,, 😭😭😭😭

[seetverse]

Happy 4th Anniversary, The Promised Neverland!!!

[seetverse]

Counterparts!!

Other ver:

[seetverse]

𝐊𝐢𝐧𝐠 ♔️ & 𝐐𝐮𝐞𝐞𝐧 ♕️

𝑪𝒉𝒆𝒄𝒌𝒎𝒂𝒕𝒆!

.

.

.

.

.

.

Extra!! XD

[b3llpepp3r-deactivated20200816]

They’re dancing to September by earth wind in fire, absolutely vibing

[avadescent]

do you remember

[seetverse]

the 21st night of September?

[lidatan]

Compilation of the Noremma memes that I drew XD and please note, DO NOT EDIT!!

[berrybird-blog1]

Helpful things for action writers to remember

Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 

Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 

Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 

Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 

Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 

ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 

Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.

Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 

A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 

If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword. 

ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)

If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 

People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 

Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 

If you want a more in-depth medical chart, try this one. (CLICK ME)

Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here. 

[bluedragonade-deactivated201703]

@geostigmata

[michaelbjorkwrites]

The Progressive Outline — How I balance my plotter and pantser tendencies.

When I first started writing at 13, I was a pantser. I’d develop an initial concept for a story, then just write – making everything up as I went.

Within a year or so, I became a plotter. I wrote extensive character sheets, deeply developed the worlds of my stories, and wrote detailed outlines that spanned not just the current novel, but series-long arcs.

In the years that followed (high school, college, MFA), I oscillated between the two approaches, navigating the benefits and challenges of both, as well as my own evolving preferences – before settling on my current method.

I call it “progressive outlining,” and it helps me do two somewhat conflicting things:

Create an outline for structure and direction

Allow my characters the freedom to organically grow, surprise me, and influence the story

The Progressive Outline

There are three parts to my outlining process:

Initial preparation

Creating a rough outline

Incremental journeys

1. Initial Preparation

Here, I do my initial brainstorming. Starting with the original concept, I generate ideas for the setting, characters, motivations, plot points, magic systems, etc. You can spend as much time as you want in this stage, but for me, the most important things to firmly establish are:

Your main character (and what drives them emotionally)

A small, initial cast of characters

Any core magic or sci-fi elements

The opening setting of your story

Those four things are important, because they’re the foundation of the story – the launchpad, both for the writing and the outline.

2. Creating a Rough Outline

Next, I create a rough outline of the story, and I really do mean “rough.” Instead of detailing every beat of the story from beginning to end, I allow the outline to become increasingly broad and vague the further out it goes.

For example, let’s say my story is made up of three parts. The most detailed section in the outline would be Part 1; Part 2 would be pretty broad; and Part 3 would have just a few high-level bullet points.

In all those sections, however, I try to mark key turning points for the characters and the plot, even if I don’t know exactly what will happen. For example, I might say, “Our characters clash at the festival,” or, “A friend will somehow betray the main character’s trust, hurting their relationship.“

The point of this outline is to provide long-view guidance wherever I am in the story. However, I keep things relatively vague, because I like to delay making specific decisions until my characters are closer to each event.

3. Incremental Journeys

Now the fun part. Writing.

To start, I take my rough outline and make sure the first couple sections are nicely fleshed out. Then, considering everything I learned during my initial preparation and using my outline as a general (but not set-in-stone) guide, I write those first few chapters.

After finishing those chapters, I do three things:

I think about what I’ve learned about the characters and story so far.

Using what I’ve learned, I flesh out the next few chapters in the outline, which might include some further world building or character development.

I write the newly outlined chapters.

Then I repeat those three steps, again and again – progressively outlining and writing my way through the story in short, incremental journeys.

Why do I write this way?

As I said at the beginning, this approach gives me the structure and direction of an outline, without denying my characters the freedom to grow and surprise me. 

That’s why I write this way – outlining, yes, but leaving much of the outline initially broad and vague so that I can let my characters play a more active role in shaping how each plot point comes to life. The process is pretty similar to Flashlight Outlining, if any of you are familiar; the main difference, as far as I can see, is that I also maintain an overarching outline.

Should you write this way?

You’d know better than me! A key part of every writer’s development is figuring out their process, and we do that by writing and experimenting. So give this outlining process a shot if you’re dissatisfied with your current process or want to try an approach that draws from both plotters and pantsers.

And if you already love your process?

Please share it below! I’d love to hear how you write (with or without an outline) and why it works for you.

— — —

Hey there! My name’s Mike, and I’m a writer and copywriter with an MFA in fiction. For more tips on how to hone your craft and nurture meaningful stories, follow my blog.

[michaelbjorkwrites]

The Progressive Outline — How I balance my plotter and pantser tendencies.

When I first started writing at 13, I was a pantser. I’d develop an initial concept for a story, then just write – making everything up as I went.

Within a year or so, I became a plotter. I wrote extensive character sheets, deeply developed the worlds of my stories, and wrote detailed outlines that spanned not just the current novel, but series-long arcs.

In the years that followed (high school, college, MFA), I oscillated between the two approaches, navigating the benefits and challenges of both, as well as my own evolving preferences – before settling on my current method.

I call it “progressive outlining,” and it helps me do two somewhat conflicting things:

Create an outline for structure and direction

Allow my characters the freedom to organically grow, surprise me, and influence the story

The Progressive Outline

There are three parts to my outlining process:

Initial preparation

Creating a rough outline

Incremental journeys

1. Initial Preparation

Here, I do my initial brainstorming. Starting with the original concept, I generate ideas for the setting, characters, motivations, plot points, magic systems, etc. You can spend as much time as you want in this stage, but for me, the most important things to firmly establish are:

Your main character (and what drives them emotionally)

A small, initial cast of characters

Any core magic or sci-fi elements

The opening setting of your story

Those four things are important, because they’re the foundation of the story – the launchpad, both for the writing and the outline.

2. Creating a Rough Outline

Next, I create a rough outline of the story, and I really do mean “rough.” Instead of detailing every beat of the story from beginning to end, I allow the outline to become increasingly broad and vague the further out it goes.

For example, let’s say my story is made up of three parts. The most detailed section in the outline would be Part 1; Part 2 would be pretty broad; and Part 3 would have just a few high-level bullet points.

In all those sections, however, I try to mark key turning points for the characters and the plot, even if I don’t know exactly what will happen. For example, I might say, “Our characters clash at the festival,” or, “A friend will somehow betray the main character’s trust, hurting their relationship.“

The point of this outline is to provide long-view guidance wherever I am in the story. However, I keep things relatively vague, because I like to delay making specific decisions until my characters are closer to each event.

3. Incremental Journeys

Now the fun part. Writing.

To start, I take my rough outline and make sure the first couple sections are nicely fleshed out. Then, considering everything I learned during my initial preparation and using my outline as a general (but not set-in-stone) guide, I write those first few chapters.

After finishing those chapters, I do three things:

I think about what I’ve learned about the characters and story so far.

Using what I’ve learned, I flesh out the next few chapters in the outline, which might include some further world building or character development.

I write the newly outlined chapters.

Then I repeat those three steps, again and again – progressively outlining and writing my way through the story in short, incremental journeys.

Why do I write this way?

As I said at the beginning, this approach gives me the structure and direction of an outline, without denying my characters the freedom to grow and surprise me. 

That’s why I write this way – outlining, yes, but leaving much of the outline initially broad and vague so that I can let my characters play a more active role in shaping how each plot point comes to life. The process is pretty similar to Flashlight Outlining, if any of you are familiar; the main difference, as far as I can see, is that I also maintain an overarching outline.

Should you write this way?

You’d know better than me! A key part of every writer’s development is figuring out their process, and we do that by writing and experimenting. So give this outlining process a shot if you’re dissatisfied with your current process or want to try an approach that draws from both plotters and pantsers.

And if you already love your process?

Please share it below! I’d love to hear how you write (with or without an outline) and why it works for you.

— — —

Hey there! My name’s Mike, and I’m a writer and copywriter with an MFA in fiction. For more tips on how to hone your craft and nurture meaningful stories, follow my blog.

[wordsnstuff]

Resources For Writing Royalty

Patreon || Ko-Fi || Masterlist || Work In Progress

It’s shorter than the usual resource master post, but I found some great resources and I think this is a good jumping-off point for those who are including a royal court in the world building of their story.

–

Fantasy Guide to Writing A Royal Family

How to Write A Fictional Royal Court

Writing Royalty and Nobility - Common Mistakes

Creating a Fictional Monarchy

Questions to Ask When Creating a Fictional Monarchy

Writing Royal Characters

Ethics in World Building : Monarchy

Royal Titles Around The World

Regions’ Royal History Broken Down

Early Overall History

East Asia

Medieval and modern Europe

Africa

Positions in A Royal Court

Almoner

Butler

Chamberlain

Chancellor

Chapelmaster

Chaplain

Cofferer

Confessor

Constable

Cup-bearer

Dapifer

Doorward

Eunuch

Falconer

Gentleman of the Bedchamber

Gentleman Usher

Grandmaster

Great officers

Groom of the Stool

Herald

Intendant

The Royal Fool

Keeper of the seal

King of arms

Knight/Earl Marshal

Lady-in-waiting

Maid of Honour

Majordomo

Master of Ceremonies

Master of the Horse

Master of the Hunt

Page

Panter or Grand Panetier

Secretary

Pursuivant

Seneschal

Stolnik

Standard bearer

Steward

–

Masterlist | WIP Blog

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

[seetverse]

I wonder, how can one improve their writing?

Literally just asking.