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@toastwritesstuff
hey pal while you're down there. this is awkward because you're a bear, and you're under my house and I feel like I shouldn't intrude, but. well I just hate the crawlspace so much and you seem to be fine with it. what I'm trying to say is can you just run this network cable over to the living room for me thanks
When Zuko apologized to uncle Iroh in the tent cause he was so ashamed of his actions and what he’d done to the only person who unconditionally believed in his ability to do good >>>>>
So okay, I’ve given this rant before but this is another good time for it.
Structurally speaking, ATLA did something important with Zuko that, in a purely mechanistic sense of narrative development, I think a lot of people don’t notice immediately, and that even fewer people who want to emulate what was done with him get.
Which is Zuko is made a protagonist VERY early, and the show goes out of its way to continually place Zuko into situations where the audience empathizes and roots for him.
This happens in literally the second episode of the series, if we count the two-part premiere as a single episode, which I think we should. The A-plot of that episode, “The Southern Air Temple,” is Aang reckoning with the genocide of his people… but the B-plot?
The B-plot is the introduction of Zhao, and more specifically, his introduction in a way that is calculate to shift the audience, whose introduction to Zuko did NOT engender a ton of sympathy to him, directly and forcefully onto his side. They want Zuko to kick Zhao’s ass.
This continues all through book one and book two. Remember, Zuko is never, ever the main villain of this series. That’s initially Zhao, followed by Azula and Ozai. (Plus various temporary players like Long Feng.) Whenever Zuko isn’t placed into direct conflict with the other protagonists, he’s always written and presented in a way that is careful, VERY VERY careful, not to make him too monstrous, and to make us root for him. He’s placed right next to Iroh, who is designed for people to like, and that reflects back onto Zuko; we want Zuko to be better than he is because we want Iroh to have good things.
Put aside for the moment whether any specific character, including Zuko, deserves their redemption. If you’ve decided you’re going to do that, you have to erect the proper narrative scaffolding around them, and it extends to far more things than “did this person not do things that were too horrible” and “is this person genuinely sorry and is working really hard to atone.” There’s a difference between protagonist and white hat, but if you want someone to eventually wear that white hat, you REALLY need to establish them as a plausible protagonist early on.
How do you write creepy stories
Over describe things
Under describe things
Fingers, teeth, and eyes
Short sentences in rapid succession build tension
Single sentence paragraphs build dread
Uncanny valley=things that aren’t normal almost getting it right
Third person limited view
Limited explanations
Rot, mold, damage, age, static, flickering, especially in places it shouldn’t be
Limited sights for your mc -blindness, darkness, fog, refuse
Real consequences
Being alone -the more people there are, the less scary it is
Intimate knowledge, but only on one side
I don’t know I just write scary things but I don’t know what I’m doing.
Rule of Thumb: your reader’s imagination will scare them more than anything you could ever write. You don’t have to offer a perfectly concrete explanation for everything at the end. In fact, doing so may detract from your story.
Do you have any tips for writing enemies to lovers?
Hi, love! Thanks for your question and your patience<3 I’m currently writing somethingsimilar to this, so I hope my experience can help you here!
Enemies-to-lovers is a popular trope, but it’s often treatedcarelessly by writers – especially TV/movie writers who rush through thetransition to fit a single movie or episode arc. There’s nothing worseyou can do in this situation than to rush your arc. Falling in love isalready a time-consuming plotline – but transitioning from enemies, who arealready shutting each other out, to lovers? The quicker it happens, theless believable it becomes.
I have a lot of notes on how to write enemies to lovers, sobear with me as I list them out.
Writing Enemies to Lovers: The Basic Ingredients
1. Give them some similar traits.
No matter what, two people can’t fall in love if they don’trelate on some level. The first step to creating possible love interestsis to find where they’ll connect. Are they a hero and a villain? Evil and good? Night and day? I bet they both love animals. Maybe they’re both way into politics. Maybe they share a commonenemy. Maybe they’re both neat freaks or a bit sassy or super gay or lovethe same music. It can be a few important things or a bunch of superficialthings – just make sure they have something that can tie themtogether.
2. Put them on the same side of something.
When two people are mortal foes, it can be hard for them tosee each other in any other light. Bringing in a common enemy (ananti-hero, a natural disaster, a person in power), or a common interest (amutual friend, a school play, a moral cause), can land foes on a teamtogether. This forces them to become aware of each other’s strengths, andto consider (and worry about) each other’s weaknesses. This is perfectfodder for an eyebrows-raised, “Hey, they don’t suck at this particularthing,” moment.
3. Get them alone.
With other people watching (especiallyfriends/coworkers/allies), little groundwork can be made for your twohate-lovers. If you get your characters alone together, you’re given abounty of opportunities to bond them, including but not limited to: actualconversations, accidental (or faux-accidental) physical contact, the sneakymoment of checking each other out, etc. etc. etc. People are differentwhen you get them away from their friends – less extreme, less rowdy, lessunreachable. If you have to trap your characters in an elevator theold-fashioned way, damn it, you’re the only one who can do it.
4. Let them fight their feelings.
If these two are truly enemies, there isn’t going to be amoment of, “Oh, I like them. Huh. Neato.” Oh, no. There will be internal backlash – they will beat their emotions back with abroom, and deny them to anyone who asks. There will be extra hatefulglares, more middle fingers, and basically anything they can do to remindthemselves that they don’t like this person. If you show thisinternal conflict, it both (a) makes the feelings seem real, organic, and (b)creates a more realistic transition from hate to love.
5. Love can sound like hate.
There’s a reason people say indifference is the trueopposite of love. When your two enemies start to feel things foreach other, this will probably spark a lot of ranting, arguing, anddoor-slamming. It creates a fixation – you sit there and you stew andyou tell your friends, “Remember when they did thatstupid thing? Yeah. Screw them.” Your friends roll theireyes. When will you stop talking about this person? Just kiss themalready.
6. Sexual tension is a powerful tool.
If your characters experience sexual attraction, this is agreat way to accelerate their relationship against their will. It’s theage-old, “My mind says no but my body says yes,” dilemma. Yourcharacters can’t stand each other, or the image they have of each other, butthey’re attracted like magnets and can’t shake it. This can make for somepretty hot – or pretty hilarious – scenes.
7. Give them a moment of horrified realization.
Eventually, the feelings will grow strong enough that one orboth of them will have to sit there, probably on the bathroom floor a littlebit drunk with one sock on, and realize: “I love that f*cker.” It’llbe a scary moment for them. It’s not that they haven’t known it – theyjust have yet to accept that it’s something to deal with, until now. Thiscan be prompted by a dangerous situation, a shared activity, or a failed attemptat another romance – so when they really sit and think about it, theyknow. Then it becomes a question of either “how do I get rid of this?”or “how do I pursue this?”.
8. Try their hand at flirting.
Whether one or both characters have come to accept theirfeelings, someone’s gotta start flirting. A glancing touch across thearm; a small comment that could kind of be construed as amicable; a lingeringglance; that first peek at their enemy’s smile. Something cute and quickand immediately followed by an existential crisis will do in a pinch. Without this water-testing, readers won’t have any image of what thisrelationship will look like – and if it can succeed.
9. Craft the perfect kiss/hug/confession.
When the time is right, create an undeniable display ofattraction to transition into a new phase of their relationship:the “welp-we-both-like-each-other” phase, which comes right beforethe “we-decided-to-(stay-platonic/start-romancin’)” phase. The BigKiss/Confession is the most iconic climactic love scene, in which the twocharacters take a chance and become vulnerable with each other – and kiss, orsay, “I love you,” or do anything that can’t be construed in any otherway. Want to extend the drama? Interrupt them, or have it beone-sided, or let it turn into a fight until they decide, “Forget it, thiswas stupid.” Readers will swoon.
10. Finish up with an awkward adjustment period.
If and when your characters do enter a relationship, makesure it’s a little tentative at the beginning, to keep it realistic. Yourcharacters have made a huge shift in their dynamic – there will be somelingering arguments and love-hate, and maybe a bit of discomfort going publicwith their romance. Then come the usual growing pains of a new relationshipgetting serious – figuring out how to navigate each other’s flaws, learning tobe open with their feelings, dealing with unresolved fights from before theirrelationship. It won’t be perfect right away. That’s the beauty of it.
I hope this helps you, love! I adore love-haterelationships, and I hope you enjoy crafting your own enemies-to-lovers as muchas we’ll all love reading them :) Good luck!
– Mod Joanna ♥️
Ifyou need advice on general writing or fanfiction, you should maybe ask us!
Sometimes i think i think i am not capable of love
Other times
I think the love i crave doesn't actually happen in the real world
Either way
There's something that doesnt work right
Inside of me
I am a(n):
⚪ Male
⚪ Female
🔘 Writer
Looking for
⚪ Boyfriend
⚪ Girlfriend
🔘 An incredibly specific word that I can't remember
*wakes up in the middle of the night in a cold sweat*
WAIT IT’S CALLED A THROW PILLOW
here is a super helpful website for this kinda thing!
the first result isn’t always the one you’re looking for but when you press enter it’ll give you a ton of words related to your query that’ll probably have what you’re wanting, or something better
here’s some examples:
Reblog to save a writer’s sanity (the last bit that’s left)
Those links for all asking Deadly history of women using perfume as poison -Girlhood, medusa and female rage -The allure of gothic horror -Essays and thoughts on girls in horror -Why girls get hungry in horror -Mothers and witches -Women in horror -The female poisoner -female werewolves -Monstrous women - Catherine Lundoff -Female cannibals and consumptive horror -Horror films directed by women -Women, killer plants and annihilation -Female identity within the gothic genre -Women in horror - the vvitch -the vvitch, female sexuality in horror -Angela Carter - The beast is female sexuality -Body horror/monster reading list -Consumptive horror
Fun Fact, thats, more or less, something that wealthy people in China and Japan did, they were called “musical floorboards.” Designed to squeak when stood upon. A person could make noise all the way down a corridor.
The residents and servants knew which floorboards made a sound and avoided them. But a burglar, or assassin didn’t. If you heard the creaking of floorboards, you knew danger was coming.
Even better, despite what movies may show, a lot of the old west was founded by Chinese immigrants, so there could have been carpenters around who knew how to make the musical floorboards!
In Japan these are called “Nightengale Floors,” which I love.
HIstorian Suzannah Lipscombe responds to Mark Lawson’s poorly researched clickbait Guardian article, “Not in this day and age: when will TV stop horrendously airbrushing history?”
From Downton Abbey to Call the Midwife and now Jamestown, period dramas always fall into the classic trap – characters with laughably liberal values for their day. Stop the madness, TV-makers!
Idiot man
“Women 400 years ago were human beings who objected to being sexually and physically abused? That’s unpossible!”
It’s obnoxious to keep seeing fiction and pop nonfiction positing that things were just so unbelievably horrible for women back in the day that they were reduced to mute automatons who never dared twitch or blink without their husband or father’s say-so.
The first thing it does is imply that women today are just soooooo fucking lucky that things aren’t worse, like in [foreign country we don’t like] or [time period the speaker doesn’t actually know shit about], which translates into the false assertion that there’s been all this fucking progress made. Which yes, there’s been progress made, but a lot of it’s been the result of a few things (reliable birth control, better medical care making childbirth and early childhood much much much safer) rippling out across the rest of women’s lives. And guess what? There are still enormous, organized social movements trying to undo all of that.
The second thing it does is draw a neat curtain over the fact that women have been fighting for better behavior from men in general and equal treatment in the eyes of the law for hundreds of fucking years, so that each new generation of dudes can sigh theatrically and roll their eyes and stomp their feet about how modern women have gone too far with their complaints about whatever bit of inequality is being deemed “trivial” this time and talk about how they’re so pampered they wouldn’t know a real problem if it backhanded them and told them to get back in the kitchen. If you don’t realize it’s the same fucking tactics dudes have been using since the literal dark ages to avoid giving women their due, however small and limited a thing that may have been, you’re more likely to waste time and energy engaging as if they were arguing in good faith.
lemony snicket was really out there teaching us as elementary schoolers about grey morality, about how neither good nor bad people always get what they deserve, how being clever and kind doesn’t always guarantee you will triumph (although it’s certainly better than the alternative), how ignorant/complacent/dismissive though well-meaning adults can have just as harmful an impact on children as those with ill intentions, and how not every story has a happy and complete ending
Also the meaning of, like, a whole bunch of words
I have always loved the month names in Finnish
January = tammikuu = the oak moon
February = helmikuu = the pearl moon
March = maaliskuu = the ground moon (“maalis” doesn’t mean anything but it comes from the word “maa”, meaning “ground” because you can usually see ground beneath the snow in March)
April = huhtikuu = the burn-beaten moon
May = toukokuu = the field moon
June = kesäkuu = the summer moon
July = heinäkuu = the hay moon
August = elokuu = the harvest moon
September = syyskuu = the fall moon
October = lokakuu = the slush moon (the kind of half-melted snow that no one likes)
November = marraskuu = the death moon (altough “marras” is a really old word that no one uses anymore, I had to actually google it because I didn’t know what it means)
December = joulukuu = the Christmas moon
It’s really cool that we have original names for months while most languages use the Latin words. And I think our words for months sound really beautiful, too.
How do you write creepy stories
Over describe things
Under describe things
Fingers, teeth, and eyes
Short sentences in rapid succession build tension
Single sentence paragraphs build dread
Uncanny valley=things that aren’t normal almost getting it right
Third person limited view
Limited explanations
Rot, mold, damage, age, static, flickering, especially in places it shouldn’t be
Limited sights for your mc -blindness, darkness, fog, refuse
Real consequences
Being alone -the more people there are, the less scary it is
Intimate knowledge, but only on one side
I don’t know I just write scary things but I don’t know what I’m doing.
Rule of Thumb: your reader’s imagination will scare them more than anything you could ever write. You don’t have to offer a perfectly concrete explanation for everything at the end. In fact, doing so may detract from your story.
Hey, literature folks. Have y'all noticed that people are using kennings again? I mean, sea pancake, danger noodle, sea roomba.
How’s that different from describing the sea as the whale-road or gannet’s bath?
THIS IS SO FUCKING AWESOME. I love kennings.
- Kylo Bean on twitter
What’s really cool is that these kennings accomplish nearly the exact opposite of classical kennings. Sea Pancake and Danger Noodle and Sea Roomba function as familiarizers or diminutives—they make the actual thing seem friendlier and more local.
Classic kennings like Whale-Road and Gannet’s Bath function as a way to make the mundane and normal more epic and dramatic and cool…
It’s crazy how the same device, with thousands of years of separation, are used for nearly opposite purposes!
since i’ve been seeing a lot of invader zim and steven universe crossovers, i thought it would be important to share this with ya’ll, lmao
original video
THIS IS SO WELL MADE WHAT THE HELL
Accidentally revealing your shapeshifting powers to your new boyfriend after he jumped out to scare you wasn’t how this day was supposed to go.
Gold armband with Herakles knot
Greek, Hellenistic Period, 3rd-2nd century B.C.
Gold inlaid with garnets, emeralds, and enamel
Metropolitan Museum of Art
New writing rule: Checkov’s friend
If you introduce a named character with a relationship to a protagonist, their character arc must be resolved in a way that feels reasonable and satisfying
Which is to say: they can’t just dissappear when they’re no longer a convenient plot device
Thor’s Mum rule – If you’re going to kill a character who’s carried any part of the plot, take a bit to reimagine the plot as if she were the main character, and the story ends when she dies. If it’s unsatisfying, rewrite either her plot points, or her death, to make both more meaningful.
Which is to say – don’t treat side characters as ammo with which to hurt your main guy. ESPECIALLY if they’re women.
I’m reblogging because this second part is the best explanation of how I distinguish between fridged characters and other characters who just die.
And yes, it is intrinsically a bit subjective and that’s okay.
