#go read scripts or books of stuff you like the dialogue from. analyze why they work in contrast to why you feel like yours doesnt work

[shivasdarknight]

Hi, sorry for this but you are a writer, so umm.. I was hoping you could give me some tips/advice on how to write?

tbh the way I got into writing is a bit insane, but I do have some advice that can help. gonna put it under a cut just because it got kinda long

honest to god, one of the best pieces of advice is something you're already doing because reading can genuinely help you with becoming a better writer. stepping outside of your usual genres or authors can help expand your viewpoint and introduce you to more narrative styles so you can play around and see what works for you. eg. if you mostly read first person, give second person a shot. or if you're an omniscient third person, try limited third person. or even retrospective first person, because i often see people complain about first person pov when it's married with a present tense story. if you have a first person narrator talking about events in the past as if talking to you, or a journal it often takes an entirely different angle and it's something I've played with in Homestuck fics because that fandom tends to be more open to narrative experimentation. Writing is honestly a lot of looking at stuff you like (much like art) and smooshing it all together. Personally, I've gotten a lot of my writing style from stuff like The Locked Tomb, admittedly Lovecraft was foundational (but this is a great example of why to always remain critical considering his bullshit), so was Homestuck and Rick Riordan's stuff. I'm never trying to copy them wholesale, but I am looking at aspects I like - such as Riordan's humor intertwining with the narrative and narration, or the deeply unreliable narrators that Muir writes, or even how Homestuck balances purple prose with gut wrenching conciseness when it counts. A lot of modern day fast food fiction takes out a lot of the stuff that actually builds a story - pacing, playing with narration and technical writing - so you need to be conscious of what you're looking for in things. Often more established authors get to do weirder stuff than new authors, but don't discredit new ones because that would be leaving out folks like Xiran Jay Zhao and their phenomenal prose.

Another thing that helps greatly is reading writing critique. Video essays on books or even more critical thought pieces on writing, tropes, etc. can help you learn more about why something works. Lots of different channels on YouTube dedicated to dissecting media, absolutely recommend stuff like Hello Future Me, Overly Sarcastic Productions (real world ties + mythology, great basis to build things on), Zoe Bee (writer + commentary), Nerdwriter1 (media analysis + commentary), Just Write, and Tale Foundry. For adjacent suggestions that can help build up alternate perspectives that aren't directly about writing but are about critical thinking with stories (which is frankly an important skill to have), I definitely recommend Princess Weekes, Accented Cinema, Now You See It, Dominic Noble, The Storyteller, and Pop Culture Detective. A lot of this is discussing film (save Dominic Noble, who also talks about books a Lot), but the core essence of storytelling is helpful regardless of what angle it comes in - be it video game, movie, tv, or book reviews and analyses.

Actual writing. Varies on the person on if they do outlines or not and how, but I still recommend trying to do an outline when you're first starting out. One habit to immediately knock yourself out of is writing things chronologically. If you're working on a big piece and have more energy to write something in the middle? Put that in a new doc and leave a placeholder for where you're at. Legitimately, getting words on the paper is more important than those words being good. Because you can always come back and edit things to make sense.

Always edit what you write. I hate the "no beta we die like real men" attitude because people will dunk on editing but then praise stories for having "firm and satisfying" connections which can only really be built through editing. Your first draft is your rough idea. Your second one is when you read through and have it make sense. Three is making that make sense, and maybe 4 is more just grammar and spelling errors. Edit as many times necessary to make sure you like it.

Always work in broad strokes, then move in finer like with anything. Do a general idea for a story, then your main story beats, then how you connect them together, and then the nitty gritty of each. Keep lots of notes - do not rely on your head solely for everything - and just also be willing to let things go if they change.

What I tend to do when I write is I want a good flow. I often get that from reading my writing out loud to hear how it sounds, but I'm looking for a good beat to read along. Because even if the sentence is grammatically correct and structurally sound, it may not be very interesting to read. Like you could say someone feigned a polite expression to not let the other person know that they didn't feel comfortable with a topic, or you could go the angle I went with recently of "she painted herself an interested expression to wear as dread began to gnaw at her gut." Sometimes the more colorful or out there the language is, the better it sounds when you read it. Like instead of saying "that's just how things go for them" you could say, "but Fate had a funny way of making her disdain known for (X character)". And this is where reading other peoples' work comes in real handy because you can get a lot of examples of how people write things.

I also try and reflect themes of the story into the writing itself, like this section of a draft:

Still nothing.  Seemed he wasn’t going to bother with a glass, instead just ripping the top off of some bottle of gin and tipping it back with little regard for himself. Still that chronometer ticked on; still that taught tension like another arrow had been drawn.  A million and more things flooded Ysayle’s mind, itching to loose them at Estinien, yet found herself stuck in indecision as she stared daggers into him - ever her opposite as he just seemed despondent.  The gin bottle hit the extended shelf loudly; one hand a fist around the bottle, the other balled up on the surface - knuckles as white as bone. Still, Estinien said naught. Still, the chronometer ticked on. Still, Ysayle’s heart roared in her ears - poisonous words damming up her throat.

The theme of this story is avoiding the mistakes of the past. How things often can wind up cyclical, and the goal is to break from those cycles and repeats. So naturally, several points of the narration itself repeat itself. This isn't standard writing style, but it gets that point across by repeating "Still" as the scene crawls on. I also use a lot of alliteration in my writing because I personally find it fun? So "a maddening matter made most malign", for example.

It also helps to change up how you write or what descriptors you use based on the character whose head you're in, even if it's third person. Third person can have a voice and I often use it to speak aloud a character's thoughts instead of relying on italicized dialogue-thoughts. It makes the dialogue-thoughts appearing hit more when they do instead of just having to be subjected to internal ramblings constantly. Like in this fic I just published:

“...Can we talk about it on the morn?” “What for?” You don’t know what it is you ask of me. “Tired,” Estinien said with a shrug. “We’ve morning patrol, remember?”

Compared to this fic:

“Yes, confusingly.”  Her tone was flat as she leaned once again on Surkukteni’s shoulder, thankfully on the uninjured side.  “I fear I may have been wrong, though I truly doubt it.  To deny me twice, then throw a fit?  I wonder — why didn’t you go through with it?” Not even Surkukteni had that answer.  For the umpteenth time during that conversation, she refused to look at Her Darkness.  That desire — twisted and poisoned as it was — was one that still surfaced from time to time, yet like clockwork made her ill and was banished from her thoughts.  Why was that?  She felt scorned back then, wishing the universe would correct this error in sparing him but taking Ysayle — but was she not the one who helped save him?  Who helped tear those eyes from his armor?  She easily could — and had previously — bluffed that it was to destroy the eyes and be rid of the threat, but given her hesitancy now? Why?

All of Surkukteni's thoughts are condensed into the narration so that I can separate out her thought dialogue from idle musings since she - specifically - has a connection with something that can talk telepathically. This thing comments on the literal narration of the story, so when she's directly addressing this thing it's thought-dialogue. But her actual thoughts become narration to avoid spending too much time with that, as I find it's better used sparingly.

Motivation for writing is probably the hardest thing, and best I can advise is to get really into critiquing the stuff you like because you wind up finding a lot of material in fix-it stuff, or just wanting to see more of stuff like you. It's part of what drives my xiv stuff due to how they treat female characters, and I really just wanna see more sapphic bi4bi. So considering it's something I've been stuck in for a very long time now and really like the ambient lore and wish it would do better, it's fueling my desire to write. And from there, there are so many other angles to take - like building ocs, building lore. Finding a sandbox is genuinely one of the best ways to do it. Again, like. You'd be surprised at how much is there because of spite. LOTR has Eowyn because Tolkien didn't like that the "can be killed by no man" thing in Macbeth was resolved with a character born by c-section, so he instead wrote Eowyn, the woman who killed the Witch-King of Angmar. C.S. Lewis didn't like the fact that Tolkien believed that modern technology - or slightly less modern technology - didn't believe in fantasy and he explicitly cited lampposts. And this is why there's just a random light post in the middle of nowhere in the Narnia books.

Critique is good and healthy. I'm critical with the stuff I like and my own things so I can work on them and myself. It's fine to like something that you don't wholly agree with, especially if you're using it to inform how you build on it or build your own things. Like I dunno, I looked at Dante from Devil May Cry and went "what if he was trans" and now I've got Rhombi, a character who has stepped really far away from the OG Dante mould, but you can still see hints of it as I used what I wanted to see out of DMC to build this bisexual disaster of a guy. I was disappointed by Elsword not really committing to some of their character concepts, so I kinda just took Eve (and admittedly Add) and made them into Celes and Neilos and took them to their logical conclusions. All three of them were originally fantrolls at some point, so most of the heavy lifting was done when I was back in Homestuck and all I had to do was scrub the barcodes off of them to build them up in an original verse.

Chemistry is also crucial. If characters aren't vibing, move on. Do not force it. Good chemistry can save a bad story (eg. FFXV) and bad chemistry can ruin a good story. Often it's the characters that drive a story so you need to do a lot of plotting and planning. Most writing is honestly just planning before putting the words down.

And I'm very much so rambling by now but my main points are these (+ others I'm realizing while typing):

Plot a Lot and keep lots of notes, and also organize those notes. The contents don't have to be pretty, but you'll thank yourself in advance if you at least sort them by core idea

Getting words down is more important than getting them down correctly. You can always come back and edit it when you have an idea of how to make it work

You can always place a [insert scene here] tag so you can keep your flow and don't get caught on something.

You also don't have to write chronologically - you wanna write the big confession scene before the intro? do it! just jump right into it!

also don't be afraid to delete stuff or remove it from your draft. save things for later to see if they work elsewhere, because maybe it could be a better spinoff.

dont listen to the advice of "if it really matters, you'll remember it in the morning" that advice was given by neurotypicals who don't have memory issues. make notes of EVERYTHING and then delete the ones that don't work

sometimes writing by hand vs computer can really make a difference in how you think. handwriting is slower and makes you think about stuff, so you may want to keep journals for random snippets or ideas like how doodling is good for building up your habit of drawing

Outlines can help but how you outline is up to you. Try a few styles out and go with what works best.

I cannot stress enough that having something like a marker board to write out your broad stroke story ideas is really really nice

Broad strokes first, then narrow it further and further down. Don't get wrapped up in the nitty gritty details

Chemistry is crucial and can often save a piece you're not fully feeling.

Read your stuff out loud while editing because it can help point out stuff that's not jiving! I find it helps a lot with dialogue

Read a lot. Listen to critique. Be more critical. Also don't limit your idea of stories to just books - expand the media you consume and you'll find really interesting stories that can help with yours

Don't be afraid to use tropes, but also don't super rely on them to where you're just checking off boxes instead of coming up with natural scenarios built on chemistry (eg. having the nerdy goth girl is fine, but the way the trope ends in most media ("fixing" her or just having her be a quirky cynical critic) may not fit with your story and it may be better to see how the story plays out rather than forcing it into something it's not)

Iron Widow is a good example here: the relationship between Zetian and Yizhi is pre-established and comes off as sort of "boy next door" vibes, or at least the very dedicated childhood friend. It quickly becomes apparent that he's as much a co-conspirator in her plans as Shimin is. The guy can be ruthless when given the chance, and that's how Yizhi goes beyond the initial trope and defines himself outside of it. Same with the contextualization of Shimin's seeming "aggression" as the "bad boy" and figuring out where that problem/persona actually stems from, and then the shift of viewing it as less aggression and more retaliation and self preservation.

Find something you do really want to write about, like filling a void in a piece of media you like or doing a take on media that made you mad or disappointed. Jane Eyre is technically fanfiction because the author wanted to see more of Jane and didn't get that. The Divine Comedy is self insert fanfiction of Dante Alighieri as he does worldbuilding with Christian mythos regarding heaven and hell. The Riordan verse is his interest in mythology crossed with a desire to give his son a protag that was like him (specifically ADHD and dyslexic), which then became wanting to let kids see themselves in the different halfbloods in the series.

There's a lot of ways you can get started writing, but the best way is to just write goofy stuff for yourself. Get out stuff that may look bad at first, but you go back and read it and critique it. Just getting yourself into the habit of writing helps a lot, because again: it matters less about the quality, and more getting it on the page and actually having something. You can always fine-tune writing, after all.

My first FFXIV fic isn't actually even published. It was just me writing something rambly about my Warrior of Light when I was starting to figure her character out. It looks nothing like what I'm doing now in part because that fanfiction became a launching point for me to work on others. I've got a lot of drafts that will never see the light of day because these were proto-concepts that became the stuff I wound up publishing. It's fine to have drafts that remain drafts because you can take that as practice, and practice is good. Anything that you write has value because you can use it to let your technical writing skills mature.

Also, don't be afraid to look for help. There are beta services on tumblr (or at least used to be when I was a teenager), plenty of writing guides or places set up to ask questions, plenty of youtubers that give prompts for you to work with. The hardest part is always getting started. But once you get past the awkwardness of the start, everything just falls into place and gets easier the longer you go at it.

You definitely have the desire for it because I've seen your very deep love of literature through the Bi-Library, so you can definitely become a strong writer if you put your mind to it 🫶 Find something to fix or address, and that usually is what gets the ball rolling. Worldbuilding is fun and can lead to something, but you can't have a well built world without a story to explore it.

Characters drive story, story is how you explore themes and the world itself, and the world itself is built on your experiences and interests. Embrace the fact that this is coming from your lens and experiences, because no media is truly void of the author and its other creators. Embrace that fact and use it as an extension of yourself. But really, just write. Literally anything. Just get into the habit of writing, and it'll progress from there!

[bluephoenixdruidicprincess]

Shadowhunters 3x14, A Kiss From a Rose -- Review

Alright, so Shadowhunters 3x14, A Kiss From a Rose, let’s talk about it. I’m finally buckling down and writing this review. I’m sorry for always being super late on these reviews, but this show is just so damn boring. It’s really difficult to just sit in front of my computer these days and talk about this show because there’s nothing I really want to talk about. Everything that I could possibly say about these episodes, I’ve already said a hundred times before in previous reviews. Shadowhunters has never been a “good” show, but at the very least, it was always somewhat interesting and so bad that it’s enjoyable to watch in an ironic sense so once upon a time, I legitimately enjoyed reviewing the show. But all of season 3 (including A and what we’ve seen of B) has just been so boring and directionless, it’s become a real chore to actually review this show. Dare I say it, I think I’m enjoying Lega-Trash far more than I’m enjoying this show currently and that’s saying something considering Legacies makes me feel like I’m dying whenever I watch it. But, I made a promise to you all as well as myself that I would see this show to the end, so here I am.

I would like to preface this review with saying that I am NOT a huge supporter of this show. I do enjoy certain elements of it but I’m not what would be classified as a devoted fan. For me, Shadowhunters is not a good show and I do get very critical of the show in my reviews. Honestly, for me, I watch the show because 1) I’m too curious not to and 2) I find that this show can be so bad its funny and that’s how I reap enjoyment out of it. I am not at all invested in this show or its characters anymore. I’m just watching to see what happens. If you’re a die hard fan and you lash out at everyone who has a different opinion than you, you might want to skip these…I’m just saying. My reviews may not be for you. If you do decide to be a total troll, well then pay attention to the below disclaimer.

This is going to be an honest review of my thoughts and feelings regarding this episode. If you’re the kind of Shadowhunters fan where you only want to hear positive things about the show, this is not the place for you. If you decide to stick around and get offended by what is said, then that’s on you. I warned you. Just know that if you send me any rude comments or messages, I will 100% ignore you. I find that’s the best way to deal with bullies. I work 14 hour days. Do you really think I want to waste my incredibly valuable free time dealing with derogatory comments? Hell no. This review will consist of my honest opinions. Opinions are never right or wrong. I’m not telling YOU how to think and feel. I’m telling you what I, quirky and socially awkward me, think and feel. So please, lets discuss with dignity and respect. If I’m critical about this show, it’s only because I want it to get better. There is, in fact, a difference between hating a show and being critical of it. I do not hate Shadowhunters, I am being critical and analyzing the flaws as I would with any other show. There are positives but there are also negatives. It’s great if you want to promote positivity with this show (and I encourage you to do so) but that doesn’t mean I’m not going to point out the things that are legitimately wrong with it. Also, keep in mind that despite the fact that I do like the books, me being critical of this show has nothing to do with my fondness for the books. I don’t really care if the show deviates from the source material as long as the changes are good, it makes sense, and it doesn’t create plot holes within the confines of the world the show has created. My problems with this show are problems I would have with any show or book for that matter. I think it’s perfectly reasonable to take issue with a show that has plot holes, shoddy world building, and inconsistent characters. There will be spoilers for the books and movie.

3x14, A Kiss From a Rose was…surprise, surprise…super boring. Seriously, it’s beginning to feel like this entire season is filler. This show continues to astound me in its talent for having too much going on but yet nothing also happens at the same time. I must’ve fast-forwarded probably about 70% of the episode because I was just so completely bored. I don’t understand it. There’s so much plot, the show is operating on a deadline but they continue to use filler episodes. It boggles my mind. In fact, I’m actually beginning to wonder just how far in advance the show might’ve known they were going to be cancelled because it feels like no one is trying this season. The writing is bad, the directing is bad, a lot of the acting is very bland and uninspiring, I’m beginning to think that the production staff, at least, had known about the cancellation most likely after 2B and before 3A. Like, if I had never watched Shadowhunters before, never read the books and an episode of season 3 (whether it be 3A or 3B) was my first introduction to the franchise, I would’ve written this show off no questions asked. Whereas if my first introduction to the show was an episode from season 1 or season 2, I still would’ve thought the show was bad but I also might’ve found myself slightly intrigued. The show, while being so completely bad, does have its moments of intrigue where I can tolerate it and there is none of that thus far in season 3, it’s just really bland, boring writing.

More Directionless Incesty Stuff…Yay

We unfortunately continue this story line of Jonathon being super attracted to Clary (for some reason, again, it’s beyond me on why everyone and their mother loves show!Clary in all of her Mary Sue glory, but whatever). I was originally excited for seeing this story line being switched up with Clary getting Jace’s story line from the books but the show is approaching this all wrong. It shouldn’t be about Clary sympathizing with Jonathon, it should be about Clary understanding him and seeing a bit of herself in Jonathon and questioning her motivations and if she can really justify her own actions as any better than how Jonathon justifies his own actions. It doesn’t mean she forgives him, it just means she gains an understanding of him as well as herself. It’s something that I’ve mentioned before in previous episodes that when really analyzing Clary as a character and what motivates her, she’s really not all that different from her father. The only thing that separates them are their ideals. In fact, I’d wager that without Jocelyn, Clary could probably have turned out exactly like Valentine. I think Clary has more in common with Valentine than she does with Jocelyn. At her very core, I actually don’t believe Clary’s this inherently good and pure person. She’s selfish and she’s willing to do whatever it takes to get the things she wants and without Jocelyn kind of curbing those instincts into a sense of social justice values, she could easily have gone the opposite direction. And that version of Clary is a fascinating character…it’s too bad the show doesn’t think so, they keep on wanting to depict her as this pure and perfect and innocent little flower who can do no wrong and deserves zero consequences for her actions and that’s what makes her boring and dull.

But this story line does nothing for Clary or Jonathon for that matter. Jonathon just continuing to have these romantic feelings towards his sister with very little development towards it just further showcases the show depicting him as this “evil” guy. He’s evil so of course he desires his sister in a sexual manner. And this certainly does nothing for Clary as a character. All we’re seeing is Jonathon manipulating Clary and taking advantage of her and her gaining feelings of sympathy towards him, it’s completely unnecessary and gross.

I was also bothered by just how long it took before Clary realized that it was actually Jonathon she was on a date with and not Jace. I mean, the whole part where Jonathon is making excuses for himself, it really doesn’t say very nice things about Jace, don’t you think? So the fact that she just accepted what he was saying as the truth while wearing Jace’s face really paints a very jaded picture of how she sees Jace. So again, it leaves you with the question of, “why on earth is Clace a thing?” They clearly don’t understand anything about each other. Or at least she has zero understanding of Jace as a person. 

It was an interesting move for the show to give Jace’s City of Lost Souls story line to Clary in the show but thus far, the show isn’t doing a very good job of executing it. And I still wish that since we’re going for a role reversal here, that it should’ve been a complete role reversal and instead of Jonathon being super obsessed with Clary like he is in the books, it’s actually Jace he’s super obsessed with. As I’ve said before, if you’re going to do a role reversal, you might as well go all the way.

But the date in the ice skating ring was a little cute so I’ll give the show that. I didn’t hate that scene. And early in the episode when the seelie is pretending to be Clary for Jonathon and she blows it by saying something Clary would never say and Jonathon blames the seelie for it, I really like that the seelie points out that it’s not her fault that the script she was given sucks. By no means do I believe this show is that self-aware, but I found enjoyment in choosing to think that there’s a possibility that the writers are making fun of themselves a little bit with that line. As I’ve always said with this show, their dialogue is atrocious and this show is actually known for it’s bad dialogue so I enjoyed that line.

The Return of Magnus’s Magic…Sort Of

So apparently warlocks giving each other magic via magic transfusion is a thing, I guess. Awfully convenient though, right? Something we’ve never seen as part of this world in the show before. But whatever. Magnus goes to Lorenzo and in exchange for Magnus giving up his apartment, Lorenzo agrees to perform this magic transfusion on Magnus. It’s nice to know that this whole plot point of Magnus losing his magic and having to find a way to live without it was a complete waste of time. Although, at least it looks like there’s consequences for it so we’ll see, I guess but I’m not holding my breath that this is somehow going to further develop Magnus in any sort of way other than put him in a victim position once again. Seriously, I’m so sick of this guy always being put in a victim capacity. I’m sick of always being told I need to feel sorry for this guy and that being the entire development of his character. An anon came to me last week talking about how Magnus is basically the Bonnie Bennett of Shadowhunters and to a certain extent I can agree with that but I would never compare the awesomeness that is Bonnie to show!Magnus. Bonnie may have been a victim a lot but she always grew every time she lost and we don’t ever get that with Magnus. There was this inherent strength about her and we never had to be told that. But this show goes way out of its way to tell us how strong of a person Magnus is. If you develop a well-written character, you don’t have to do that. The one time show!Magnus became legitimately interesting to me was the set of flashbacks we got in the first episode of 3B where we got a glimpse of the darker parts of his past and I’m just like, “where’s that guy? I want to see that guy.”

But anyway, there’s was some sort of Lara Croft Tomb Raider shit going on with the Magnus and Alec plot point where they’re trying to find the sword Jonathon is looking for but it’s ultimately pointless, they don’t find it. And we also get a really cringey scene where Alec threatens Lorenzo for being mean to Magnus and dare I say it…expecting payment for what he gave Magnus, I know, a real shock that when you make a deal for something, you should actually have to give up something. And what you give up should have a similar importance to what you’re being given. In general, that’s how payment typically works. But whatever, again, Magnus needs to always be the victim so of course this is what happens. I don’t mind so much that Alec threatened Lorenzo…I do however mind that he’s using the power he has as a head of the Institute to threaten Lorenzo, to me, that was a little uncalled for. Sure what Lorenzo did was distasteful but it’s hardly something where Lorenzo should be threatened by Clave punishment. I’m not saying Alec shouldn’t have threatened him, I understand why Alec did it, I just wish it wasn’t Alec using the power he was given as a leader to threaten him. Threaten Lorenzo individual-to-individual, that kind of thing, but don’t use your privilege for it, that’s distasteful and frankly really showcases how incredibly racist this show actually is. And it also shows a double standard. It’s not cool to use your political power to lord over downworlders but yet it’s okay to use that power to lord over downworlders you don’t like? How very progressive and woke of you, Shadowhunters.

But maybe with Magnus getting his magic back, we’ll have the conversation we were supposed to have in 3A where Malec actually deals with the immortality issue instead of sweeping it underneath the rug where they sweep all their other conflicts.

Jordan’s Underserved Redemption in Maia’s Eyes

I really dislike how Maia’s forgiveness of Jordan went down in this episode. This is something that definitely shouldn’t have happened immediately after Maia saw her entire pack get slaughtered and then have her claustrophobia triggered and oh yeah, Jordan is also dying in front of her. That’s sensory overload right there and it does nothing for her as a character. Really, how the show has been executing this whole Maia Becoming Alpha does nothing for her character. What’s the point of Maia going through this character arc of her feeling weak and defenseless and finally gaining the confidence to be strong if there isn’t a pack left that enabled her to become that being? It all feels just really pointless.

Oh, and I guess Simon and Luke did something this episode. It wasn’t much and really the episode could’ve gone without them and it wouldn’t have made that much of a difference. They find Maia and Jordan...and Luke gets arrested. I don’t know why Luke is so obsessed with giving the wolves the funeral rights immediately after their deaths when that’s never been the case before but whatever. I guess we must continue on this whole plot line of the NYPD cop plot line Luke has been on since Season 1 despite it always 100% being a complete waste of screen time.

There you have it. My review of Shadowhunters 3x14, A Kiss From a Rose. It was boring and another filler that really continues to worry me about the rest of the season. So far, 3B has had 0 direction, 0 character arcing and it’s just been a really dull experience. And what they’re doing does absolutely nothing for the characters. I’d give this episode a C+. It’s nothing special. It’s bleh. I guess I’ll hope for better when I watch the newest Shadowhunters episode today.

[sparkkeyper]

I have no idea how to set up comic panels.

And this is incredibly frustrating to me. Long-ish ramble, you have been warned.

One of my skills as an artist/creative person is if I consume a lot of a certain type of medium, I absorb the basics of how to recreate it. I read a TON of books from age 5 to college, and as such I had a built-in sense of how to write a story. Not so much the plot or character development, but the rhythm of sentences, the beats of dialogue, the paragraph breaks, how to arrange description to set a scene. I just kind of know it without thinking. Similarly, after watching a metric buttload of movies throughout my life, I understand how the language of images works in film. When writing a screenplay script, I know how the camera needs to move to evoke a certain atmosphere, how the shots need to cut from one to another in order to establish the emotion of what’s going on. Obviously, all of these things can be taught. And obviously, all of these things are just basics and it takes lots of time and study and practice to actually get good at them. But I never had to sit down and learn the basics, you know? I just kinda had them ingrained into me.

I have a knack for looking at/listening to art and being able to recreate it. I joke constantly that if I was a character from “Heroes” I’d be Skylar because I see how everything works...Skylar except with much less murdering. Give me a painting and I can look at the brushstrokes the artist made and give you a pretty decent replica. (Note: I use this for practice and for when I used to do drunk painting classes and had to teach from other people’s demos. Don’t do this and pass it off as your own design. That’s called stealing, kiddies.) Let me listen to a piece of music and I can write you out all the different instruments and their parts. Show me a costume and I have a pretty good idea what fabric needs to be sewn where and how in order to make it myself, even if I don’t have the skill at the moment to physically do it. And when doing my own original works in any of these artistic fields, I’ve absorbed enough of other people’s work to automatically be able to formulate my own works in that medium. Again, proper lessons and years of practice are needed to be good (I’m so much better at painting/sewing than music writing because that’s where all my practice has been) but I just kind of soak up the building blocks in a way that, from what I gather from the other people I’ve talked to, is uncommonly fast and cohesive.

This apparently doesn’t work with comic panels.

Maybe it’s because I’ve only been regularly consuming comics for a couple years instead of my whole life. Maybe it’s gremlins, idk. All I know is, when I try to make a comic, I know what actions and poses the characters need to be doing, but I have no idea how to properly divide the panels or set them up. I know how to do it for a few specific effects (establishing shots, dramatic reveal, long pauses, quick actions, etc) but normal pacing? Characters calmly interacting with each other? Totally clueless. I know exactly what everyone needs to be doing in the scene, but not how to set the ‘shot’ up in like 8 different frames over the course of a page. If I just put all the images into a 4x2 grid, it’s visually boring and stagnant. But if I make all the frame lines slanted, it would look really dramatic for no reason? Assuming it looked good at all, because I don’t know what the slants are for or how to properly combine them?? Comic frames are shaped the way they are for a narrative reason, I am sure of it, just like the paragraph breaks in a book or the angles of movie shots are there for a narrative reason. But fuck if I can figure out what those reasons are.

At this point it probably sounds like “slightly-gifted person whines because they don’t magically know stuff and have to learn it like the rest of us” but the thing is I’ve tried to learn it. Obviously I can’t go through life just expecting to know random shit, so one of my other hobbies is researching and practicing things I want to get good at. If I don’t know something, look it up, duh. But I can’t find anything that helps me. At all. I’ve read tutorials, I’ve gone back and analyzed comics that I like, I’ve experimented with different setups myself, I’ve even watched speedpaints because why not and I do. not. get. it. I can’t replicate a good comic page. There’s no list of “Frame Shape A = this effect”, or freaking anything that syncs with me. I once had a Spanish teacher with absolutely no sense of spatial awareness. Is it like that? Does my brain just not process things that way? That makes no sense, because it’s just another form of 2-D art and 2-D art is something I definitely am good at.

TL;DR: Spark can’t understand how to put comic panels together and it pisses her right the fuck off.

[electronicneutrino]

i mean i’ve actually looked at a ton of diagnostic criteria but this this one gives specific points/actions/feelings just kinda bolds ones i feel and italics ones when younger/pretty sure but not completely

from here 

Check off all areas that strongly apply to the person. If each area has 75%-80% of the statements checked, or more, then you may want to consider that the female may have Asperger’s Syndrome.

Section A: Deep Thinkers

1. A deep thinker

2. A prolific writer drawn to poetry

3. Highly intelligent

4. Sees things at multiple levels including thinking processes.

5. Analyzes existence, the meaning of life, and everything continually. [ continuously asks questions. even when tired. especially when tired ] 

6. Serious and matter-of-fact in nature.

7. Doesn’t take things for granted.

8. Doesn’t simplify.

9. Everything is complex.

10. Often gets lost in own thoughts and “checks out.” (blank stare)

Section B: Innocent

1. Naïve

2. Honest [ I mean if you ask ‘what do you think of ___’ i’d be honest but if there’s a practical purpose eg. avoiding getting into trouble/some tiresome outcome, I’d lie] 

3. Experiences trouble with lying. [I can lie just fine with a script but otherwise. ehhh] 

4. Finds it difficult to understand manipulation and disloyalty. 

5. Finds it difficult to understand vindictive behavior and retaliation.

6. Easily fooled and conned.

7. Feelings of confusion and being overwhelmed

8. Feelings of being misplaced and/or from another planet

9. Feelings of isolation

10. Abused or taken advantage of as a child but didn’t think to tell anyone.

Section C: Escape and Friendship

1. Survives overwhelming emotions and senses by escaping in thought or action.

2. Escapes regularly through fixations, obsessions, and over-interest in subjects.

3. Escapes routinely through imagination, fantasy, and daydreaming.

4. Escapes through mental processing.

5. Escapes through the rhythm of words.

6. Philosophizes continually.

7. Had imaginary friends in youth.

8. Imitates people on television or in movies.

9. Treated friends as “pawns” in youth, e.g., friends were “students,” “consumers,” “soldiers.”

10. Makes friends with older or younger females.

11. Imitates friends or peers in style, dress, and manner.

12. Obsessively collects and organizes objects. [ mostly just digital stuff though, but I do like organizing books] 

13. Mastered imitation.

14. Escapes by playing the same music over and over.

15. Escapes through a relationship (imagined or real).

16. Numbers bring ease.

17. Escapes through counting, categorizing, organizing, rearranging.

18. Escapes into other rooms at parties.

19. Cannot relax or rest without many thoughts.

20. Everything has a purpose.

Section D: Comorbid Attributes

1. OCD (Obsessive Compulsive Disorder)

2. Sensory Issues (sight, sound, texture, smells, taste)

3. Generalized Anxiety [ when I was in elementary school I had a near constant fear of my house burning down]

4. Sense of pending danger or doom [ again esp when younger] 

5. Feelings of polar extremes (depressed/over-joyed; inconsiderate/over-sensitive)

6. Poor muscle tone, double-jointed, and/or lack in coordination

7. Eating disorders, food obsessions, and/or worry about what is eaten. [ idk if it really conts though but esp when younger ‘what is that black thing in my rice. is it a fly. or just pepper. can i eat it’] 

8. Irritable bowel and/or intestinal issues [ I keep getting stomache aches esp when younger idk why] 

9. Chronic fatigue and/or immune challenges

10. Misdiagnosed or diagnosed with other mental illness and/or labeled hypochondriac.

11. Questions place in the world.

12. Often drops small objects

13. Wonders who she is and what is expected of her.

14. Searches for right and wrong.

15. Since puberty, has had bouts of depression. 

16. Flicks/rubs fingernails, flaps hands, rubs hands together, tucks hands under or between legs, keeps closed fists, and/or clears throat often.

Section E: Social Interaction

1. Friends have ended friendship suddenly and without person understanding why. [ somehow said something offensive in gr 8 and even now I sTILL don’t know what I said wrong I just meant ‘hey do what you want’???] 

2. Tendency to over-share.

3. Spills intimate details to strangers. [ does posting on tumblr count ] 

4. Raised hand too much in class or didn’t participate in class. [ raised hand for everything I knew esp in elementary school] 

5. Little impulse control with speaking when younger.

6. Monopolizes conversation at times. 

7. Bring subject back to self. [ esp when younger, now it’s ask others lots of questions to avoid seeming self centered] 

8. Comes across at times as narcissistic and controlling. (Is not narcissistic.) [ idk though but I don’t think so? ] 

9. Shares in order to reach out.

10. Sounds eager and over-zealous at times. [ may be? idk ] 

11. Holds a lot of thoughts, ideas, and feelings inside.

12. Feels as if she is attempting to communicate “correctly.”

13. Obsesses about the potentiality of a relationship with someone, particularly a love interest.

14. Confused by the rules of accurate eye contact, tone of voice, proximity of body, stance, and posture in conversation.

15. Conversation can be exhausting.

16. Questions the actions and behaviors of self and others, continually.

17. Feels as if missing a conversation “gene” or thought-“filter”

18. Trained self in social interactions through readings and studying of other people.

19. Visualizes and practices how she will act around others.

20. Practices in mind what she will say to another before entering the room.

21. Difficulty filtering out background noise when talking to others.

22. Has a continuous dialogue in mind that tells her what to say and how to act when in a social situations.

23. Sense of humor sometimes seems quirky, odd, or different from others. [ i think usually I just laugh to myself when I think up something funny that I expect not funny to others. I have this reoccuring joke to myself that I should read a book on social ettiquette. It’s funny bc it’s something I would actually do. ] 

24. As a child, it was hard to know when it was her turn to talk. [ idk but I think??? ]

25. She finds norms of conversation confusing.

Section F: Finds Refuge when Alone

1. Feels extreme relief when she doesn’t have to go anywhere, talk to anyone, answer calls, or leave the house.

2. One visitor at the home may be perceived as a threat.

3. Knowing logically a house visitor is not a threat, doesn’t relieve the anxiety.

4. Feelings of dread about upcoming events and appointments on the calendar.

5. Knowing she has to leave the house causes anxiety from the moment she wakes up.

6. All the steps involved in leaving the house are overwhelming and exhausting to think about.

7. She prepares herself mentally for outings, excursions, meetings, and appointments.

8. Question next steps and movements continually.

9. Telling self the “right” words and/or positive self-talk doesn’t often alleviate anxiety.

10. Knowing she is staying home all day brings great peace of mind.

11. Requires a large amount of down time or alone time.

12. Feels guilty after spending a lot of time on a special interest.

13. Uncomfortable in public locker rooms, bathrooms, and/or dressing rooms.

14. Dislikes being in a crowded mall, crowded gym, or crowded theater.

Section G: Sensitive

1. Sensitive to sounds, textures, temperature, and/or smells when trying to sleep.

2. Adjusts bedclothes, bedding, and/or environment in an attempt to find comfort. [ cOULD NEVER FALL ASLEEP BC OF THAT ESP WHEN YOUNGER. IT SUCKED. ] 

3. Dreams are anxiety-ridden, vivid, complex, and/or precognitive in nature.

4. Highly intuitive to others’ feelings. [???] 

5. Takes criticism to heart. [ i mean I really really try not to now though ] 

6. Longs to be seen, heard, and understood.

7. Questions if she is a “normal” person.

8. Highly susceptible to outsiders’ viewpoints and opinions.

9. At times adapts her view of life or actions based on others’ opinions or words.

10. Recognizes own limitations in many areas daily.

11. Becomes hurt when others question or doubt her work. [ less so now] 

12. Views many things as an extension of self.

13. Fears others opinions, criticism, and judgment. [ less so now ] 

14. Dislikes words and events that hurt animals and people.

15. Collects or rescues animals. (often in childhood)

16. Huge compassion for suffering.

17. Sensitive to substances. (environmental toxins, foods, alcohol, etc.)

18. Tries to help, offers unsolicited advice, or formalizes plans of action.

19. Questions life purpose and how to be a “better” person.

20. Seeks to understand abilities, skills, and/or gifts.

Section H: Sense of Self

1. Feels trapped between wanting to be herself and wanting to fit in.

2. Imitates others without realizing.

3. Suppresses true wishes.

4. Exhibits codependent behaviors.

5. Adapts self in order to avoid ridicule.

6.  Rejects social norms and/or questions social norms.

7. Feelings of extreme isolation.

8. Feeling good about self takes a lot of effort and work. [ but i mean. depression ]

9. Switches preferences based on environment and other people.

10. Switches behavior based on environment and other people.

11. Didn’t care about her hygiene, clothes, and appearance before teenage years and/or before someone else pointed these out to her.

12. “Freaks out” but doesn’t know why until later.

13. Young sounding voice

14. Trouble recognizing what she looks like and/or has occurrences of slight prosopagnosia (difficulty recognizing or remembering faces).

Section I: Confusion

1. Had a hard time learning others are not always honest. [ esp when young though tbh by this point bc + depression/maybe anxiety it’s more like. wonders if everyone is being nice bc it’s socially expected or if they actually like me] 

2. Feelings seem confusing, illogical, and unpredictable. (self’s and others’)

3.  Confuses appointment times, numbers, or dates.

4. Expects that by acting a certain way certain results can be achieved, but realizes in dealing with emotions, those results don’t always manifest.

5. Spoke frankly and literally in youth.

6. Jokes go over the head. [ ‘IT’S A JOKE YOU CAN LAUGH NOW’ ] 

7. Confused when others ostracize, shun, belittle, trick, and betray. [ moreso when younger [ 

8. Trouble identifying feelings unless they are extreme.

9. Trouble with emotions of hate and dislike. [ i mean I still hate/dislike things it just takes a lot for me to hate/dislike something esp when younger]  

10. Feels sorry for someone who has persecuted or hurt her.

11. Personal feelings of anger, outrage, deep love, fear, giddiness, and anticipation seem to be easier to identify than emotions of joy, satisfaction, calmness, and serenity.

12. Situations and conversations sometimes perceived as black or white.

13. The middle spectrum of outcomes, events, and emotions is sometimes overlooked or misunderstood. (All or nothing mentality)

14. A small fight might signal the end of a relationship or collapse of world.

15. A small compliment might boost her into a state of bliss.

Section J: Words and Patterns

1. Likes to know word origins.

2. Confused when there is more than one meaning to a word.

3. High interest in songs and song lyrics.

4. Notices patterns frequently.

5. Remembers things in visual pictures.

6. Remembers exact details about someone’s life. [ tbh lowkey one of my hobbies just memorizing my friend’s time tables ] 

7. Has a remarkable memory for certain details.

8. Writes or creates to relieve anxiety.

9. Has certain “feelings” or emotions towards words.

10. Words bring a sense of comfort and peace, akin to a friendship.

(Optional) Executive Functioning   This area isn’t always as evident as other areas

1. Simple tasks can cause extreme hardship.

2. Learning to drive a car or rounding the corner in a hallway can be troublesome. [ look I know I need to get a driver’s licenece but the idea of. driving a car. is very scary. so much stuff to focus on ] 

3. New places offer their own set of challenges.

4. Anything that requires a reasonable amount of steps, dexterity, or know-how can rouse a sense of panic.

5. The thought of repairing, fixing, or locating something can cause anxiety.

6. Mundane tasks are avoided.

7. Cleaning may seem insurmountable at times.

8. Many questions come to mind when setting about to do a task.

9. Might leave the house with mismatched socks, shirt buttoned incorrectly, and/or have dyslexia. [ i mean that’s mostly bc i don’t care enough ] 

10. A trip to the grocery store can be overwhelming. [ yes but mostly only when i’m really tired ] 

11. Trouble copying dance steps, aerobic moves, or direction in a sports gym class.

12. Has a hard time finding certain objects in the house, but remembers with exact clarity where other objects are.

[aspiringscreenwriters-blog]

Top 10 Reasons Why Film School is More Valuable than You Think

Hello Writers All,

So you want to be a writer? Not just any old writer, but a really good one?

Desire and passion are the right stuff to help you build your stories.  But the number one thing you need to produce in order to become a paid scriptwritingsuccess, no matter how many drafts it takes, is a top-notch screenplay writing sample. Not just a mediocre draft, not the “I feel it could use some more work but hey I’m tuckered out” version.  I mean a really polished script.  

Because that’s how you will get noticed in filmmaking or TV-making circles.

And it takes time and learning to become that accomplished.

The good news is that there are steps you can take to become a skilled scriptwriter more quickly.

Okay, okay yeah, here’s the part where I mention my website.  I offer screenwriting tips on my blog, and you can also read my book The Story Solution: 23 Actions All Great Heroes Must Take to get insights on creating strong characters and building solid, audience-ready plots.  

There are also many other excellent screenwriting blogs and YouTube channels to learn from. (Don’t miss the great YouTube channel “Film Courage”!)  As well, there are online libraries of produced screenplays available free for downloading.  Reading scores of professional scripts is critical to writing success.

And take advantage of The Story Solution’s partnership with Final Draft, the world’s most popular screenwriting software. My proven Hero Goal Sequences® Story Structure Paradigm is now available as a downloadable template included in Final Draft 10 (under “edu templates”).

Then too, you really should consider learning to create great scripts for film and TV in a classroom.  Yes, I’m a university professor myself so I am partial to classrooms.  But there’s more to it than that.  

You might already have the passion and natural talent to be a writer, but attending film school can give you the necessary skills, tools, experience and contacts you need to become a bona fide screenwriter in a much shorter period of time.  Yes, it costs money.  But so do medical schools, business schools and law schools.  In so many ways film school can really pay off for the committed screenwriter.  Here are ten of the better reasons:

      There Is A Right Way And A Wrong Way to Build Stories That Grip Audiences.

This architectural skill MUST be mastered and it’s nowhere near as easy as it looks.  There’s a structure through which visual storytelling communicates both consciously and unconsciously with an audience. You also need a great story idea, of course, and then you need to add characters, write believable dialogue, and create dramatic tension throughout your story to keep an audience glued to their chairs. Film school breaks down all these elements into core fundamentals that you practice daily with mentor-instructors who are themselves experienced professional writers and filmmakers.  There is no other professional experience in the world available for screenwriters that can hold a candle to this one.

You Must Learn To Write With Clarity And Depth.

Making it look simple isn’t simple at all.  Very far from it.  In a film/screenwriting M.F.A. program you gain a huge advantage over your competition by learning and mastering all the concepts and tools in a screenwriter’s toolkit so you never have to waste time floundering in confusion, or being gripped by writer’s block.  When you get hired to write a script, the producer is not going to coddle you.  You need to be a knowledgeable pro right now – so you better be ready to rock. Remember, when getting launched as a screenwriter (or TV writer, or creative executive, or studio production executive, or independent producer, or director, or or or) the definition of luck is when preparation meets opportunity.  What you learn in film school gives you the confidence to analyze dramatic material quickly, accurately, and to see in any script exactly what works, what doesn’t work, and how to fix it.  When opportunity arrives, you will be very, very ready.     

     You Can Grow Your Personal Network.

Every screenwriter needs industry contacts and friends in the business.  So…why not get to know all those other film school students sitting right beside you in class?  You work together and grow together and come trust each other’s opinions.  In film school you gain life-long friendships who share your passions and who understand that helping each other out is good for everybody.  After film school, writers also need a network of knowledgeable, insightful, trusted friends and mentors to react to material they write so that the work can continue to grow and improve.  You build relationships that become invaluable going forward.

You Can Get Out of Jail.

Writers spend way too much time alone.  And the more isolated you are, the more self-isolating your temperament becomes, as well as less self-confident.  Film school puts you in the active thick of what you love to do.  In the old days, the 1920s Paris literati had the Les Deux Magots Cafe where Ernest Hemingway, Simone de Beauvoir and James Joyce came to talk stories, share opinions and argue about their art.  And Scott & Zelda Fitzgerald and Ezra Pound had Gertrude Stein’s parlor soirees to discuss each other’s work.  In our current era, what a growing number of all the creative people in Hollywood have in common is film school.  

You Can Create More, and Better, Work Samples.

It is important to have a large polished portfolio of scripts and treatments in order to be taken seriously as a screenwriter by agents and producers.  Film school works with you to build your portfolio, teaches you to expand into various genres, and to have well thought-out, pitchable ideas at the ready for when that big break comes.

Get the Straight Truth From Instructor-Professionals.

It’s nice when mom or dad tells you how great they think your writing is.  Maybe they’ll even take you out to dinner to celebrate your finishing that new script.  But unless mom is an established film producer, you most likely are not getting any knowledgeable, experience-based criticism. To become a better writer you need to hear the straight truth that only a circle of mentor professionals and insightful fellow students can provide. Film school puts you in the midst of people who share your passion for creating the best script you can write.  Knowledgeable criticism is essential for refining any screenplay.

It Helps You Master The Rewriting Process.

Ever hear the writer Lin-Manuel Miranda talk about the work he put into creating “Hamilton,” the smash Broadway musical?  He spent years creating, writing, honing and revising – but it all paid off with a record run and 11 Tony Awards. This is what it takes to create a great Hollywood script, too. Film school gives you the motivation and environment to create and refine not only one but several scripts as you come to understand the essential process of rewriting.  And it shows you what you’re really capable of as a writer.  You come out the other side a changed, more confident and committed writer than you ever thought you could be.

  You’ll Learn How The Industry Works.

 Film school offers the advantage of getting students launched into the film and TV industries and teaching them how the business actually works, through internships at some of the most important Hollywood companies.  Most Master of Fine Arts graduate programs in screenwriting or film have top notch sponsored internship programs.  And some undergraduate film programs (such as the one at Cal State Northridge) have excellent internship connections as well.

You Will Have Instructors Who Love To Teach.

Film school is a very unique environment.  All the instructors have already worked creatively in film and TV, and they truly love writing just like you do.  They enjoy being around eager students of all ages and backgrounds.  They love engaging in the back and forth of creative dialogue.  Respect is mutual, and enthusiasm abounds.  You learn from the best, and the relationships, experiences and knowledge acquired in film school will inevitably change you for the better and remain with you forever.  I have never heard anyone say they regretted going to film school.

The M.F.A. Degree Qualifies You To Teach At Colleges And Universities Worldwide

Each year at Cal State Northridge, a number of our newly entering M.F.A. in Screenwriting students come to us already accomplished professional screen and TV writers.  They come to get that required M.F.A. degree in order to teach screenwriting and film at the university level.  These student-professionals wonderfully augment our program for ALL students, and each brings a whole career’s worth of experience with them.  Many mature professionals see the great value of a graduate degree in screenwriting/film because they now plan to transition into teaching at the university level.  On the other hand, I earned my two M.F.A.s at the very beginning of my career because I wanted to become a master at this craft, and I already knew, too, that someday I wanted to teach.  Sooner or later.  It works either way.

Yes, film school costs money.  Anything worthwhile does.  But shop around, because the price of a Master of Fine Arts in Screenwriting degree can vary a great deal.  One of the qualitatively best, and at the same time least expensive, M.F.A. programs can be found at California State University, Northridge.  Florida State has a top rated program, too.  As does Arizona.  Along with many others.  And there are scholarships, financial assistance and loans available.  I was paying off my American Film Institute loan for years after I got my degree there, but AFI kept the payments down and even during my struggling years it wasn’t that bad.  We got through okay.  And eventually with that M.F.A. degree on my wall, I became a tenured full-professor.  Frankly,  I wouldn’t trade my film school experiences for anything.

Have a happy autumn.. and write with fire!

Eric

p.s. Be sure to visit my website at http://www.thestorysolution.com to download complimentary film structure breakdowns for Back to the Future, Bridesmaids, and Finding Nemo. 

About The Story Solution: Eric Edson’s The Story Solution provides concrete insights for those interested in writing a screenplay. Regarded as one of the best books on screenwriting, The Story Solution is currently #1 in its category on China Amazon. Visit the website at http://www.thestorysolution.com to download a complimentary book chapter and to see video and hear audio clips about creating characters. “Like” the Facebook page to receive tips on writing a movie script and scriptwriting.