#structure reference

[theramseyloft]

Here’s a deflated male Horseman Cropper! Are there any special genetics behind the cool silvery look on some “mealy” bars vs the ones that just have a fully red neck?

It is *so* hard to find photos of this breed not blowing!

Thank you!

Do you mind if I add it to the library?

I am not sure what the correlation is in regards to how much red shows on the neck of an Ash Red Bar. Hemizygous hens, in my records, have a fully red neck, but they also have a bunch of modifier genes like sooty, dirty, and smoky that intensify color. Spread Ash Reds (Lavender) often still have a hint of the bar, but no red on their neck.

Honestly, I don't know.

But thank you for sharing this photo!

[metalotaku-da]

research source: talk shows

working on my fic. and i have a scene with a talk show. i do not watch talk shows. so my research has been difficult. but i found this. and found it very very helpful. it's for software. but it's actually pretty helpful to understanding the structure of a talk show if you have no reference. so thought i'd share

[inky-duchess]

Fantasy Guide to Political Structures

A Horse! A Horse! My X for a Horse!

Let's be honest, fantasy authors love their kingdoms and empires. You can throw a rock in a bookshop or a library in the fantasy section and you will 99.99999% hit a fantasy book that will be set in or mention either of those structures. But what are they really? What's the difference between them all? Are there any more examples of structures that would suit your WIP better? Are you using the right terms? Let's have a closer look.

Duchy

A Duchy is a small territory ruled by a Duke/Duchess. While Duchies can be found in kingdoms, some duchies were sovereign states in their own right. Duchies are usually small by land mass but some duchies such as Burgundy were extremely powerful and influential. Independent Duchies were usually apart of a kingdom but grew so powerful that they eventually broke away to become a sovereign state in their own right. An example would be modern day Luxembourg, historic Milan and Burgundy.

Principality

A principality is territory ruled by a Prince/Princess. A principality is typically smaller than a kingdom and in some instances, can be apart of a larger kingdom or be a sovereign state. Principalities have a history of having broken away from a larger kingdom or eventually becoming apart of a kingdom. A principality within a kingdom is ruled by a Prince/Princess, usually an heir of the monarch and can be used to train them up to assume the throne in the future. Examples include Monaco, Liechtenstein and Andorra.

Kingdom

A sovereign state/country that is ruled by ruling King or a Queen. A kingdom is much larger and more powerful than a principality. Kingdoms can be feudal, meaning they are ruled in a strict hierarchy or an autocracy where the monarch rules alone with minimal input from the government or constitutional where the monarch is more of a figurehead and the government has a good chunk of control. Examples include England, Thailand and modern day Spain.

Commonwealth

A Commonwealth isn't a popular choice in fantasy but it is an interesting structure. A Commonwealth in its most basic form is a collection of states that are linked by either a shared culture or history. A Commonwealth can be a politically power or an economic power, with every state allowed to participate as much as they like. Not one state leads the others, it is all one group of equals. A Commonwealth can be a good idea for a group of nations that are more powerful together with them keeping their own independence.

Federation

A Federation is a political structure that is made up of united states or countries that are under a single government but each state is still independent and rules itself. Each state can have different laws, different cultures and economies but they all answer to the single government. Examples include the United States of America.

Republic

A Republic is a territory that is ruled by leaders and heads of state that have been elected on merit and by choice of the people. Republics are not just countries but can also be much smaller areas such as cities. Republics are democratic in nature, with the people having a say in who leads them in accordance to a constitution. There are many kinds of Republic: presidential, parliamentary, federal, theocratic, unitary. Examples of Republics include the Republic of Ireland and the city of Florence.

Protectorate

A Protectorate is a country/region/territory that is independent but relies on a larger, more powerful state for protection either in a military or diplomatic sense. A Protectorate was often used by Empires in order to maintain control over an area without annexing it. There are many reasons a larger state and the protectorate would agree to this, mainly the protectorate is much smaller meaning it is far more vulnerable to attack or it has very little power when compared to other states. A Protectorate allows the territory some power to rule itself but the larger state may feel the need or desire to interfere in the dealings of the territory. Examples of protectorates include the client kingdoms of the Roman Empire like Egypt before its annexation and Puerto Rico.

Empire

An Empire is a collection of nations that are united under one sovereign head of state or government. An Empire is formed by one nation steadily taking control of other nations, either through straight invasion and colonization or acquiring them through marriage and other less violent ways. An Empire is powerful mainly because it can drum up more resources, more influence and more military power. An Empire might impose the traditions, beliefs and culture of its principal nation - the nation that started it all - onto its colonies for better control and feeling of uniformity. Empires never last, that is something to always remember. Empires will eventually fragment due to the vast size and sometimes revolt among the conquered states. Examples of empires include the Roman Empire, the Byzantine Empire, the Ottoman Empire.

[bemorch]

DA2 companions: Polycule edition

[nonomikun]

happy valentines day! :D

i was thinking about either redrawing my old work or making something new...but just ended up exploiting my old idea XD

the lyrics are from unreleased dallon weekes song "valentine"

( o˘◡˘o) reblogs appreciated!

[elv-doodles]

I remembered that "love theme" image while i was doodling and had an idea lol

Also have a bunch of my screenshot trace studies from trying to figure out how tf these guys work lol.

[clfixationstation]

ngl I cannot bring myself to agree with the "Catra's redemption was rushed" crowd, whether they like the show overall or not. Perhaps I have a different view of redemption than most. To me, a redemption arc begins when a character experiences guilt and remorse for their actions, which Catra expresses in early season 4 when she has a nightmare about how she threw Entrapta under the bus and activated the portal. Catra's nightmare shows her images of Entrapta and Adora questioning her, placing the onus for her actions on her: "What did you do to me?" "Why did you do it?"

Derailing: Why did she do it? Not because Adora made her. Catra can't use that excuse anymore. "Why did you do it?" Adora also asked Catra this as a child (s5ep3 Corridors) after she hit Lonnie. Back then, it was because Catra was terrified of losing Adora's friendship and thereby being "discarded" by Shadow Weaver. She was scared for her life. But now? Catra didn't activate the portal for safety; she did it to win. She did it to prove to the world she could be victorious, to Shadow Weaver, Hordak, Adora, to everyone who refused to believe in her. Yet after pulling that lever, Catra's true desires were revealed; she wanted to be relatively safe, surrounded by friends, allowed to love Adora, and recognized for her worth. She didn't need to dominate. When that false reality shattered, Catra's hope was shattered with it. She fell back on her sense of injustice, reduced to her own agony, inflicting it upon the world and herself. After the portal, Catra had to face that her goal of ascending through the Horde was hollow.

One could even argue Catra feels regret at the end of season 3 with this look she gives Adora of "ohhh I fucked up, I fucked up big time." Catra looks sickened, with herself and with how Adora now sees her.

From this point in the story, it was blatant to me that Catra was headed for redemption. Catra clearly knows that she went too far and may have completely burned every bridge and ruined all hope of redemption. But she can't yet confront that her ambitions will not fulfill her. So, she doubles down. In classic sunk-cost fallacy fashion, Catra seemingly strengthens her allegiance to the Horde, taking control and commanding operations. Despite herself, Catra's guilt creeps up on her, not only through the nightmare but also in her approach to Adora. Unlike in s1-3, throughout season 4 Catra avoids Adora almost entirely, only engaging from afar. Catra evades confronting the amount of pain she's caused Adora, the seemingly irreparable chasm she's clawed between them, focusing solely on strengthening the Horde. She still cares, but she denies herself that regular interaction.

This suppression poisons Catra's fragile friendship with Scorpia as well. Catra continually lashes out at Scorpia, projecting her own insecurities and frustrations onto her. Her behavior pushes Scorpia away and causes her to leave the Horde, to leave Catra. This is the first time someone left because of her. It almost feels like self-sabotage, Catra pushing Scorpia more and more, becoming crueler, creating reason for her to defect. Catra doesn't feel worthy of Scorpia's friendship, of anyone's. And so Scorpia's kindness enrages her, reminds her of how far she's fallen, and how much lower she will go. Catra also lashes out at her former comrades, Lonnie, Rogelio, and Kyle, further isolating herself from anyone who cares about her, pinning her entire existence on proving herself through Horde victory. She failed in the friendship department; the Horde is all she has left.

But Catra can't fool herself forever, and she certainly couldn't fool Double Trouble. After defeating Hordak, who does Catra have left to prove herself to? Horde Prime? Herself? Neither of those people care. For the first time, Catra is completely alone, and Double Trouble doesn't let Catra hide from how she got there. They read Catra to filth, summarizing what I wrote above: Catra pushed all her friends away in pursuit of a villainous role she didn't desire; her heart laid elsewhere. Now both goals are in ruins. Depleted, with nothing left to prove, Catra asks Glimmer to kill her. Catra's guilt permeated season 4, seeping into all her relationships and degrading her mental state. But guilt is meaningless without action. Which brings us to season 5.

I got soooo off track, so I'll try to wrap it up. So yes, Catra's redemption arc started in s3/4 when she first felt remorse for her actions - not in season 5. Even then, her change took time to develop. Initially, Catra still tried to align herself with Prime, but convinced him to spare Glimmer, indicating her shifting allegiance. The girls begin to empathize with each other and Catra sees how much Glimmer cares for Adora and the life Adora has built for herself. Fully expecting to die, Catra chooses to throw away the small amount of favor she earned with Prime and save Glimmer, therefore protecting Adora. Catra apologizes to Adora for everything. Her body is stolen from her and she dies as a consequence of her actions. She's revived and chooses to join the Rebellion. She slips up but genuinely tries to make amends, not for her own conscience but because it's right. She wants to do better. She accepts ire from the Princesses without retaliation. She defends Adora from Shadow Weaver. She gives Adora the strength to choose to live and allow herself to desire, and together they save the world.

This redemption is not immediate. It was given time, the foundation established across seasons. Catra does not have a sudden change of heart. It builds gradually, even within the final season. Nothing about Catra's arc was rushed and nothing about it was easy. Each day, she fought the harmful instincts cemented in her from years of abuse to become a better person, experiencing realistic regression and growth. Catra was tormented by others and herself for her entire life and all it did was make her worse. She deserves a soft universe, the new world she and Adora created together

[literaryvein-reblogs]

Writing Notes: Dramatic Structure

Dramatic Structure - the framework that allows a story’s plot to unfold.

Aristotle’s ancient Greek text on dramatic theory, Poetics, was the first written work to examine story structure.

Since then, writers and readers have used various approaches to dramatic structure to organize and analyze the plots of plays, poems, short stories, and novels.

Dramatic structure is typically broken up into acts, scenes, and plot points. Examples of popular dramatic structures include the three-act structure and five-act structure.

During the 19th century, German playwright Gustav Freytag presented a plot diagram, commonly known as Freytag’s pyramid or Freytag’s triangle. Freytag's analysis of structure—which centers around a rising action, climax, and falling action—is now one of the most common tools for storytellers.

Key Elements of Dramatic Structure

Introduction: This early part of the story includes exposition—backstory information about the setting and the protagonist, or main character. After introducing the key elements of your story, present an inciting incident—also known as an exciting force—that disrupts the status quo of the story and sets the plot into motion.

Rising action: Following the inciting incident, the main character enters a new world and moves toward a clear goal. The action rises along with the stakes as the protagonist faces obstacles and trials.

Climax: The rising action culminates in a climax, or the turning point of the story arc. At this stage, the protagonist faces their main conflict head-on, opposing the antagonistic force of the story—typically a villain.

Falling action: Immediately following the climax, the conflict between the protagonist and the antagonist unravels, creating suspense about the final outcome. The falling action is often out of the protagonist’s control.

Resolution: Sometimes called the denouement, the resolution of a story concludes the plot, tying up loose ends and answering final questions.

How to Use Dramatic Structure to Write a Story

Although there is a vast variety of methods for structuring stories, consider these general tips for how to best structure your story.

Identify your theme. Before locking in a plot structure, find the central theme of your story. Integrate the central philosophical question of your theme throughout the dramatic arc of your story.

Develop your characters. Identify the goals, desires, needs, and weaknesses of your main character. The more you develop your protagonist, the clearer your story structure will become. Alongside the main plot of your story, create subplots that develop your secondary characters, including allies, mentors, and antagonists.

Experiment with genre. Different genres include different tropes when it comes to story structure. Depending on the genre of your story, choose a story structure that either confirms or subverts the expectations of that genre.

Choose a plot structure for your story. Dramatic structures can be linear, cyclical, or non-linear with flashbacks. The most common plot structure in films and television is a three-act structure with a clear first, second, and third act. Two-act stories often include a climactic midpoint where the stakes rise or the protagonist’s goal changes.

Adapt your structure when necessary. The possibilities for potential dramatic structures are nearly endless. Be prepared to change your dramatic structure based on how your story unfolds on the page. Stay open-minded during the writing process to determine whether your dramatic structure is organic and authentic to the story you’re telling.

Source ⚜ More: Writing Notes & References ⚜ Writing Resources PDFs

[the-cassandriad]

i've not written poetry in years (i'm more of a novelist) but i allowed myself some cassandra thoughts (as a treat). i actually had a lot of fun with this and i'm desperate to do more with the idea in the future so we will see.

inspired obviously by my own muses, @two-bees-poetry for the brilliant contrapuntal poems about greek myth, and anne carson, specifically when she talks about cassandra's speech being split in two and her bridging of past and future!

more of my logic in the tags because i'm annoying!

[ilovedthestars]

for real tho guys can we stop using “he” as the default/generic pronoun for an unspecified Blorbo. can we stop doing that. we’ve moved on from he as default pronoun in every other context by now but we’ve apparently reinvented it in the specific context of fandom posts

[sentientstump]

i have a (very evil) question to ask... who's your favorite miracle mask character? favorite to draw, favorite to think about, favorite in general? :)

i will let the images speak.....

thank you for the ask! (⁠~⁠‾⁠▿⁠‾⁠)⁠~

[transsexula]

Anyways when are we gonna stop pretending this isn't about "getting back at" an imagined trans guy. Good job! You both finally recognized trans men as men, AND ignored that they are punished for being men in one sentence. Really special work happening here.

The controversy is in only considering trans men as "men" in a way to hurt them. While also in a way misgendering:

"You're only a man because I know implying you act like a cis man in all the bad ways hurts you. In reality I see you all as hysterical bitches out to hurt the rest of the trans community" isn't progressive. It's just being nasty to be nasty.

Imagine hating trans people so much you joke about wishing they all died, then make posts like this, and assume that people will still think you actually care about the trans community.

[spotsupstuff]

char. design stuff and map update

The greek alphabet name system is for more technical classification, while names like ,,Children of Eos" [group Epsilon] and ,,Wish for Tomorrow" [group Tau] are used more by public and for grandioser introductions in political meetings.

[atanxdoesstuff]

the dbh brainrot has been hitting hard & i have nothing else i can do rn so have a quick rk1k sketch ;)))

[grandpeace-witch]

Finally finished Younger Miraak!~

[shrimpler]

dick faulkner rat bastard…pleeeaasee ignore my shitty handwriting i TRIED