#✰ 【 ps inspiration 】

[inkskinned]

because sometimes there are invisible tests and invisible rules and you're just supposed to ... know the rule. someone you thought of as a friend asks you for book recommendations, so you give her a list of like 30 books, each with a brief blurb and why you like it. later, you find out she screenshotted the list and send it out to a group chat with the note: what an absolute freak can you believe this. you saw the responses: emojis where people are rolling over laughing. too much and obsessive and actually kind of creepy in the comments. you thought you'd been doing the right thing. she'd asked, right? an invisible rule: this is what happens when you get too excited.

you aren't supposed to laugh at your own jokes, so you don't, but then you're too serious. you're not supposed to be too loud, but then people say you're too quiet. you aren't supposed to get passionate about things, but then you're shy, boring. you aren't supposed to talk too much, but then people are mad when you're not good at replying.

you fold yourself into a prettier paper crane. since you never know what is "selfish" and what is "charity," you give yourself over, fully. you'd rather be empty and over-generous - you'd rather eat your own boundaries than have even one person believe that you're mean. since you don't know what the thing is that will make them hate you, you simply scrub yourself clean of any form of roughness. if you are perfect and smiling and funny, they can love you. if you are always there for them and never admit what's happening and never mention your past and never make them uncomfortable - you can make up for it. you can earn it.

don't fuck up. they're all testing you, always. they're tolerating you. whatever secret club happened, over a summer somewhere - during some activity you didn't get to attend - everyone else just... figured it out. like they got some kind of award or examination that allowed them to know how-to-be-normal. how to fit. and for the rest of your life, you've been playing catch-up. you've been trying to prove that - haha! you get it! that the joke they're telling, the people they are, the manual they got- yeah, you've totally read it.

if you can just divide yourself in two - the lovable one, and the one that is you - you can do this. you can walk the line. they can laugh and accept you. if you are always-balanced, never burdensome, a delight to have in class, champagne and glittering and never gawky or florescent or god-forbid cringe: you can get away with it.

you stare at your therapist, whom you can make jokes with, and who laughs at your jokes, because you are so fucking good at people-pleasing. you smile at her, and she asks you how you're doing, and you automatically say i'm good, thanks, how are you? while the answer swims somewhere in your little lizard brain:

how long have you been doing this now? mastering the art of your body and mind like you're piloting a puppet. has it worked? what do you mean that all you feel is... just exhausted. pick yourself up, the tightrope has no net. after all, you're cheating, somehow, but nobody seems to know you actually flunked the test. it's working!

aren't you happy yet?

[ebysse]

run, severus, run! (x7)

[accio-motivation]

The Horror Husbands🌈🔪☎️

[jewelulu]

At long last its here the winning song from the last poll!!! This took me way longer than I thought it would tbh

[muffinsouffle]

@runningwithscizzorz actor AU is very interesting and fun to draw when you have a art block. Not only that, their artstyle is also fun to study!

I hope you liked this post and have a awesome night💖

[jkvjimin]

TAEHYUNG, NAMJOON & JUNGKOOK + memories (2014-2021) (cr. dwellingsouls, 0613data, namuspromised)

happy birthday, sky! @jung-koook 💟

[pricegouge]

the welly boot incident, a silly little meet cute inspired entirely by this post here cause i'm an absolute slut for the swamp thing look.

pricegaz x fem!reader one shot. A little bit of subspace as a treat but nothing explicit. Still mdni please

"Brassard, what the hell am I looking at?"

It's been a shit job from the start. Bad contractor, bad intel, bad campaign all around. John supposes he can only be happy that for once in his life, the quality of intel seems to be off in the 'right' direction - which is to say he'd rather be posted up in a field for hours with too much manpower than not enough. He's got Gaz on his right, deadly still and silent despite being hours past projected time of contact with no sign of the target. Price is spotting, growing more irritable by the minute. There's supposed to be a watch up on the south ridge to announce any incoming traffic - op related or otherwise - but the sudden arrival of one garishly dressed civilian meandering through the meadow toting a Hubble sized macro lens seems to suggest that while eight hours of fruitless vigilance may not test the most seasoned of soldiers, it is enough to beat the handlers hired to assist them. 

The silence on the comms grows long enough to get even Gaz squirming, a subtle rotation of his boot the first move he's made in hours. In his ghillie, the movement is swallowed by the shifting of grass in the wind.

"Brassard?" Price growls, inspecting this newcomer through his scope for potential threats. She certainly looks unassuming enough, as he's never known any faction of armed services to issue woven fuschia caps, long purple cardigans, or yellow welly boots. Still, confirmation on anything useful like 'where the fuck she came from,' 'was she driving a civilian car?', or 'should we take the fucking shot?' would be ideal.

"Cap?" Garrick's voice is low, smothered, cheek sealed against his rifle even after all these hours. Still lethal and ready to trust his captain's call.

John waits another beat, hoping for some forthcoming intel. Doesn't get any. "No."

"She's gonna blow our spot."

'Against who?' John wants to ask, but the question of where their overwatch disappeared to is a toss up, and while every hard-won instinct in his body tells him this whole mission is a bust and the man likely fell asleep, the paranoid option must always outweigh the most likely if one wants to see the next sunrise, and it's entirely possible the man was eliminated. 

"Well, shooting her won't make her any less hi-vis," Price sighs. Abandoning his lens, John raises his head enough to take in the whole scope of the meadow. They're posted on a small hill, sights trained down into the shallow basin where a derelict road ambles parallel a small brook, currently overflowing with springtime runoff. It's beautiful, really, dotted here and there with early blooms which nod in the gentle breeze. With the low ridge to the south simultaneously blocking most of the sun's glare and offering a great position for extra coverage, the area had presented itself first and foremost to him as a sniper's delight; but faced now with an artsy-type civilian wandering around and looking for all intents and purposes to be in her natural element, he supposes his assessment probably laid outside the norm.

"We could use her like dazzle camo," Gaz suggests instead and John's mustache twitches with a suppressed snort. It's almost tempting, except if the target does ever drive through, John doesn't trust him to simply be confused and gape at the spectacle uselessly.

John drums his fingers off the dirt irritably, returns to his scope to see if he can pick out where their backup is situated. "Shit," he hisses, taking in Brassard's limp form up on the ridge.

"Dead?" Gaz asks, voice returning to the low hum that tells Price he's slipping back into professionalism.

"Looks like," John confirms, disassembling his tripod. 

"We retreating?"

"'Course not. We're containing the civilian." Beginning to crawl forward, John spots Gaz break his scope seal for the first time since establishing it out of the corner of his eye. 

"How?"

"Physically."

***

You never even see them coming. One minute you're humming to yourself as you stage a close up of a bee and the next you're squawking and thrashing while being pulled to the ground by your ankle. Before you can even make sense of what's happened, a man settles his considerable weight onto you and clamps a hand over your mouth. "Easy," he murmurs into your ear as a mass of twigs and grease paint pulls up next to him. "Not gonna hurt ya, darlin'."

You only realize how hard you're shaking when the man next to you starts setting up a tripod and the kind of gun you've only ever seen in movies and your teeth rattle behind the calloused grip that covers them.

There's a hand on your head, palm flat and heavy as it pulls your hat off. The weight above you shifts, hips digging briefly into your ass as he moves to pocket your cap. It's slow, movements steady and calculated as the voice that continues in your ear. "I'm Captain John Price. This is my sergeant, Kyle Garrick, and unfortunately you've found yourself in a bit of a pickle."

Next to you, the man with the gun - Kyle - spares a small, commiserating smile. It does not calm you.

"If I take my hand off your mouth, you gonna stay quiet?"

You're nodding before you can even think it through, surprising yourself when your new found freedom only draws rapid pants from you instead of screams for help. 

"There's a good girl," John rumbles, lips still pressed close to your ear. His voice is low like oncoming thunder, and despite yourself, the next shudder that racks your body isn't entirely fear based. He's got a mustache of some sort, bristles soft where they press against the shell of your ear. You were set up for failure, really.

"Can you get off me?" You mean it to sound pricklier, blame it on all the hyperventilating when your voice comes out breathy.

John huffs, breath warm as it fans down your neck. He's wearing some sort of armored vest from the feel of it, but you can still feel the abs of his lower belly jump with his laughter. "What's your name, darlin'?" You don't answer him at first, still weighing whether or not you believe him. "How 'bout 'flower', hm? Look like one out here in all these colors."

"A buttercup, in those wellies," Kyle agrees and you side eye him, for the first time noticing how upsettingly handsome he is under all that grease paint. Full, pretty lips and the kind of big soft cow eyes that always turn you to putty. If you find out the man on top of you is also handsome, you're toast.

"Right, those bloody boots." John's weight shifts off you a bit and you try to scramble forward. You make it maybe an inch before he plants a wide palm on your back and pushes you back to the ground. "Hold still, flower," he rumbles and you're helpless but to comply as he kicks at your boots with his own. You ask why he's stripping you but he ignores the question, reaching back to snatch up your discarded shoes instead. "Clear?" he asks, and Kyle takes a minute to swing his scope around.

"Far as I can tell."

And then John tosses your boots into the nearby brook with an unceremonious plop.

"Hey!" you gripe, only to be silenced by John's hand clamped over your mouth again. 

His voice is sterner now when he speaks, the low murmuring from before replaced with a harsh grumble. "Hush now petal, we have to be quiet. Look at me, yeah?"

You regret it the second you do. Like Kyle, John's covered in leaves and debris and greasepaint. His eyes glint menacingly from the depths of the shadow cast by his low brim, his chops a thatch of hair only distinguishable from the mass of brush that covers him by the fact it's too well-kept. He looks like a swamp thing. He looks like the earth itself come to swallow you whole.

"I'm gonna take my hand away now, but you're going to be a good little flower and stay quiet, yeah?" You nod. His grip is so strong on your jaw that you drag his hand along with you. When he calls you a good girl this time, you can't help but melt into the grass beneath you. John seems to take your laxness for acceptance of your situation and he squeezes the nape of your neck when he pulls his hand away to set about erecting some sort of tiny telescope. He murmurs to you as he works, voice gone back to the quiet, calming rumble from before. 

"I can't get off you because you're not wearing appropriately camouflaged clothes. Even if I were to strip you of this fucking cardi, you'd still stand out like a sore thumb. That's why the wellies had to go in the stream. No good place to hide 'em." You frown back toward the brook, watch as one of your shoes goes bobbing along out of sight. The other probably sank already.

"My car's too far away to walk barefoot."

"I'll carry you," John suggests casually. He's got his little scope established now and when he lowers his eye to it, his cheek sits flush against yours. "This position is shite," he grumbles.

Kyle hums in agreement. When he speaks, his voice is teasing. "We could carry petal here back up on the hill."

"Watch it," John warns. Kyle doesn't so much as smirk. Their talk turns mostly technical after that, muttering about degrees and cardinal directions, calculating inclines. You let it wash over you in favor of contemplating your predicament. 

You trust they're military, at least. Kinda hard to fake the funk to this extent. That fact doesn't necessarily soothe you, but knowing this about them is at least better than knowing nothing about them. You suppose it doesn't matter either way though, as there's not a whole lot you can do to get yourself out of here if the way John bears down on you every time you try to wriggle out is any indication. Sometimes he breathes soothing words against your cheek. Most times, he just ignores you.

They slip into silence eventually, which makes the long, boring minutes drag even worse. You know enough to figure this is a sniper mission which means it's possible you'll be here a while, but that doesn't make you physically prepared for it. You check the positioning of the sun from time to time, but frown when you find it unchanged. You tell yourself it's only because you don't actually know how to gauge time like this.

You crack after what feels like an hour but is probably only fifteen minutes. "What are you guys supposed to be doing here, anyway?"

"Classified." John's eye is still glued to his scope, barely giving you the time of day. 

Should've figured. "Aren't I going to see it unfold anyway?"

"Might not." You're not quite sure what that means, but something about the tone makes you nervous.

"Are we gonna be here all day?"

"Hot date?" Kyle's also still glued to his scope, but something about his tone is less dismissive so you latch on.

"Yes, actually."

Finally, a break from contact as John pulls away from his scope to look at you. There's a spot of paint missing just above the trim line of his beard and your stomach flips in guilty excitement when you realize it might have transferred to your skin. Of course he ruins it, "In a fuschia cap?"

"I'll have you know I made that cap," you squawk and John only needs to twitch his mustache at you to get you to shut up. He may also raise a brow. Hard to tell under the low angle of his brim.

It's Kyle who apologizes. "It's a lovely hat, flower."

John grumbles while you thank his friend, returns to his scope as he mutters about it still not being good date attire.

"I was going to change first." You're not sure why you care what either of them think of your date outfit, but you do what the record to show you're capable of dressing sexy when needed.

"What you're wearing now looks nice." Kyle's cadence is complementary, but it's the same tone he had used to pick on John earlier so you know he's referring to the absence of one cap and a pair of silly wellies.

Well, you can be quippy, too. "Think I'm currently wearing your boss."

Both men laugh. Kyle takes his eye off the scope to take in the spectacle on his left for the first time since setting up. "Like I said, looks good on you," he winks.

"Eyes on the prize, Gaz."

"Were, sir." Kyle - Gaz?- cackles when you have at him, but ducks back to his scope and you huff, already bored again.

John notes your frustration and decides to make it worse. "Might not make your date, flower. At this rate we'll be here all night."

"'Course," you mutter, tucking a bit of bramble more thoroughly into the netting that adorns the sleeve in front of you. "First date I land in months, and then comes you lot."

"Sure he'll understand." John sounds distracted. When you glance at him, he's staring down at the way you're weaving into his equipment.

"He'll understand I got pinned under an army sniper?"

"Could tell him you got laid up with -."

"Shouldn't you be keeping quiet, sergeant?"

"Sorry, sir."

You glance between the two of them, but they're both resolute in their professional silence now. You sigh again, folding your arms under yourself to rest your head on. 

A moment passes. Another.

"Got a fox in my shot."

"Two o'clock?"

"There 'bouts, yeah."

"Saw 'im poking 'round a moment ago."

You nearly knock John's chin with how quickly you raise your head. "I wanna see."

"Hush," John instructs dismissively. 

You huff, and then remember you don't need him anyway. Wriggling your hips what little you can, you feel the hard cylinder of your lens press against your right thigh and you squirm around until you can feel it under your fingers.

"What're you doin?" John's lifted slightly off you, but you think it's a move probably rooted more in curiosity than an actual desire to make your task easier. Still, you'll take it.

Grinning triumphantly, you pull your camera up until it rests next to John's tripod and then frown, dejected, when you spot the snap halfway up the barrel. "Must've fell on it," you pout.

John is unsympathetic. His hand is big enough to encase the whole unit when he grabs it, flinging camera and all into the stream with another disheartening splash. 

Your cry dies in your throat this time, the fight gone out of you. When you slump back onto your arms dejectedly, John pats your elbow. "Material could've caught the light, flower. Had to be done."

You pout anyway. "Bloody expensive."

"I'll buy you a new one."

"You will, cap? Or will the service?"

"You will, if you don't shut up." 

"Wouldn't mind. Get 'er a real nice one. Anything you've had your sights on recently, buttercup?" 

"Don't have my sights on anything, currently," you snark and you can practically feel John roll his eyes. 

"Christ, here." He fiddles with the device a bit, then leans back enough he can guide your face up to the viewfinder. You keep a squeal of delight bottled in your throat when John's hand lingers over your jaw, reminding you how you need to keep quiet.

You watch the fox happily for a moment, content to let the boy's low conversation wash over you as you let this new amusement pass the time. Except then the fox wanders out of frame and when you move the scope in order to follow, you only seem to muck it up more. 

"Give me that," John grumbles, not unkindly. You slump back down anyway, like a child.

"Forearms, cap," Gaz drawls and you see John peel away from his scope long enough to look down at you. He grunts in acknowledgement, fiddles with his tripod, and then lowers himself even further onto you, wrapping one scraggy arm around your own to block you in completely.

It's so much worse. John runs hot, apparently, and without the breeze on your face at least, you're sweaty within minutes; or maybe hours, hard to tell. 

You've nothing better to do so you try synching your breathing with John's, thinking maybe that's the secret to his seemingly infinite patience. It's hard work, though, his breaths somehow both shallow and slow, and you wind up counting them instead to pass the time. 

Eight sets of one hundred later, Gaz breaks the silence with a low murmur which may as well be an explosion with how much it startles you out of your reverie. 

"Gotta piss." 

Your voice is floaty when you complain, head wobbling up to eye him. "Ew." 

John's stern chastising Kyle, calm when he brushes his lips against your ear. "Quiet, sergeant. Go back under, petal." You hum in agreement, duck into his arm, count his breaths again.

You lose track after another five hundred, content yourself to feel the warmth of him contrast with the cool damp of the soil underneath you. You remember the sight he makes above you, a rolling crest of greenery pulling you under. You blame your sleepy state when you begin to fantasize about it like some old myth; Hades collecting his dues. When he does speak again it's low enough you're not sure it actually comes from above you, half convinced you're hearing the movement of tectonic plates deep below instead. He sounds pissy though, despite his low, soothing tone, and you try to blink yourself into wakefulness, peering around to find Kyle unloading his gun with distractingly deft fingers.

"What's wrong?" You ask, dumbly, and John drops his hand from his radio back to your shoulder, rubbing at you with a heavy, steady hand. 

"Nothing, flower." To Gaz he adds, "Liked him better when he was dead,"

Gaz side eyes him, begins to load his gun back up. "Say the word, cap." His voice is so serious you only figure he's joking when John puffs a laugh across your cheek. 

You watch as John disassembles his own equipment, the weight of him almost fully pressing down on you now that both his arms are raised and busy. It's strange but you're almost sad it's over; it had been oddly relaxing, tucked away underneath him.

"You awake yet?"

"Wasn't asleep." He keeps pulling away from you, but the ground is cold so you get your hands underneath yourself and push up, following.

"Right. You ready to get up, then?"

John's movements are still slow and heavy. When you nod, he levers himself up to a kneeling position, wraps his hands around your tummy to bring you up as well. He sits there a minute while tucking various tools and things into his pockets and placing your cap back on your head. It takes you a moment to realize the way he's seated has him straddling your calves. He doesn't seem to mind how you lean back into his chest. 

"What time is it?" 

"Still hoping to make your date?" Gaz teases. He gets his equipment settled and holds out a hand to you to help you stand. When your feet catch on John's big boots, the captain steadies you with a hand on your back.

You'd nearly forgotten about the mousey little man who would likely be left waiting for you downtown. He doesn't hold much appeal anymore but you lie anyway and tell Gaz yes.

"More bad luck there, petal," John commiserates. His voice should be further away now that he's not laying on you, surely? When you turn you find him standing far too close, somehow seeming even larger now despite no longer crushing you into the ground. Gaz is tall too, you note, and between the two of them in their ghillies, you imagine you look like some illustration from a fairytale book: the barefoot maid and her two elements, maybe. It's silly, distracting, which is why you've already forgotten what he's talking about when John continues, "'fraid you still got debrief to sit through." 

"Huh?" You ask stupidly, and then yip when John throws you over his shoulder.

"Debrief. Could take all night," Gaz winks. "Looks like you're ours for the evening, flower."

"Oh. Well, you do still owe me a camera."

Gaz laughs, neat white teeth splitting his face in a handsome smile. "That's right, and cap here owes you some boots."

"Any color you want, flower," John agrees.

next>>

[keii4ii]

one-winged Carlo

[bibewilderedandbuck]

Imagine Buck saying “i love you” first and for the first time Tommy feels behind. He feels like maybe they are moving too fast.

Then he has a talk with some of his team. They’re not AS close as the 118 but they put their life in each others hand’s on the regular and that counts for something.

Andy asks Tommy about last week, when Buck was complaining about his apartment being so far so they started talking about moving in together? Aubree mentions how much he jokes about buying a ring for his beau, and Tommy sits back because he does joke a lot about (he hasn't spoken to Evan directly about it but anytime the kid does something sweet he asks him his ring size). Lucy mentions the time they spend talking and texting, she calls it nauseating with a wink, but Tommy doesn't remember the last time he wanted another person in contact with him at all times and who returned the feeling tenfold.

And after all, with their job they could die any day. He sits in his kitchen and replays the moment Evan said it again and again: "I know I'm dragging you through milestones like a cat with a mouse, and I want to let you know that you don't have to say it back. But I love you, Tommy. You mean a lot to me and I'm so happy we met."

Nine months is the longest relationship Tommy has ever had. And he still wishes he could spend every waking second with Evan.

By the end of the night he's barging into Buck's apartment and sticking his tongue in the younger man's mouth. He stands back and pushes his chest up and smiles and says "I love you too, Evan."

Buck is laughing, he's smiling and kissing his boyfriend back and hugging him tight. He can feel Tommy's heart racing when he puts his hand to Tommy's chest. He expected it to take longer. He'd heard about all the ways Tommy had been hurt before. But in the end it only took a day

then they hear a flush and Eddie walks out of the bathroom. He's smiling because Buck's loft is Not Big and he might have heard every word. For just a moment, they all stand in silence not uncomfortable per say but definitely charged.

Then Eddie says "I love you too, bro." Buck lovingly rolls his eyes and Tommy is cracking up. If it were anyone else he'd probably feel embarrassed but Eddie has shared friendly declarations of love before and its not uncommon for the L word to be passed around a 118 dinner party like hors d'oeuvres.

[claraswald]

Same thing really.

another meme i won’t finish: [1/5] otps @paletmblr event xxi: pride

[nvathuw]

just messing with this brush

[maleeni]

"To Boldly Go Where No Man Has Gone Before..."

Another of @buttertrait's beautiful base sims made over! Loving this challenge. 💕

[smoakqueenz]

Ambassador Suga of BTS for Valentino

[orangewsunglasses]

"too late to be free"

i'm in love with this girl's design!!! i was so excited for the song when i saw the premiere thingy! it was cool to read his blog on the website too, i like getting more bits of story. that includes the ??? website! i have my own little ideas abt that :3 the tiny instrumental explosion in the beginning was so fun ah!!! unlike the other stuff i've been trying to finish lately, i had a lot of fun drawing this one AND finishing it! it's a miracle!!!

[fuckyeahchinesefashion]

chinese guzhuang fashion

[ronniaugust]

How To Write Good Dialogue (Part 1)

I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.

This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)

(about me)

-♠︎-♠︎-♠︎-♠︎-

I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.

I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.

Useless Dialogue

Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨

What is subtext? Subtext is the meaning behind the action. That's it.

If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.

Simple, right? Great.

Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.

When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]

Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.

I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.

[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]

Show vs. Tell

I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.

Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.

Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.

Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)

Point blank: When you have subtext in your lines, they are "show,” not “tell.”

Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.

The First 15

If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.

The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.

Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.

Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.

You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.

I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.

With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.

Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.

“Realism”

This is maybe more directorial, but make your characters human enough, not too human.

Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.

If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.

Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.

The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.

Conclusion

Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.

If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.

Warning, spoilers for Chinatown.

"If I were Gittes at this moment, what would I do?"

Letting your imagination roam, the answer comes:

"Rehearse. I always rehearse in my head before taking on life's big confrontations."

Now work deeper into Gittes's emotions and psyche:

Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."

EXT. BUNGALOW-SANTA MONICA

Gittes' car speeds into the driveway.

You continue working from inside Gittes' pov, thinking:

"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.

The Buick SCREECHES to a halt. Gittes jumps out.

"To hell with her!"

Gittes SLAMS the car door and bolts up the steps.

Story by Robert McKee, pg 156

The context of this page is McKee's way of explaining how to write characters. I found it very helpful.

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Thanks for reading! I probably forgot something, so I made this a “part 1.”

I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.

Asks are open! :)