#in process of writing and conceptualizing

[thunderberryz]

A few months ago, the Turtles Tracks podcast posted another interview they did with Lloyd Goldfine, TMNT 2003's showrunner and executive producer.

First off: Bro does genuinely feel bad about the writing of the '87 turtles in Turtles Forever, especially since he had actually been pitching the idea of crossover between it and 2003 well before the movie was conceptualized. Second: There was a point where he talked a bit about the thought process behind the turtles and it's really interesting to hear about what actually went into writing their characters.

Leonardo was the hardest of the four turtles to write for, yet was his favorite nonetheless--he just has so much love and dedication to protecting his brothers that he would basically do anything to keep them safe. He also made comparisons to characters like Cyclops, Superman, and Captain America since Leo "does the right things for the right reasons" and that characters like him tend to be boring since they can be sticks in the mud, so there was a lot of effort to humanize him and show why his traits are so noble and cool.

He didn't have as much to say about Donatello other than that he was easier than Leo due to the whole tech thing he has going on and that they wanted to amp it up a little bit, as well as show he's a good martial artist in his own right. He did, however, talk about when you're as fond of the characters you're writing for, you feel bad when something happens in the story like them getting injured. (And, I mean, we all know about all The Horrors Don goes through during the show lmao)

With Raphael, he explains that you really understand his anger issues and why he's doing what he's doing, but also that he's doing the wrong thing. Of the turtles, he's the one who really needs the extra help and support from EVERYONE--friends, family, even the audience. The important thing was that he was allowed to have his outbursts but was never given an ultimatum--short temper or no short temper, he's still part of the family and his brothers love him no matter what.

He had a really interesting explanation regarding Michelangelo's writing. They actually tried to show that he has a bit of an insecure side--he needed affirmations from his brothers and Splinter that yes, he is a great martial artist, that he does have skills and talent, and that he's not just the wise guy of the turtles. It may sound strange given he is stated to be the most gifted athlete of his brothers, but that's because it's not something he needs to think about when push comes to shove--him succeeding comes naturally whereas the other turtles have something else that helps drive them to victory (he used Leo and Raph as examples, where Leo's successes are the result of training, skill, and dedication, while Raph's are the result of his berserker tendencies IE his strength, passion, and courage.)

[745voiceofthepeople]

Been thinking and writing (drafts) about the Kryptonian Azula Au/endgame Azutara that @waterfire1848 and I were briefly discussing.

I feel that the following (incorrect) quote perfectly encapsulates the planned story idea that I have. Before Azula’s (planned) redemption arc in the story anyway. Let me know if anyone has any opinions!

Admittedly, I got this idea from watching Smallville while scrolling through the ATLA/Azula/Azutara corner of tumblr.

Scene: Aang and Katara were fighting Azula and Zuko in the crystal catacombs beneath the Earth Kingdom palace.

Aang tried to persuade Azula to surrender. Wanting to resolve Azula’s usurpation of the Earth Kingdom as peacefully as he could attempt to. While Katara was torn between wanting to drown Azula in a tidal wave, and wanting to wipe that insufferable smirk off her face. Though Katara would deny to her dying breath that her preferred method would be to kiss it off.

Aang: The fight is over Azula, even now King Keui is being freed from imprisonment. Your coup is at an end.

Azula: What a fool you are… I’m a god! How can you kill a god? What a grand and intoxicating innocence. How could you be so naive? There is no escape, no recall or intervention can work in this place. Come, lay down your weapons. It is not too late for my mercy.

[shroomerr]

Wham bam bam! Couple of Agent stuff!! I was initially just going to post the two images but then it felt a bit empty, so I decided to doodle an interaction between Agent and Mysterion.

More process drawings under the cut for those interested!!

[icewindandboringhorror]

I know this is just a silly bad quality random screencap of a screencap that I found on facebook lol, BUT it's a succinct enough image to easily describe the concept in a quick/accessible way hopefully :

-

(and of course, feel free to elaborate in tags, etc.! (especially elaborating about other senses as well.. can you "hear" in your mind just as well as you can "see"? taste? etc.) It's an interesting topic to me, as someone who's like a 4.5 at MOST lol. I'm curious what option will be the most common :0c )

[dennisboobs]

question for all of you who have considered how dennis operates:

when thinking about dennis' POV, how do you handle his internal thoughts*? would you assume it to be the exact same as the way he presents himself externally, do you think the external and internal are conflicting (ie. he'll think one thing and say another), or is it something else?

writers (including those who haven't published anything!) feel free to elaborate in tags/replies/my ask box if you've got some method to your dennis' madness.

this is NOT about how your characterization may differ from canon, it's about how you would write dennis internally vs externally!

*internal dialogue/POV meaning his own narration/input; how he interprets things, any rumination, opinions on a situation, insight to unexpressed feelings. not just internal monologue/thoughts as unspoken dialogue

[gideonisms]

I want to write a longer sff concept so badly. My most delusional trait is I think if I didn't have to do the dishes I could be finished with my 50k pash/ianthe ntn spinoff

[scary-tdick]

scared to jerk off i'm gonna get emotional

[anti-gravity-insanity]

My stance on AI is not that art or writing inherently must be made by a human to be soulful or good or whatnot but that the point of being alive is not to avoid doing anything ever.

[bredforloyalty]

i'm afraid you can't just induce mental illness nor lust so i have to like, work with something else? wtf

[screambirdscreaming]

The thing about programming is that there's a level on which it feels like total wizard shit, like you're grappling with concepts directly on an abstract plane, splitting them apart and restructuring them into more elegant and fundamental forms, limited only by your own comprehension which you can practically feel expanding as you synthesize constructs and destroy them and remake them

But it is also, simultaneously, one hundred percent pedantic bullshit all the way down.

[himblebo]

I’m just. So interested in the relationship between grief and trauma and arousal and anger.

[orcelito]

Fixing my dialog up

Blurgh

[subdigitals]

aelita confirms in this episode that she does not/can not sleep (the implications of this fascinate me)

[eenkanomiya]

thoma and childe should have like . a personality inversion . i think that would be really funny and sexy if they wrre like the opposite of who they are . not like each others traits swapped but like thoma as lazy and self serving and cynical and childe as fearful and tiny and insecure

[mortalityplays]

This is a dangerous sentiment for me to express, as an editor who spends most of my working life telling writers to knock it off with the 45-word sentences and the adverbs and tortured metaphors, but I do think we're living through a period of weird pragmatic puritanism in mainstream literary taste.

e.g. I keep seeing people talk about 'purple prose' when they actually mean 'the writer uses vivid and/or metaphorical descriptive language'. I've seen people who present themselves as educators offer some of the best genre writing in western canon as examples of 'purple prose' because it engages strategically in prose-poetry to evoke mood and I guess that's sheer decadence when you could instead say "it was dark and scary outside". But that's not what purple prose means. Purple means the construction of the prose itself gets in the way of conveying meaning. mid-00s horse RPers know what I'm talking about. Cerulean orbs flash'd fire as they turn'd 'pon rollforth land, yonder horizonways. <= if I had to read this when I was 12, you don't get to call Ray Bradbury's prose 'purple'.

I griped on here recently about the prepossession with fictional characters in fictional narratives behaving 'rationally' and 'realistically' as if the sole purpose of a made-up story is to convince you it could have happened. No wonder the epistolary form is having a tumblr renaissance. One million billion arguments and thought experiments about The Ones Who Walk Away From Omelas that almost all evade the point of the story: that you can't wriggle out of it. The narrator is telling you how it was, is and will be, and you must confront the dissonances it evokes and digest your discomfort. 'Realistic' begins on the author's terms, that's what gives them the power to reach into your brain and fiddle about until sparks happen. You kind of have to trust the process a little bit.

This ultra-orthodox attitude to writing shares a lot of common ground with the tight, tight commodification of art in online spaces. And I mean commodification in the truest sense - the reconstruction of the thing to maximise its capacity to interface with markets. Form and function are overwhelmingly privileged over cloudy ideas like meaning, intent and possibility, because you can apply a sliding value scale to the material aspects of a work. But you can't charge extra for 'more challenging conceptual response to the milieu' in a commission drive. So that shit becomes vestigial. It isn't valued, it isn't taught, so eventually it isn't sought out. At best it's mystified as part of a given writer/artist's 'talent', but either way it grows incumbent on the individual to care enough about that kind of skill to cultivate it.

And it's risky, because unmeasurables come with the possibility of rejection or failure. Drop in too many allegorical descriptions of the rose garden and someone will decide your prose is 'purple' and unserious. A lot of online audiences seem to be terrified of being considered pretentious in their tastes. That creates a real unwillingness to step out into discursive spaces where you 🫵 are expected to develop and explore a personal relationship with each element of a work. No guard rails, no right answers. Word of god is shit to us out here. But fear of getting that kind of analysis wrong makes people hove to work that slavishly explains itself on every page. And I'm left wondering, what's the point of art that leads every single participant to the same conclusion? See Spot run. Run, Spot, run. Down the rollforth land, yonder horizonways. I just want to read more weird stuff.

[rogerdeakinsdp]

Academy Award Winners for Best Cinematography: 2002 — Andrew Lesnie, ACS, ASC The Lord of the Rings: The Fellowship of the Ring (2001) Directed by Peter Jackson Aspect Ratio: 2.39 : 1

Andrew Lesnie immersed himself in the project by rereading the books and going through hundreds of sketches and paintings created by Tolkien artists Ted Nasmith, Alan Lee and John Howe. “The art department was a constant source of inspiration for me,” Lesnie recalls. “In the main hallway was a huge mural that was a condensed visual interpretation of the narrative for the trilogy. It consisted of conceptual drawings, set designs, costume designs, location photos and so forth. It was a matter of throwing everything into one great big pot and letting it simmer.” A big pot it certainly was, for the three films entailed 274 days of principal photography encompassing 600 scenes, 350 sets and more than 4 million feet of exposed negative. “The Lord of the Rings trilogy deals with such a staggering number of issues and takes so many directions that it’s better to let the process operate subliminally. That way, your work starts springing out of a different place than you might normally anticipate.” While Lesnie and Jackson viewed other films for elements such as staging or stylistic treatment, both knew that the books were the obvious source of inspiration. As Lesnie declares, “Tolkien’s writing is exceptionally eloquent in its depiction of feeling and mood.” — American Cinematographer, December 2001