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em-dash-press · 2 years

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How Traditional Publishing Works for Novel-Length Manuscripts

Your future as a writer may seem murky at best. It's difficult to dream beyond your latest notebook or Google Doc if you don't know how publishing works.

Today we're going to talk a bit about that! This post will be for publishing longer manuscripts. Eventually, I'll make another one for publishing short stories.

Step 1: Finish That Manuscript

You may have heard that you can start contacting literary agents or publishers after you have a decent chunk of your manuscript done. While there are a few here and there that could be fine with that, it's best to always finish your manuscript before querying begins.

How do you know when it's finished? I'll write more on that later, but for now here's a basic checklist:

Edit your story for flow, character development and pacing. This may involve storyboarding again or even talking through your book with a friend.

Edit your work for line-edits (spelling, punctuation, etc.)

Give your work to a beta reader! That could be your partner, best friend, family member, etc. They'll have a fresh pair of eyes for things like plot holes, confusing arcs, unfinished story lines, and tension that never resolves.

Double check that your themes get resolved.

Step 2: Draft Your Query Letter

I already made a post showing how to draft a query letter and the answers to common query questions, but here's a summary: you need a good query letter for your finished manuscript. They're the first impression an agent gets of you and your work.

Query letters always include:

An introduction to your work (the title, the genre, the word count, a one-sentence summary)

An explanation of the plot (don't hold back—it should include your beginning, middle, and end, plus any tropes and themes)

Comparative titles (novels in the same genre as your work that were published in the last ~2 years or less)

The reason why you wrote your novel (what makes you the best person to write about that theme/plot/character growth, etc)

Step 3: Find Your Agents

There are a few ways to find agents and you can try different methods throughout your querying journey.

Use QueryTracker to find agents by genre, availability, location, etc. Then track your queries with the same website to find out who's read your work, who's rejected it and who wants to get in touch. (The free version does most of this, but there's a paid version for people who want to hardcore dedicate themselves to querying).

Check out those comparative titles—authors almost always thank their agents in the Acknowledgements section. Start a running list and note their publishers.

Search Twitter for agents who are open to queries. It may seem strange, but most agents have Twitter accounts and announce when they're open or closed to queries. You can always follow them on your personal or writing account, but you can also search for them by looking up hashtags like “open for queries" and “submissions are open.” If you want more details, check out this great resource for more hashtags and strategies. Note—you should never direct message an agent on Twitter. Always contact them through their preferred methods, usually located in their bio or pinned tweet (if they’re open to queries).

Step 4: Sign With an Agent

This step can take weeks, months, or years. Every writer’s querying journey is different. Sometimes the market isn’t right for a specific genre or storyline. Other times, you may need time to revise and polish your manuscript or shelve it entirely for a more developed idea.

Searching “amquerying” on Twitter is a great way to read other writers’ experiences. You’re not alone if you’re frustrated, exhausted, tired, or just plain sad. It’s hard to get rejections and try again when you’re likely the only person who currently believes in your specific manuscript.

Agents have to pick projects based on what they want to represent, but also what they can sell. If your story is too new or different, they may pass until it’s more culturally relevant or more popular with readers.

When an interested agent offers representation (likely after requesting a full manuscript), ask plenty of questions to get to know them. You don’t have to accept the first agent who comes along. They should align with your vision for your book and who you want to reach with it.

When you do sign with an agent, celebrate! It’s a big step that you should recognize! Lots of hard work and dedication went into getting an agent, and it’s only the start of your publishing journey.

Step 5: Look Forward to Your Book Deal

Your agent has a few roles. They’re supposed to look out for your best interests with publishers and all the legal aspects that come along with book deals.

But first, they have to land a deal. That means they write pitch letters or decks and send them to publishers they think will be the best fit for your manuscript. Letters are more common, but pitch decks are more necessary for writers of children’s books and graphic novels who have pictures integrated into their work.

This process can take a while. Don’t expect to sign a book deal overnight or even in the first month. As long as your agent keeps up communication with you about the process, you’ll know you’re in good hands.

Things That Will Be in Your Book Deal

Your Contract

Contracts include all the information related to your deal. Your agent will use it to potentially negotiate for more money, better control over your film rights or foreign publication rights, and basically all the little details that go along with those things.

Your Advance

When writer’s sign a book deal, the get a check. That check is called your advance. The advance is a sum of money that the publishing house or imprint gives you for the right to publish that book. It could vary from $1,000 to six figures, but new authors (and especially women and people of color) typically get around $5,000 for their first book.

Smaller amounts will arrive in a single check. Larger amounts are split into multiple checks spanning the time from your signing date to publication.

Your Royalties

Every time your book sells a copy, you’ll earn royalties on that sale. However, writers don’t see royalty earnings until those royalties out-earn their advance.

If you got the average $5k advance, you’ll have to sell enough books to earn $5k in royalties before you see routine checks in the mail for royalties after that point. Your agent will negotiate your royalty percentage during…well, negotiations.

Step 6: Figure Out the Pre-Production Details

You’ve signed your book deal—throw a party! Then it’s time to get to work.

Your agent will connect you with an editor, who then sends you an editorial letter after reading your manuscript. It will contain everything they think could improve plus their marked-up copy. You’ll dive into structural changes if necessary, but mostly line edits.

You don’t have to agree with everything your editor suggests. It’s still your book. However, they know the industry the best and will want your work to succeed as much as you do. Talk things out and come to a compromise, but stay true to your book’s intended purpose throughout editing.

Your publisher’s legal team will go over your edited copy when it’s close to perfect to ensure there are no issues. They typically find things like the use of song lyrics that you haven’t bought the rights to and mentions of real persons or brands that may result in lawsuits.

Next, your design team will work with you on potential cover designs. interior layouts, jacket versus hardcover designs and blurb placement. They have most of the say over your final cover, but your agent can go to bat for you if you think the options are truly ugly.

Next, you’ll come up with a marketing plan. Imprints and publishing houses typically have marketing teams and publicity experts that work with authors. You’ll talk about which stores will sell your book and which websites will get ads based on your target reader audience’s known shopping habits/website preferences. Ads on social media and your involvement with posting about your book will also come up.

Proofreaders and beta readers are also part of this stage. They’re the fresh sets of eyes every writer needs to know if their readers will understand how they wrapped up their themes, character development paths and plot. They’ll point out when things don’t make sense, need more expansion or could be cut as they read through your Advanced Readers Copies (ARCs).

Step 7: Marketing and Blurbs

A bit more about the marketing stage—your agent has a hand in this too. Based on their previous or current authors, they may have personal connections with influencers and big names in the book world. They’ll send those people ARCs and ask those people for blurbs if they think those famous people have audiences who would be interested in your manuscript.

You can also talk with your agent about getting blurbs from similar debut authors in your genre or only authors from marginalized communities, depending on your priorities. The only time they might say no to this idea would be if your preferred people hardly have audiences or if their audiences have shown interest (via book sales) in other genres.

Your team will decide other things like:

Who gets your ARCs

If you’ll send some ARCs through contests

Which retail stores will stock your book

If you’ll pitch your book to get sponsored by big book clubs

If you’ll pitch for your book to be included in book subscription services

Where you’ll post digital ads and for how long

How you’ll create marketing campaigns with sites like Goodreads and other book sites popular with readers

Most writers also have to market their book on their personal Facebook, Instagram, and/or Twitter accounts. You’ll likely only get out of this step if you’re already an established author who can sell books without blinking (think: James Patterson or Nora Roberts).

If you need help putting together a posting plan, your marketing team and agent can help with that. Most publishers request that their writers’ develop online followings because it creates personal, instant connections with readers/allows for free advertising via posts/generates direct feedback.

Step 8: Negotiate Your Media Rights

Most writers negotiate their media rights after landing a publishing deal. The publisher needs to know that your work has a chance of being picked up as a movie or TV show. Debut authors have a lot to prove, unless you’re one of the rare writers who snags a movie deal alongside a mega-advance because your work is once in a generation.

Your agent will negotiate this for you and possibly let you keep your media rights. If you keep them, you can sell them separately later on. When you or your publisher is ready to sell, production company scouts will see the announcement on book deal websites. They may contact your agent to negotiate with you before you start selling copies, but it may happen after your book has shown promise on the market for a while too.

Step 9: Sign Copies of Your Books

About a month before readers can buy your books, you’ll get copies to sign! Prepare your hand and wrist, because this step surprises most writers. If you have more than a handful of books to sign, you’ll need to pace yourself.

Still, this is an exciting step in your publishing journey. Take lots of selfies and enjoy the moment!

Potential Step 10: Start Your Book Tour

Big names in the book world get book tours set up by their publishers. Debut authors often don’t. If you want to do a book tour, talk with your agent early in the process. They can work with your publicist to schedule a few speaking engagements, but you’d mostly be in charge of contacting bookstores to reserve an hour or two for signing books and meeting with readers.

If your publisher does want you to do a book tour, regardless of whether you’ve been published or not, they might pay for your transportation and accommodations. It depends on your unique situation.

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This is a very brief, not super specific outline of traditional publishing. I hope it gives you some perspective on the process. After landing a book deal, it can be a year or more before your debut day arrives. There’s so much happening behind the scenes—but now you know a bit more about it.

#book publishing #book publishing faqs #writeblr #writers of tumblr #writing community #writing advice #writing tips #creative writing #traditional publishing #publishing #publishing a novel

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valiant-if · 2 years

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I would estimate I am about 30% finished with the second half of the prologue/chapter 1 (whatever i decide to title it) at this point.

This is the part of the chapter where I realized is probably the best place for a choice determining whether or not your MC knows sign language. It becomes immediately relevant upon meeting one of the crew members. You only meet her in one of the initial 4 paths at the beginning, so for all paths except for that one, the choice will take place in the latter half of the chapter.

It also made me realize I needed to think about some intersections for sign language, non-verbal, and hard of hearing options. How to approach the use of sign language in the game was always something I'd been thinking about, since one of the central characters is non-verbal and uses it as her main form of communication.

It was also always my intention to have an option for the MC to be HOH. So I've been brainstorming gradually on when/where to implement the choices for these, usually thinking of having them combined, but I realized last night that it's probably better to split them up.

While thinking about this, I also realized that there's really no reason for me not to allow for a non-verbal choice as well, not just HOH.

So where I'm sitting at on these topics right now is this:

The initial release of the demo will include an option as to whether or not the MC knows sign language when it becomes relevant in the second half of the chapter. The choices for HOH and non-verbal will be in character creation at the beginning, but these won't be implemented for quite some time even after I release the demo.

The HOH and non-verbal options require a lot more in-depth editing and revision, in addition to possibily rewriting certain scenes, to make sure I alter everything that needs to be altered. I think the easiest way for me to tackle that will be chapter by chapter, especially to make sure continuity is followed through as much as possible. It is likely something I will work on in chunks throughout the project.

It's been an interesting subject to approach language in Valiant, and not just in the discussion of sign language. I brought up once before, when talking about the voices of the characters, that I hadn't yet accounted for how language affects accents yet, namely because of the level of technology in this universe that allows for automatic translators and how this would affect whose voice a person is actually hearing.

I had an epiphany recently that seemed very obvious to me in retrospect. One of the undertones of the Valiant universe is financial inequality—the Valiant universe has a lot of dystopian elements with specifically corporate roots. The subject of financial inequality comes up pretty immediately in the story in the form of cybernetic implants. MC's specifically are noticeably expensive while some of the other crew members have pretty cheap ones and others still have none at all. (For some people this is a choice, but it goes without saying that some people wouldn't be able to afford them.)

My epiphany was that I hadn't fully considered this when it comes to the discussion of language and translators. So the conclusion I've reached is that, yes, many people can afford implants with built-in automatic translators, but not everyone. So there very much is a "universal language" that most people have to learn to speak if they want to conduct any sort of intergalactic travel or business. But, for most people, this is not a first language. Different colonies and/or sovereignties would have their own separate languages.

Most of the crew of the Valiant would be bilingual and thus might speak with accents. I also imagine that any version of language spoken in the Valiant universe is probably different than languages we speak in our own lives simply because of how languages would have evolved over the course of hundreds, maybe thousands of years in space with separate societies. There are probably recognizable bits and pieces to our modern languages, but for all intents and purposes they are fictional languages. This probably won't be referenced too much over the course of the story, but it's still something to think about.

All that is to say, the amount of worldbuilding that goes into a story is sometimes astounding when you consider how much of it the story actually touches on. But it's still important to know certain things because it can influence details in the main story, like—bringing it back around to sign language—how the crew of the Valiant learned to communicate with each other.

At any rate, that was a much longer rant than I was planning—I meant to just have a short and sweet update about some planning things that have been going through my head. The point is, things are coming along pretty well. I'm still working toward getting a demo release soon, so I'd better get back to it.

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bookwyrminspiration · 1 year

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Hi Quil! I just had a really nice weekend and I hope you enjoyed your weekend too.

Recently, I’ve been working on some of my longer story ideas, but I also had some concepts for oneshot and shorter stories to write, which I might try out. I know you have written both oneshots and longer stories, so I was curious what your thoughts were on different kinds of stories and if you had any advice for either type, especially for longer-form stories.

Thank you!

- Amethyst

Hi Amethyst! I’ve been rather busy lately, but really soon my weekends and weeks should be very free and enjoyable! I’m about to have a summer break for the first time in four years and I’m not quite sure what to do with all that time!

I can share advice, but just keep in mind this is my experience and what works for me; if it doesn’t work for you, don’t give up, that just means what works for me doesn’t work for you. I’ve also shared general writing advice before, like here and here and here. I’m sure there’s more on my blog, the tagging system just sucks at finding things.

No one form (long or short) is better than the other; its about adequately representing and doing justice the concept. Sometimes you have a really complex idea and it would be best explored over a really long story with lots of depth and side plots, and sometimes you want to really highlight one aspect of something (of a society, a relationship, an idea, etc) and you want it to be shorter, more focused, eliminating background noise. it’s also wise to take into account what you can realistically do and how much time you have. If you’ve never written before in your life, for example, it’d probably be best to start with smaller projects.

Focusing on long-form stories, I think a huge thing is patience and consistency. The gratification and pay off for these comes much further down the line and requires a considerable amount of effort. Going into it knowing there’s a very long road ahead helps get you through the times where it feels like you’ll never get there and nothing’s happening. Things are happening, they just take time to write. There’s a lot of words and even the most prolific writer can’t knock it out all at once. It’s more reliable to write smaller amounts consistently than large amounts sporadically, in my experience.

A big one for me personally is also to have an end goal in mind. Know, at least generally, where you’re going. Long form tend to have subplots and side things happening, so keeping in mind where the story should be heading alongside that makes it more cohesive and, in my experience, you’re more likely to actually get there. When I’ve tried to write long form stories without a decided direction, I got completely off track and had to start over. Something vague like “at the end they’re going to have a fight with this person” is enough, nothing fancy, you have something to keep in mind to head towards.

Oh here’s another thing! Don’t worry about editing your first time through. Editing and revision comes later. If you’re focused on making things good and perfect before moving on, you’re going to massively hinder yourself. Writing the story through (or your chapter through), and then go back and make changes. Having the whole thing in front of you makes it easier to adjust where needed because you can see how everything interacts with each other. Sometimes the inspiration for a change you make in chapter 2 comes from something you write in chapter 20. So discard these quality standards; the point of the first draft is to get something down, that’s its only purpose; even if its the shittiest writing in the world, its better than an empty page. you can make it better later.

I’m sure I could think of more, but since I just threw multiple long linked posts at you I’ll stop here for now! If you have more specific questions I’d be happy to help however I can, though again, these are just my thoughts and experiences. At the end of it all remember why you’re writing! For fun? To express something about yourself? To reflect on something? Try to keep that in mind so you don’t make yourself hate writing when you get stuck (which is pretty much inevitable. we all run into problems at some point)

I hope this helps!

#submission #quil's queries #amethyst nonsie #writing advice #i focused on long at your request but I do have a few things I try to do when writing short form i could share if you'd like #another thing! steal ideas from stories you like #not plagarize.#but like. if an author has something they do you like (a voice. a kind of characterization. a plot structure) then use that in your own work #i imitate a millioin different things I've picked up from other books and combined them all into my style #i realized you could ignore punctuation grammatically for style and emphasis from the shatter m.e books #and while they're by no means my favorite. i did like that element #so that's just one example #for writing in general #this feels like very vague and chaotic advice but hopefully it makes sense enough to help!

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shabdforwriting · 12 days

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7 Essential Writing Tips for Beginner Writers

Here’s a description based on your list of writing tips for beginner writers:

1- Read Regularly & Write Daily:

The foundation of becoming a great writer is built on the habits of reading and writing. Reading widely exposes you to various writing styles, story structures, and techniques. It feeds your imagination and helps you understand how words can create different effects. Writing daily, even if it’s just a few sentences, strengthens your writing muscle. The more you write, the more fluent and confident you become. Don’t wait for inspiration—show up for your craft every day.

2- Establish a Writing Routine:

Consistency is key when developing a writing habit. Carve out time in your schedule for writing, whether it’s in the morning, during lunch, or late at night. Create a space where you can focus—free from distractions—and commit to showing up. By setting a routine, writing becomes part of your daily life, and soon, you’ll find it easier to make progress on your projects.

3- Revise and Edit:

No piece of writing is perfect on the first try. The real work begins after the first draft. Rewriting allows you to refine your thoughts, clarify your ideas, and fix any inconsistencies. Editing ensures your language is clear and free of errors. Break the process down—focus on the bigger picture during your first revisions, then move to grammar, punctuation, and sentence structure in later rounds.

4- Share Your Writing for Feedback:

It’s easy to get lost in your own perspective. That’s why feedback from others is invaluable. Sharing your work with trusted readers or a writing group gives you fresh insights into what works and what doesn’t. Embrace constructive criticism—it’s an opportunity to learn and grow. Don’t be afraid to ask for honest feedback, as it will only help you improve.

5- Set Goals and Study the Craft:

Having clear goals provides direction for your writing. Whether it’s finishing a short story, writing a chapter, or submitting work to a publication, goals keep you motivated and accountable. Alongside your writing practice, invest time in studying the craft. Read books on writing, attend workshops, listen to podcasts, and follow experienced authors. The more you learn, the stronger your writing will become.

6- Avoid Perfectionism & Keep Learning:

Perfectionism can paralyze creativity. Understand that your work won’t always be perfect—and that’s okay. Writing is about improvement, not perfection. Allow yourself the freedom to experiment, make mistakes, and grow from them. Remember, each draft you write teaches you something new. Keep learning from your successes and your failures, and stay open to new techniques and perspectives.

7- Be Patient & Persistent:

Writing is not an overnight success story. It takes time to hone your skills, complete projects, and build a readership. Be patient with yourself and your progress. Persistence is what separates aspiring writers from successful ones. Keep going, even when the writing feels hard, and trust that every word you write brings you closer to your goals.

Bonus Tip: Use Online Platforms to Reach a Wider Audience Take advantage of online platforms like Kindle or Shabd.in to publish your work and share it with a broader audience. These platforms make it easier for new writers to get noticed and provide opportunities for feedback from readers. Self-publishing can be a great way to build confidence and gain exposure for your writing.

Source -

#self publication #writers #writer #writing #book publishing #books #writing tips #writing help

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theattainer · 11 months

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Quit Your Day Job? How to Organize Your Day as a New Full-Time Author

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https://theattainer.com/quit-your-day-job-how-to-organize-your-day-as-a-new-full-time-author/

Quit Your Day Job? How to Organize Your Day as a New Full-Time Author

You’ve dreamed of it: waking up to a day where your only job is to write. The romantic vision of sipping coffee as you craft worlds with words is tantalizing. But becoming a full-time author is more than just typing away in solitude. It requires organization, discipline, and a fair bit of business savvy. Let’s take a practical look at structuring your day for creative freedom and professional growth.

Organization Matters

In a traditional job, you often have a set schedule, specific tasks, and a boss to report to. In the life of a full-time author, you’re the boss, the employee, and the entire HR department. Without a proper schedule, you risk falling into the trap of procrastination, burning out from a lack of work-life balance, and even suffering from creative stagnation (writer’s block, anyone?).

An organized day, on the other hand, can lead to enhanced productivity and even better creativity.

Find Your Golden Hours

Identifying your most productive hours is crucial. Whether you’re most alert and creative in the early morning, afternoon, or late into the night, use these “golden hours” to focus on the most challenging and important aspects of your work: writing, editing, or brainstorming new ideas.

Prioritize Important Writing Tasks

Once you’ve identified your golden hours, the next step is to reserve this valuable time for tasks that have the greatest impact on your writing career. This means prioritizing activities such as completing a chapter, revising an outline, or developing characters and plotlines.

Tackle these tasks during your peak productivity hours to ensure you’re making significant progress on your most important goals.

Identify Your Optimal Organization Method

Keeping track of your tasks, ideas, and deadlines is crucial, but there’s no one-size-fits-all approach to organization. Some authors may lean toward digital platforms for a visually structured experience.

On the other hand, you might find that the simplicity of a handwritten checklist or even sticky notes on a wall works best for you.

Choose a method that aligns with your workflow and enhances your creativity, rather than complicating it.

Managing Administrative Duties

Writing may be your primary focus, but don’t forget that you’re also running a business. Once your creative peak hours have passed, it’s crucial to allocate time to the administrative and operational aspects that are integral to your career.

This involves managing a range of tasks from handling emails and correspondence with publishers, agents, and fans, to building your brand through marketing and social media efforts.

Don’t underestimate the importance of financial management: keep track of expenses, royalties, and other income while considering tools like accounting software or advice from a financial advisor.

Networking is another key component, whether it’s connecting with other authors, joining writers’ groups, or attending industry events, these relationships can offer invaluable opportunities and resources.

Finally, stay abreast of market trends and continuously educate yourself about what’s current in your genre.

These tasks might not tap into your creative side, but they’re essential for sustaining a long-term writing career and achieving a balanced work-life dynamic.

Rest and Recharge

While it’s tempting to power through when you’re feeling inspired, it’s important to remember that breaks aren’t just allowed — they’re beneficial. Stepping away from your work for a few minutes—whether it’s to enjoy a cup of tea or take a brief walk—can reinvigorate your mind and provide a fresh perspective on your writing.

The aim is to strike a balance, allowing for periods of intense focus while also incorporating short, refreshing breaks to recharge your creative batteries.

Continued Learning and Development

Consider dedicating part of your non-peak time to skill enhancement, industry research, and networking. Whether it’s taking specialized courses to improve your writing techniques, staying updated on market trends through newsletters and podcasts, or preparing for writers’ conferences to build professional relationships, continuous learning is crucial.

This is also a good time to go through feedback from readers or editors to understand your audience better.

Becoming familiar with the latest writing tools and software can further streamline your writing process. By incorporating professional development into your daily routine, you not only maintain but elevate your skills and career prospects.

As you step into the gratifying yet challenging world of being a full-time author, constructing a routine that nourishes both your professional and personal life is crucial. From identifying your most productive times to investing in continuous learning, balancing administrative duties, and making time for family and personal well-being, every aspect plays a role in your success.

A well-rounded life not only serves as the cornerstone for long-term professional triumph but also for mental well-being.

Never underestimate the revitalizing power of quality time spent with loved ones or engaging in personal hobbies.

How do you structure your daily routine?

What do you think?

#All #Extreme Success

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mybookplacenet · 1 year

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Featured Author Interview: Terence Ang

Tell us about yourself.: I am a stroke survivor in my 50s. Before my stroke, I used to pride myself as being in the pink of health and as one who was sailing through life as the captain of my ship. Where did you grow up, and how did this influence your writing?: I was born and bred in Singapore, and I have always been more of a hands-on type of guy than one who's academic. I like to do things, take charge, get things done. Whatever I read would not be long passages but short verses. Hence, my writing tends to not to be long-winded as well. Do you have any unusual writing habits? So far, my books have all been words interspersed with drawings and illustrations. As I myself like such books, so my writing will be similar. To me, these two components are complementary, so that is now a feature of my books. What authors have influenced you? I was born and bred in Singapore, and I have always been more of a hands-on type of guy than one who's academic. I like to do things, take charge, get things done. Whatever I read would not be long passages but short verses. Hence, my writing tends to not to be long-winded as well. Do you have any advice for new authors? Let the words speak from your heart, and the writing will flow. Find your voice: Writing is about finding your own unique voice and style. Edit ruthlessly: Writing is rewriting. Don't be afraid to revise and edit your work. Be critical of your own writing and seek feedback from others. It's important to be open to constructive criticism and learn from it. Persevere: Writing is a long and often solitary process, and it can be discouraging at times. Stay committed to your craft and don't give up. Keep writing and learning, and eventually, you'll get better. Remember, the only way to fail is to stop trying. What is the best advice you have ever been given? Believe in what you can do, and then just do it. What are you reading now? Finding Me by Viola Davis. I was drawn to Viola's memoir as she is a captivating black woman with a complex personality and exceptional talent. It's refreshing to see someone judged on their character rather than their skin color. I was intrigued by her experiences with racism in her career and eager to learn more about her story. Viola's memoir delved into various aspects of her life that resonated with me as a woman. I was particularly moved by her account of her first date with her husband, as it showed her finding happiness and love, which warmed my heart. Viola's resilience and humility in the face of adversity is truly admirable. Despite enduring so much, she still managed to come out on top. I watched her interview with Oprah, but reading her memoir provided a deeper understanding of her struggles and made me even prouder of her. What's your biggest weakness? Lack of will power I have aphasia because of my stroke. Sometime it can affect ability to communicate effectively and may lead to a lack of willpower due to frustration or depression. Aphasia is a language disorder that can make it difficult to understand or express language, while stroke can damage parts of the brain that control movement, cognition, and emotions. These conditions can also lead to physical or mental fatigue, which can contribute to a lack of motivation or self-discipline. However, it is important to note that my aphasia/ stroke can still develop and strengthen my willpower with appropriate interventions and support. Speech therapy, cognitive-behavioral therapy, and other rehabilitation techniques can help my aphasia/stroke to develop coping strategies and build resilience. Additionally, support from family and friends can provide emotional encouragement and motivation. While aphasia/stroke can present unique challenges, they do not necessarily preclude an individual from developing willpower and achieving my goals. What is your favorite book of all time? The Boy, the Mole, the Fox and the Horse by Charlie Mackesy When I was writing my first book over a year ago, my doctor, Dr. Moses, and my speech therapist Eve, Radiance, suggested I include drawings, but I was hesitant as I didn't consider myself an artist. That changed when Evet gave me the book, "The Boy, the Mole, the Fox and the Horse." The beautiful illustrations in the book inspired me to start drawing for my own book. Recently, I was discussing my third book and how it could be my ticket to the Oscars. Then, this morning, I was watching TV and heard the announcement that the movie adaptation of the book that inspired me had just won an Oscar. It gave me goosebumps and reaffirmed my belief in the power of storytelling and art. This book was a joy to read. It made me smile, laugh, and cry. Its beautiful story serves as a powerful reminder that self-love and kindness to others are essentia When you're not writing, how do you like to spend your time? Dreaming ... Do you remember the first story you ever read, and the impact it had on you? Tintin is a popular cartoon character that has had a significant impact on on me. Created by Belgian cartoonist Hergé in 1929, Tintin has been entertaining me When I was young, Tintin's stories are exciting and engaging, featuring action, adventure, and mystery. The character's strong sense of justice and bravery, as well as his positive moral values, serve as positive role models for children. The older me, Tintin holds a special place in my hearts as a nostalgic reminder of my childhood. I grew up reading Tintin and continue to appreciate the character's timeless appeal and the enduring quality of the stories. Tintin's impact also extends beyond just entertainment. The character has been used as a cultural ambassador for Belgium and has even been credited with inspiring a new generation of comic book creators around the world. What has inspired you and your writing style? I have a preference for graphic novels, and some of the best ones have inspired me. What are you working on now? I am working on my third book, which will be a graphic novel. What is your favorite method for promoting your work? Book platforms What's next for you as a writer? To supervise the script for a movie of my book How well do you work under pressure? I work well under pressure only if I'm the one in charge. How do you decide what tone to use with a particular piece of writing? The tone will reflect the story that is being told. If you could share one thing with your fans, what would that be? My success. Because without them, there would not be any. Terence Ang's Author Websites and Profiles Website BookBub Profile Terence Ang's Social Media Links Facebook Page Twitter Instagram YouTube Account Read the full article

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masuchu · 2 years

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↻ LOVE LANGUAGES ?!

pairings. dazai x reader, chuuya x reader, fyodor x reader

warnings. none!! this is probs one of the most fluffy things i’ve ever wrote :33

love, masu. this is literally my favourite thing ever :(( i’ve been so busy and tired lately, so i decided to write all these before i got some revision done >///<

DAZAI — [太宰]

dazai gives love with physical touch and words of affirmation. dazai feels, a lot. these emotions of love aren't unheard of for him, but they're certainly new to feel. so how does he cover up how devastatingly confused and lovesick he is? he touches you! his hands are always creeping along your skin, wether that be gripping your thigh, holding your hand, peppering kisses all over you face or pretending to fall on you so he can take a nap on your chest. he also loves to compliment you, always preaching to other about how heavenly you are, and how your beauty is angelic. just because it's covering his emotions, doesn't mean it's fake, of course not! he feels all of these things, but he's only ever known being loud and teasing, so it'll have to do for now.

he likes to recieve what he gives, that being physical touch and quality time. if there's one way to wrap dazai around your finger, then it's to have your skin pressed against his. if he was to die with his face pressed in your chest and your hands in his hair, then so be it. another thing that gets his heart racing, is when you go out of your way to spend time with him. he's experienced too much loss and loneliness, spending nights by himself and having nobody left of whom he trusted and loved. but when you softly ask him "would you like to spend the night together, osamu?" or when you whine "this is so boring, wanna ditch and go that café across the street? i've heard it does great milk tea!" he can't deny how his heart beats faster and his mind swoons, and honestly, he'll take anything you give him. he loves you so much, more then he's willing to admit, and he'll take whatever your love brings with his arms wide open.

CHUUYA — [楚雅]

chuuya's love languages are physical touch and gift giving. being a mafia executive and all of that, chuuya earns a lot of money. too much to spend, really. he's got a accommodating, fancy apartment, his bills are paid, he has food, he's got wine and he has enough clothes. heres where you come in! the extra few thousands of yen he earns either goes straight into your bank account or into a dazzling new pair off designer earrings. what's that? he shouldn't spend so much money on you? don't be stupid, anyways, heres a new limited edition pair of gloves! they match his, aren't they nice? if he catches your eyes lingering on a certain piece in a shop window for even a second too long, he's dragging you into the store and purchasing the whole range! as well as giving the cashier an ungodly tip, she may as well quit! like dazai, he likes to be touching you at all times. he's a bit more laid back, but something does feel off if his hand isn't intertwined with yours. it also affects his general mood throughout the day if he hasn't supplied you with kisses. oh and he'll pout if you don't let him cuddle you. maybe he is just as bad, but can you blame him?

chuuya likes to receive physical touch and words of affirmation. he's a simple man, as long as he can come back home from a long day of work and hold you in his arms, pressing kisses into the skin of your neck, then he's living his life correctly. he'll pretend to hate it when you dote over him and smooth your hands all over his skin, but if he's honest, he gets shivers when he feels the soft pads of your fingers drag against his. another thing he can't deny get's his heart racing, is when you praise him. he knows he's the best martial artist in the port mafia, he gets told on the daily, but hearing it from your mouth just makes it so much more special. his heart pounds when you tell him "woah! chuuya, you're so strong!" or when you softly whisper "chuuya, you're so special." to him at night. your praises, compliments and words of affection do wonders to him and his heart, and he hopes that he makes you feel the same.

FYODOR — [费多尔]

fyodor's love language's are quality time and physical touch. fyodor is a stranger to love, to put it simply. he sees himself as somebody solitary and normal people are unworthy of his devotion. however, with you, he always has the time of day. when he gets off his computer, he finds himself seeking you out, his feet moving for him and taking him where he knows he wants to be. he'll spend this spare time playing songs to you on his cello, discussing his favourite pieces of writing with you, basking in the silence or on good days- telling you how much he loves you. touched starved and greedy, though he won't admit it. he loves to do soft things such as run his fingers through your hair, gently play with your fingers or cup your cheeks with his palms. he's enigmatic, you'll never know what's going on in his head, but you know for sure that "i love you" is floating around in there.

fyodor likes to receive words of affirmation and acts of service. he has an ego- we all know that, and the idea of you doting on him and making sure his life is easier makes him happy in both a sense of love and superiority. not that he sees himself as entirely above you, you're the first person in his life that has come close to a feeling of equality in his mind. he still feels as though he should pampered, however. hearing praise fall from your lips makes a smirk creep on his lips, an unfamiliar feeling bubbling up in his chest. the way you can say and do such beloved things for a man so far from grace really does amaze him, he isn't an insecure man in the slightest, but it gives him a sense of relief. the feeling of possessiveness overwhelms him when you say things like "fyodor, you're so pretty.." or your soft mummers of "you're perfect, love." everything about you is just perfect in his eyes, he wouldn't settle for anything less of course.

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bella-studyblr · 3 years

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Task Management:

Creating + Maintaining a Schoolwork Schedule

Key elements

Your schedule suits your individual time/task management preferences.

It is flexible enough to accommodate sudden changes, plus fluctuating energy levels, states of concentration, symptoms and moods.

Daily tasks are not over-whelming; they are small enough that they are achievable.

You do not get “burned out.”

It allows you to be consistent.

Steps to create your schedule

Decide if you want your planner to be paper or digital

Find an “order” that’s logical and achievable for you (more on this later)

Refer to your addendum/syllabus and write down all the assignments, tests and other events taking place that week/month (and their due-dates).

Then break these down, assigning tasks to each day of the week (more on this later).

Break down your tasks even further (more on this later).

Decide if you want to follow a simple daily to-do list or a timed schedule (more on this later).

Find your “order(s)”

Mandatory: Schedule assignments around other commitments (work, social, hobbies, etc.).

Do the hardest task first to get it out of the way (so that the rest of your tasks are less daunting, and because your smaller tasks require less energy therefore can be done even after completing the hard task).

Do the easiest task first to build momentum (give yourself a feeling of accomplishment which will motivate you to continue, and boost your self-confidence early in the day to establish a positive mindset for the rest of the day).

Do the task that’s due first to minimize deadline stress, and so your assignments don’t fall through the cracks (causing you to get discouraged and lose momentum).

Plan according to your energy level throughout the day and week: Do you have Pilates once a week? Maybe you can reserve that day for easier assignments. If you know you’re going to be tired for whatever reason, account for that in your planning.

Consider your state of concentration: If you know you’re too groggy or spaced out for the first hour of your day, you can either schedule easy tasks in that time, or none at all. If you take a medication in the afternoon/evening that makes you tired, schedule easier tasks or none, and get harder tasks done earlier/later in the day. If you have ADHD and crowded places mess with your concentration, but you like studying at a café, go when it’s not busy.

Be mindful of your emotions and symptoms: If you have depression, or are prone to depressive episodes, you’ll need to consider that when scheduling. You might have to rework your entire schedule when you get into a depressive episode (like adding lots of breaks). If suddenly you’re going through a big life event (like a breakup), you need to account for that when scheduling. For instance, if you can’t stand to be alone, maybe you can go out instead of staying in, and if your motivation is low, you may need to up your reward-system or break down your tasks even more.

Break down this week/month’s tasks

Refer to your addendum/syllabus and write down all your due dates for the time period you’re scheduling for.

Based on due dates, outside commitments, predictions of energy/mood/symptoms, assign assignments to the days of the week/month that make most sense for you.

Break down daily tasks into sub-tasks

You can do this (in advance) for your full week/month’s assignments, or do it every morning/evening.

Generally, your assignments will follow a variation of this formula: brainstorm, create an outline, research, write rough draft, edit and revise. Test/exam prep will look something like: check to see what the test is based on, pinpoint important sections, review to see how well you know the material, create a list of items to study, rewrite select notes, make flash cards, study topic 1, study topic 2, etc.

What are the individual components of these steps? Here are some examples. Brainstorm: what should my topic be, what should my thesis be, what points can support my thesis, what do I need to research, what questions do I need to ask my prof? Outline: topic, thesis, points, conclusion. Research: write down all the important parts from each source (separately), then sift through to sort into Supporting Point 1, Supporting Point 2, etc. Rough draft: opening statement(s), intro, point 1, point 2, etc., conclusion, closing statement(s). Edit/revise: read and check for grammar only, then read again and check for spelling only, read again and check for cohesiveness only, etc. Topic 1: Part A, Part B, etc.

Each of these small components can be individual items on your to-do list. Big tasks like, “write essay” are too big for most people. Even “write rough draft” is daunting. If you start with something specific and small like brainstorming, and work your way up, it’s a lot easier to approach. Plus, being able to check off tasks more often and more easily will boost your confidence and your sense of competence, thus building momentum.

Here is a sample to-do list: Research X for Point 1 of Literary Essay, create outline for History Essay, Edit/Revise Assignment 1, study Topic 1 and Topic 2 for Test 1.

To-do list or time-based schedule?

To do list: Write down all your assignments for the day. Put them in the order you want to do them, or go through them intuitively (based on what you feel like doing, or what’s most practical at the time/place you’re at).

Timed-based: Write down all your assignments, then write down the time you’re going to do each of them. You could set reminders or alarms if you want, or simply refer to the list. There’s an awesome app I recommend if this is your thing. It’s called Structured (iOS only).

Curate your study environment for maximum focus

Eliminate distractions such as uncomfortable clothing, sounds (or silence), phone and computer notifications, clutter in the room and on your desk, people who may try to talk to you (shut your door and/or inform them that you’re busy).

Designate a space to doing homework only and avoid spaces that you associate with other things (do not study in bed, as you will want to relax or sleep, and/or you will mess with your sleep by weakening the bed’s association with sleep).

Build associations: Incorporate other events and items into your study/homework routine that you only use while doing that, so that you associate those things with studying/homework (examples: specific playlists, pencils/pens, cups/bottles, scents, rituals, decor, etc.).

Ensure good lighting (preferably including daylight).

Get dressed in clothes that make you feel good about yourself. They don’t have to be “professional” and they should definitely be comfortable. Do not stay in your pyjamas. Believe me, I know this can be hard, and I love PJ’s. But they are not good for productivity.

Don’t “multi-task.” It may feel like you’re getting more done this way, but by splitting your focus, not only do tasks take longer, they also diminish in quality. Commit to the task you’re doing.

Meditate: You can even meditate for just 1-5 mins right before studying, homework and/or classes.

Practice self care (daily!)

Sleep (enough, well, and regularly).

Daylight: Get outside, work by windows, use a light therapy box. These can help regulate your sleep, improve and maintain mental health, and boost energy.

Fresh air: Getting outside even for a couple minutes can help you refresh and reset, and feel good about yourself and your life. Fresh oxygen can help you wake up and is great for your health. Even just opening your window can do a lot for your mood, energy and motivation.

Movement: Try to move at least once per day. The benefits of exercise are numerous and immense.

Healthy and consistent eating: Avoid spikes in insulin levels by eating regularly so you don’t have extreme dips in your energy level. Also, brain power uses calories too, so make sure you’re eating consistently, and try to eat healthy. There are so many other reasons eating consistently is good for your health (and by extension, your productivity).

Relaxation and leisure: Make time for fun and socializing, as well as intentional relaxation. Hobbies, movies/tv, time with friends/family, meditation, baths, progressive muscle relaxation, etc.

Therapy: Your therapy sessions are not daily, but you can do 5 minutes of inner-work per day based on what you and your therapist are currently working on. Working with a therapist is a great way to stay on track with your goals, and develop the skills and positive mindset required for success in school.

Reward yourself

Track progress: Reflect on all the assignments you’ve completed and your grades to remind yourself that you’re capable!

Completing to-do lists daily maintains a sense of accomplishment which keeps your momentum going. Check those items off! Or give yourself gold stars! ⭐️

Treat yourself with non-food rewards: Tie completed school work with fun tasks like video games, or take yourself out for coffee, or some other small (non-food) outing. What I’m trying to do right now is not do my leisure activities until my daily tasks are done.

Develop a positive mindset

Take promises you make to yourself seriously. The more you break promises to yourself, the easier it will get to continue breaking promises. You will lose respect for yourself which lowers motivation, and you will lose trust in yourself which can become debilitating as well. The more you keep promises, the easier it will get, the more motivated you’ll become, and the more you’ll trust and respect yourself. Your confidence will improve, and you’ll feel better about yourself. Productivity is choosing yourself. Discipline is choosing what’s best for you instead of what you feel like doing in the moment. Discipline is a muscle, and like any muscle, it can be strengthened, and it can atrophy.

Remember your “why.” What is the end goal of being in school? What’s your career path, and why did you choose it? What will your life be like when you have that career? What would your life be like if you gave up and didn’t make it to your goal? Aiming for your dream while running from your nightmare is a great strategy for maintaining motivation. Lighting a fire under your *** can be a huge motivator.

Remember how good you feel when you get schoolwork done, and let this motivate you to stay consistent. You can also remember how you feel when you don’t get work done, but definitely focus more on the positive!

Go to therapy and/or hire a coach. There are SO many benefits to therapy and I’d honestly need a whole other post to get into it. You don’t need to be depressed or mentally ill at all in order to benefit from talking to a therapist. They can even help you with time management, procrastination, motivation and more! If you can afford it, please do it. It’s such a worthwhile investment.

Be consistent

No “zero days.” Do at least a bit of homework or studying every day so you don’t slip into vacation mode. Make schoolwork a daily part of your life, so it just becomes the norm.

Build productivity momentum (track progress, check items off your to-do list daily, treat yourself, keep promises to yourself, remember your “why,” remember how success feels).

Stay on top of projects. Your assignments are made up of smaller tasks you assign yourself across time. “Success is the sum of small efforts repeated day in and day out.” - Robert Collier

Avoid burnout (more on this later).

Keep it interesting (more on this later).

Avoid burnout

Self-care: shower and/or bathe regularly, maintain proper sleep habits, stay hydrated, take care of your skin, do relaxation activities like meditation and reading, do fun activities, pamper yourself every now and then with face masks or foot baths, take your meds as prescribed, eat well and regularly, get outside often, move daily, etc.

Break up study/homework sessions into small, manageable chunks of time, with constructive (refreshing) breaks in between.

Break assignments down into even smaller tasks so that you aren’t over-working yourself during the course of a day, and so that you don’t overwhelm yourself (the stress can lead to burnout).

School-life balance: Keep up with your social life as best as you can, make time for your hobbies, maintain self-care, say no to things that don’t serve you, etc. Try to follow through with scheduled schoolwork 100% of the time, but know that you won’t. Sometimes you’ll need to prioritize mental health over schoolwork (be careful though, this is a very fine line, and a slippery slope). Sometimes things will come up and it’ll be out of your control. But more than anything else, there will be times when you just decide to prioritize something else like fun and socializing over schoolwork. This is why your schedule needs to be flexible: to accommodate sudden invites to hang out and random decisions to skip a homework/study session, but more importantly, flexibility will reduce the odds that you’ll skip in the first place. If your schedule includes hobbies and socializing, and anything else that’s important to you, then you won’t feel deprived. If you have school-life balance, you’ll have more of yourself to devote to schoolwork when it’s time to.

Keep it interesting

Romanticize your life by putting effort into making all of your daily tasks a special occasion.

Make meals and drinks special by using your favourite dinnerware and cutlery. Perhaps even incorporate extra elements such as: a beautiful tablecloth, napkins, candles and/or dim lighting, music, wearing your favourite clothing, etc.

Pretend you’re the main character in a movie about a successful, productive student (because you are the main character in your life).

Make games out of studying if this is something that interests you (the Forest app comes to mind).

Use lots of colours in your notes and buy colourful stationary! 🌈

Vary your approach/methods if needed to avoid boredom.

Study with friends (online or in person).

Reward yourself often.

Remember your “why.”

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makeste · 4 years

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BnHA Chapter 291: The Endeavor Pamphlet

Previously on BnHA: Dabi showed up atop Gigantomachia’s back and was all “you’ll never guess who I really am!” and the readers humored him and were all “who?” and he was all “TODOROKI TOUYA” and we were all “WOW └(・。・)┘ OH MY GOSH I WOULD NEVER HAVE GUESSED”, except for Shouto and Enji who were GENUINELY SHOCKED. Anyway so Touya was all “and guess what I’m doing right now!” and before anyone could even try, he was all, “STREAMING MY EMMY-NOMINATED MINISERIES ‘HELLO, I’M EVIL BUT ALSO TRAGIC AND SEXY, NOW LET ME TELL YOU ALL ABOUT MY DAD WHO SUCKS’’, THAT’S WHAT.” And everyone was all “oh my god” and Touya was all “ヽ(⌐■_■)ノ♪” for basically the rest of the chapter, and that’s pretty much it! Oh, wait, except for the part where he also doused himself in bleach in a fit of pure theatrics, which is actually pretty much the main takeaway from the entire chapter really because it was just wild af. ANYWAYS.

Today on BnHA: Horikoshi introduces Baby Touya, the world’s most enchantingly sweet character, and is immediately all, “I sure can’t wait to tell you guys all about how his fucking jaw burnt off.” Thankfully he doesn’t (YET), and we cut back to the present pretty quickly, where Dabi explains how he took all of his brain cells that should have been used to stop him from pouring bleach over his head, and instead put them all toward his big brain plot of releasing an elaborate video detailing Endeavor’s various abuses and crimes, and even throwing Hawks under the bus as well because WHY NOT. He then leaps off of Gigantomachia’s back (like I said, no brain cells) all set to blast them with a Prominence Burn, only to be stopped by none other than THE LEGEND HIMSELF, MOTHERFUCKING BEST, PRETTIEST, NICEST, MOST OUTSTANDING MOTHERFUCKING JEANIST. Who’s no doubt outraged by the crime against hair he witnessed only moments earlier. GO GETTIM JEANY BOI.

so I haven’t had time to answer any of them because this has been the stupidest week, but I just wanted to tell you guys that I received no fewer than nine asks about Dabi’s hair. which, in a week filled with election memes and tumblr’s most cursed fandom briefly rising back up from the dead, is a pretty impressive feat for him if you ask me. like, I know I was making fun of it basically nonstop, but it sure did generate a lot of discussion so maybe I should rethink my opinions on Dabi’s PR strategies now, idk

anyway. it’s Saturday. time to catch up on this shit. let’s see how fucked the Todorokis are

OH NO HE’S CUTE

HOLY SHIT THIS IS TOO MUCH TO FUCKING PROCESS. I’M JUST TRYING TO ENJOY MY DAY HORIKOSHI, ARE YOU REALLY GOING TO TRAUMATIZE THIS POOR CHILD RIGHT IN FRONT OF MY SALAD

“thanks for being all right” the fuck

who allowed this child to be so cute. I’m serious. who signed off on this

how could a child this adorable possibly want to murder his equally adorable baby brother. please, your honor. there must be some mistake here

guess how prepared I am to read all about Touya’s tragic past. mm. that’s right. zero ready. none ready

anyway. TWO THOUSAND DEGREES LOLOLOL. NO TRACE OF A CORPSE HOW CONVENIENT. A PIECE OF HIS LOWER JAW BONE FFFFMSGHKLSh. LOVELY. LOVELY

LMAOOOOO

listen you guys. I just want to take a moment to appreciate that Horikoshi Kouhei did one of two things here. either (1) he planned it out FROM THE VERY START that Touya would be born with red hair Because Fire Powers, but would then have his hair turn white due to trauma, thus making the Dabi/Touya connection very slightly less obvious, although Let’s Be Real Who Are We Kidding. OR, (2) the anime got it wrong and gave him red hair, and rather than allowing this plot hole to continue to exist, Horikoshi took it upon himself to concoct this elaborate storyline and pretend it was never a plot hole at all! in which case I sure hope someone at Bones is sending him a VERY nice Christmas card this year. got this man sweeping up all your messes for you. you’re just lucky he has some sort of wild compulsion to address these things

anyways!!

FATHER AND SON. how sweet. :| still zero percent ready for any of this btw

STOP BEING CUTE

THIS IS RIDICULOUS. I’M SO MAD RIGHT NOW. HE IS THE SINGLE CUTEST CHARACTER IN THE ENTIRE SERIES, and do you even know how many other baby characters I’m betraying in order to say that?! baby Kacchan, baby Deku, baby Ochako, baby Shouto, Eri, baby Hawks. I’M LOOKING YOU DEAD IN THE EYE RIGHT NOW AND TELLING YOU THAT BABY TOUYA IS CUTER THAN ALL OF THOSE PLEBS. AND YOU’RE LOOKING BACK AT ME RIGHT NOW ALL “YEAH IT SURE IS A PITY ABOUT HIS JAW MELTING OFF THOUGH.” THAT’S IT, I QUIT THE SERIES

and Enji’s smiling at him. he’s so proud of him. but then Touya won’t be able to do it, and Enji’s gonna stop training him, and Touya’s gonna feel like a failure and keep pushing himself in order to try and win his dad’s affections back, because that’s all kids fucking want, all they want is just love, that’s fucking it, you couldn’t just give him that?? and then he’s gonna immolate himself fflkdlskfh THERE YOU SEE HORIKOSHI, I KNOW THE WHOLE STORY ALREADY, YOU DON’T HAVE TO DO THE WHOLE “SHOW THEM THE DEAD DOG” THING YET AGAIN YOU PIECE OF SHIT

OH SNAP THERE GOES THE TWIN THEORY. R.I.P.

BABY FUYUMI. PRETTY CUTE. NOT AS CUTE AS TOUYA THOUGH. HEY LOOK, NO REASON TO GET MAD AT ME I’M JUST STATING A FACT HERE

YEAH THIS IS GONNA GO REAL WELL OH BOY

I keep pressing the emergency stop button but this industrial tragedy machine just keeps on chugging along anyway, I’m pretty sure this thing is not up to code

:| I am so sorry sweet boy, Horikoshi is only getting started with you

FUCKING HELL WITH THIS NARRATION

but he wasn’t actually a child to you, he was just a little puppet child for you to live vicariously through!! and then you went and did the same fucking thing with Shouto afterwards and never learned your lesson until just six months ago!! fucking hell, Enji

so now he’s all “Touya is dead, that’s an unforgivable lie” fflkdhflk motherfucker does he look dead to you. if you really think that, tumblr and twitter have got a little over five years’ worth of archived theory posts to show you

oh shit Touya’s countering with “it’s an unforgivable truth”, which, damn. I actually think Horikoshi’s dialogue is one of his weaker points as a writer a lot of the time, but that comeback was snappy as fuck

actually guys, now that I’ve seen how ridiculously fucking cute baby!Touya was, I can almost understand why Shouto and Enji never put the pieces together before lol. any passing similarities would have easily been dismissed on account of he’d need to be at least 10x more adorable in order to get the full resemblance

OH MY GOD

NOW YOU SLEEP??? SO YOU POINT BLANK REFUSED TO PASS OUT WHILE YOU WERE BUSY MAIMING ALL OF MY FAVORITE CHARACTERS, BUT NOW THAT THERE’S AN OPPORTUNITY TO SEE YOUR REACTION TO THE “YOUR LIEUTENANT WAS SECRETLY RELATED TO ONE OF YOUR WORST ENEMIES THE WHOLE TIME” BOMBSHELL, YOU FINALLY DECIDE TO GET YOUR FORTY WINKS. I SEE

WOW DABI

I’M SURPRISED YOU DIDN’T ALREADY HAVE YOUR ANCESTRY.COM RESULTS PRINTOUT READY TO FOLD INTO A PAPER AIRPLANE AND ZOOM ON DOWN TO HIM

LOL NEVERMIND

gotta say, so far The Endeavor Pamphlet is just about as spicy as I could have hoped

(ETA: Natsuo’s face as he watches his beloved dead brother come back to life only to literally and metaphorically set everything on fire in one fell swoop is :/. why must you do this to me Natsu. can’t you see I’m trying to throw a Welcome Back Jeanist party here.)

HAVE YOU READ THIS?! TODOROKI ENJI ABUSED HIS OWN HEIR, AND DABI WROTE IT DOWN RIGHT THERE

WELL HE’S NEVER GON’ BE NUMBER ONE NOW / NEVER GON’ BE NUMBER ONE NOW / THAT’S ONE LESS THING TO WORRY ABOUT / THAT’S ONE LESS THING TO WORRY ABOUT

btw I neglected to mention this last week, but yes I do recognize and appreciate that this is Can’t Ya See-kun himself whom Horikoshi has chosen to be the face of this existential crisis which the general public is about to experience. rip CYS-kun

OOF

excuse me. putting aside the implications of Dabi sharing this context-less murder video of Hawks with the entire world for a moment, I just have to pause for a sec here, because when exactly did he get a chance to edit this all in?? complete with voiceover that seamlessly ties in with the prerecorded footage of him with DNA test results sans shirt?? you’re telling me this motherfucker, with all the smoke that was in the room thanks to his own quirk, somehow got a PERFECT SHOT of the PRECISE MOMENT when Hawks drove his feather knife into Jin’s back, using his MAGIC CAMERA THAT HE I GUESS HAD THE ENTIRE TIME IN THE POUCH RIGHT NEXT TO HIS BLEACH BOTTLE, and then immediately somehow got this very next shot as well FROM AN ENTIRELY DIFFERENT ANGLE

ALL THE WHILE IMMEDIATELY RUNNING THROUGH SCRIPT REVISIONS IN HIS HEAD, WHICH HE THEN PROCEEDED TO RECORD... WHERE, EXACTLY?? WITH SKEPTIC, WHILST RIDING ON MACHIA’S BACK??

AND THIS IS ALL YOU HAVE TO SAY FOR YOURSELF???

and this after I just wrote that whole long paragraph positively GLOWING about this man’s ability to plug up a plot hole. jfc. just scratch out every damn word I said lol. just forget all of it

are you fucking kidding me, the footage was from the cameras Skeptic planted on Hawks??

that’s... actually... okay you know what, it still doesn’t make any sense in the slightest, but the determination to address it nonetheless... just, dammit... I feel like I’m constantly at war with myself over whether or not I want to shake this man’s hand or slap him lmao. whatever, then!!

anyway, since Shouto and Enji can’t actually see the damage that Touya is dealing to the hero industry even as they speak, Touya is taking it upon himself to give them the highlights

I think it’s a testament to how much Endeavor cares about Hawks that he managed to zero in on that comment even amidst all the craziness of his eldest son returning from the dead to announce how he’s been carefully plotting their destruction for years and years. like, he heard “Hawks” and his face immediately went like that. you think he’s worried that Dabi did something to him? because he’d be right to worry lol

so the Endeavor Pamphlet narration is now explaining all about how Hawks totally killed the Number 3 Hero Best Jeanist as well! yep... he sure did... totally...

OH MY GOD WE’RE CUTTING TO HIM AHHHHH

Hawks, that is. lol. not Jeanist. NO, JUST MY POOR HALF-DEAD WINGLESS BABY SON

NOOOOO HIS LITTLE WING STUMPS. BUT SOMEHOW HIS FACIAL HAIR IS STILL INTACT. OH TO BE AN ANIME PRETTY BOY BEING SET ON FIRE. “HEY, TAKE IT EASY, WATCH THE FACE”

EXCUSE ME WHAT

interesting! we suspected as much, I think, with the clues that Ending dropped, and the little flashback right after the name reveal. still not clear how Dabi found out about it though!

looooool okay here we go, breaking out the heavy-handed holier-than-thou shit now

you know, I do find it interesting how trying to model themselves after All Might’s noble Symbol of Peace image has kind of ended up being the heroes’ undoing here. like, I could write a whole essay on this, but what it basically boils down to is that they were all trying too hard to be perfect. All Might went out there and did his thing and was amazing, and so the powers-that-be built an entire system centered around this seemingly-infallible person, and they acted like the system was infallible as well. and so most of the population ended up becoming complacent over the years, and meanwhile the people who were unfortunate enough to fall through the cracks understandably wound up disillusioned and perceiving the heroes as these false idols

anyway, but I think one positive takeaway from this is that the new up-and-coming generation of heroes represent a breakaway from that system. like, imo what we’re witnessing is the downfall of the Perfect Hero, and the rise of the imperfect hero. and this new generation doesn’t shy away from their failures or pretend like they never happened. they pretty much can’t pretend, because their failures are all right out there in the open for everyone to see. Bakugou Katsuki, just to name one example off the top of my very biased head, has had his own personal character journey basically play out right in front of the media’s eyes. his humiliation at the sports festival, his kidnapping by the League, and all of the fallout afterward. this isn’t someone who can ever go out there and convince the world that he’s perfect. but what he can do, instead, is show the world that he’s trying. that he’s trying with everything he has to do his best, to be the best. rather than this untouchable godlike image, it’s instead the image of someone painfully human who is nonetheless striving with everything he’s got to keep moving forward, flaws and all, and work his way to the top

and ultimately I think that’s going to be a much more positive image to send out to the world when all’s said and done. because rather than merely inspiring awe, heroes like that inspire people to take action themselves. or at least that’s what I hope! and not just Bakugou, but the others as well. we’ve got Shouto, whose own personal trauma is being aired in front of the whole nation even as I sit here ranting. we’ve got Deku, who cries at the drop of a hat, and who fought to become a hero despite being quirkless (and I think it’s only a matter of time before that eventually becomes public knowledge as well). tl;dr because I’m getting way too long-winded here, but these kids have effectively been humanized in a way that the old generation never was, and I think that’ll go a long way towards building trust between them and the people they’ll someday be protecting, and inspiring the next generation in hopefully a much healthier way

anyway so where were we. ...oh yes, Dabi was explaining that heroes only protect themselves, and is presumably building up to his grand conclusion of “therefore you should all just let the villains take over and burn down the world”

omfg. YOU GUYS

DOES CAN’T YA SEE-KUN’S SHARK FRIEND ACTUALLY CALL HIM “CAN’T YA SEE-KUN.” HE HAS A NAME YOU KNOW!! UNLESS HE LEGALLY GOT HIS NAME CHANGED TO CAN’T YA SEE-KUN. OH MY GOD

ALSO, IS THAT CAN’T YA SEE-KUN CRYING IN THE BOTTOM RIGHT THERE OMG. GIVE THIS CHILD A HUG. EVERYONE STOP WHAT YOU’RE DOING RIGHT NOW AND HUG HIM

BAKUGOU IS BARELY HANGING ON THERE LOL. GOTTA STAY CONSCIOUS... SO MUCH TEA BEING SPILLED... FOCUS... CONCENTRATE

IIDA’S ANGLING HIS HEAD IN A WEIRD WAY, LIKE DUDE. LOOKING SUSPICIOUSLY SNUGGLY THERE. MMM THESE IIDABAKU CRUMBS

HADOU IS ALL “WHAT EVEN IS ACTUALLY GOING ON” LMAO

LASTLY, POOR SHOUTO OMFG. WHEN YOU’RE ALL FINISHED HUGGING CYS-KUN THIS CHILD NEEDS YOUR ATTENTION!!

so now Dabi’s leaping off of this ninety-foot-tall gargoyle man like that’s a normal, smart thing to do. unless he can fly too now? saw his dad doing it back at Fukuoka and was all “hmm”

OH MY GOD SOMEONE TELL ME RIGHT NOW WHAT WORD SHOUTO IS USING TO ADDRESS ENJI, THESE TRANSLATIONS LOVE TO MESS WITH MY HEAD

ENJI GET MOVING DO YOU NOT SEE THOSE TEARS!!! SNAP OUT OF IT YOU BIG TREE

AHHHHH

OH KACCHAN YOU WOKE UP A LITTLE MORE THERE, HUH

lol he and Deku both look so determined but they’re basically sitting ducks. their “oh shit” faces do look remarkably like their “TIME TO SWING INTO ACTION” faces but don’t be fooled, they have one good arm and about six pints of blood left between the two of them. looks like this one’s all on you Shouto

-- AHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH --

BAH GOD... WHAT’S GOING ON HERE... THAT’S BEST JEANIST’S MUSIC

y’all. can’t even talk right now, my brain has completely shut down lol. just. ...

°˖✧◝(￣▿￣)◜✧˖°

#bnha 291 #dabi #todoroki touya #endeavor #todoroki shouto #best jeanist #hawks #bnha #boku no hero academia #bnha spoilers #mha spoilers #bnha manga spoilers #makeste reads bnha #you guys know that scene from the end of the lion king #the part where simba is walking up to the top of pride rock #and he lets out that roar as zimmer's score soars to a crescendo #yeah baby #that's the mood rn #welcome back king

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itsonlystrange · 4 years

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I’d like to point out that the “it’s all just a bunch of coincidence” argument is very poor. People say that about anything they don’t like. If we’re using this argument then I could say that everytime Mileven accidentally held hands or touched or any of that lovey dovey stuff that the Mileven fandom goes nuts over is a coincidence, but I have 0 evidence that it’s a coincidence, I’m just saying it is because that’s how I, a biased person on the side of byler, sees it. And I love the Milevens that actually respect us, it’s just the toxic ones that stomp on us or rain on our parade that irritate me.

So I ask skeptical Milevens, why do you think it’s all a coincidence? Because the Duffers have gone on record multiple times saying that nothing in their show is a coincidence, so it’s odd of you to assume that it is, when that goes against everything the duffers have said.

I see a lot of people claim that all of Bylers very romantic coded scenes are just coincidences with out any real evidence solely because they want them to be coincidences.

Reminder that the duffers had to write, revise, have Noah and Finn read at the table read, rehearse, and then film all of Bylers romantic coded scenes. And do you seriously believe that nobody stepped up and said, “Hey, I think some people will start to ship this if you make your two male characters hold hands and look at each others lips.” Like on paper, that sounds romantic. And on screen, it looks romantic too! If the duffers didn’t want byler to be shown as romantic they wouldn’t have put all of that effort into Mike and Will’s romanticly coded scenes in season two. And sure, one could say they were oblivious and didn’t realize that this relationship could be seen as anything more than romantic and that one of their 100 other writers and revisors and producers didn’t step up and say “Is this really what we want to be conveying in this show when they’re just supposed to be friends?” (Which I doubt. The duffers and everyone else on the writing crew knew exactly what they were implying. And if the duffers themselves didn’t, I HIGHLY doubt that someone didn’t step up and point out how romantic some of these scenes are, especially considering multiple of their writers are apart of the lgbtq community which makes it highly more likely that someone would have realized as I’m sure their gay senses are much stronger than those of the cishet writers on the squad. ) However, byler kind of blew up after season two, so if ST didn’t mean for Mike and Will’s relationship to be seen as more than platonic, then why did they continue doing it in season three? And the thing is, we’re not “delusional” for thinking this. Hundreds of thousands of millions of people have pointed this out across all platforms. It stops being a problem with us and “seeing what we want to see” when millions of people see the same, and it becomes the writers problem for even implying that in the first place.

Here’s an example: take Lucas and Dustin. Sure, there are definitely people out there that think or head canon as either as gay, but not nearly as big of a community as the Byler community. The reason is: Lucas and Dustin don’t have queer coding. They haven’t been painted the same way as Mike and Will’s relationship has. Or Jonathan, yeah, people may head canon as him as gay, or even think he actually is, but he doesn’t have any evidence that really points up to the fact that he is, or that he could be.

The duffers aren’t stupid. They wouldn’t have written byler this way if they didn’t want people shipping it. The official ST writer account has acknowledged byler multiple times, before st3 even started filming. They knew what they were doing. If their goal was to portray Mike and Will as a simple platonic friendship, and that all of their queer coded scenes in st2 were just a coincidence, why would they continue to do it in season 3? Queer baiting is real, yes. However like I said before, the st writing team has a lot of queer and lgbtq+ members themselves, not sure why they would want to queer bait when they’re gay/lesbian/bisexual themselves.

The truth is, byler would have never made it this far if it wasn’t meant to be shipped and portrayed like more of a romantic relationship than a platonic one. They would have shut it down awhile ago. They wouldn’t be so ominous about it. Noah and Finn wouldn’t constantly dodge questions about it unless they legally weren’t allowed to answer them. The duffers wouldn’t have been so vague in the ending of season 3 or in any interviews regarding season 3 about byler. Mike and Will wouldn’t have gotten a whole segment in the official ST book, they wouldn’t have held hands! Seriously! They held hands. Did someone seriously not point out how non platonic that was?———

And use the excuse all you want, “Will was just scared. That’s why Mike held his hand.” Okay, well Max and Lucas held hands when they were both scared in the exact same episode but I guess that doesn’t count because they’re a boy and a girl and Mike and Will are two boys. ———-And it’s funny because you KNOW that if Mike promised to go crazy together with El, that would he in every Milevens Instagram bio, it’d be on merchandise, it’d be everywhere. If Mike said meeting El was the best thing he’s ever done, people would be going bat shit crazy over how romantic that is and how they’re so in love. If Mike and El fought and he ran out in the middle of the rain looking for her when he couldn’t even apologize to his real girlfriend who dumped him just hours prior, people would say that Mike was in love with El and how much he cares about her yadda yadda. But that’s the thing. It’s two boys, so apparently it has to be platonic. Because that’s just how it works in their cishet minds. ——I’d like to see a better argument then “it was all a coincidence.” Because that’s not valid. Why? Why do you think it’s all a coincidence? It’s all just fake? Please. Elaborate. Because if these romantic scenes involved Mike and El instead of Mike and Will, then they’d see. Because they didn’t have Finn and Noah rehearse all these romantic coded scenes multiple times for nothing. They literally wrote, revised, edited, rehearsed, and filmed ALL of these scenes and still went through with it. And even in season three when people really started shipping byler, they STILL directed Finn and Noah to look at eachothers lips. They still filmed the rain fight. KNOWING byler shippers existed and KNOWING this would only heighten the amount of byler shippers there are.

The duffers aren’t stupid. This isn’t a surface level show. Everything they do is intentional, they’ve said it themselves. And yes, I agree that some byler proof COULD just be apophenia, but stuff like this? Crazy together? Looking at eachothers lips? Holding hands? I’m the only one that cares about Will? Mike keeping his eyes open in the final Mileven kiss, those aren’t small little things. You’re telling me that they couldn’t find another take for that final Mileven kiss? No. Finn kept his eyes open because he was directed to do so. The duffers are writers and directors for a reason. They went to school for this. So please, I’d like to see some actual argument against byler other than “they said they loved eachother!” “It’s all a coincidence!” I’d like to see people actually counter my arguments with actual evidence. Not just “Finn says they’re in love” not just “Millie ships it!” Because interviews are not evidence. They’re instructed to create hype for the show. If David can lie about hopper being dead, Finn and Millie can lie about Mileven being in love. I don’t want the argument of “it’s been built up for 3 seasons so they won’t destroy it now.” Stancy was built up for 2 seasons and see how that turned out. And Mileven fell more in season three than it went up.

Anyways,, if you’re a polite Mileven, this isn’t for you. I love you with my whole heart. If you’re just vibing, I love you. Ship what you want to ship! Feel free to counter my argument! However, If you’re someone who calls us “delusional”, leave. The doors right there. The cast has talked about how much they hate the ship wars in our fandom, so if you’re just gonna say how stupid we are, don’t let the door hit you on the way out:)

Sorry for long post lol. Love you all

#stranger things #byler #will byers #mike wheeler #st4 #byler is endgame

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dropofgoldensun · 3 years

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omg hiiiii i am here from cat (@luvdsc) wondering if you could offer any advice about college apps 🙏 especially about the uc piqs? thank you so much i hope ur doing well!!!!!!!!

yes yes hello friend !! 💝 miss cat directed you to me because i did my college apps last year !!! (yikes one year passed already?? why does that feel ages ago 🤧)

first of all, congratulations on making the decision to apply to college !! i know it’s been hard for a lot of people our age to figure out the college situation recently, so i’m proud of you for choosing to take the extra step this summer to buckle up and write those essays 💞

i’ve compiled a few tips on answering the PIQs (i was actually in the middle of typing this up when i received your ask haha), but some of them can be applied to other essays, as well !! they’re all under the cut (because, unfortunately, being brief is not my forte) 😊

(and for reference, the prompts i chose were #2 (creativity), #6 (subject), #7 (community), and #8 (anything) !!)

tip #1: understand the prompt.

before you even begin writing, it’s important to understand what the question is really asking. for the UC PIQs, this will look different depending on which four prompts you decide to do.

in question one, for example, they want to know about your skills in leading others, but notice that they’re also curious about your resolution abilities and teamwork experience. or in question two, they don’t want to know that you paint and that you love painting—they could be asking how resourceful you are, how you think outside the box when you have an idea.

once you know the question you’re going to be answering, you can move on to brainstorming!

tip #2: write down three (3) key takeaways.

these are like the most basic, not-even-a-sentence answers you would give to each question. so for me, in response to question eight (“what do you believe makes you stand out as a strong candidate for the UCs?”), my answers were perseverance, courage, and character. i had a story about that, so i wrote about my experience with martial arts.

i recommend you do something similar. decide on three things that you want to communicate to your audience, and write them in the footnote of your document. your goal is to cover all three points so that, if anyone were to read your essay, they would walk away understanding those three things about you.

i found this strategy really helpful for keeping my essay streamlined while writing—if a sentence didn’t relate to any of those main points, i would cut it since those words would take up valuable space in the word count. stay focused on what needs to be in this essay, and if you have extra words left in the word count later, you can add those details back in.

and once you’re done with your essay, make sure to refer back to your takeaways and check that you covered all of them sufficiently!

tip #3: highlight your stories.

i sent cat an ask a couple days ago with a few pictures of my response to an end-of-year college counseling survey that referenced this tip (you can find it here). basically i said that, when choosing what topics to write about, pick things that interest you! if you get excited talking about it, your audience should get excited about reading it, because they’ll pick up on the passions you have and then everyone’s excited !!! :D

i’ll tell you a secret: everyone you meet, everyone you see, has countless unique experiences that few others may have. me? i spend hours making mashups out of kpop songs. i earned my black belt years after a traumatizing experience during training. i get russian harry potter and spanish dr. seuss books from the library. and i created a collaborative online google photos album for my classmates that now has thousands of entries. although these aren’t necessarily unique to only me, they’re still special enough to the point where, when you put them all together, you get a better image of the person i am, and what i value.

so find a story, a habit, a hobby that makes you different, because i believe that everyone has them. give them some food for thought, or that one-liner that sticks in their brain and won’t go away. and remember: these stories don’t all have to be extraordinary—they should be about people or moments of special value to you, because that’s what matters.

personal tip: when i was brainstorming ideas, i decided that the best way to get ideas out there was to go on a rant (because sometimes it helps to just have a conversation with yourself !!) and i recorded myself, so i could replay what i said !! this was so so crucial to me finding my own voice for writing essays. notice the way you word things when you talk—a good line or two may make it into the final draft :)

i found it helpful to read sample essays as well! they give a lot of great ideas on the kinds of topics people write about. (also, it’s kind of fun, because who doesn’t love a good story?)

but the people reading your essay won’t be there to just enjoy your story; what they really want you to do is to tell them what you learned from your experience. they want to know whether you’re teachable and willing to grow both as a student and as a young adult. so make sure to take note of the life lessons you learned, experience you gained, character you built, etc.

minor tip on ending your essay: if you’re telling a story that happened in the past, then close with what you learned and how you can apply that to your life moving forward. if you’re telling a story that has no definite end yet (like a passion or dream you have), you probably don’t have everything figured out (and you can say that in your essay!), so it might be better to close with your hopes for the future.

tip #4: ask your family for help.

peer-editing is one of the most effective ways to detect errors and inconsistencies in your writing, because, after staring at your essay for so long, you might gloss over glaring contradictions. for all of my essays, i printed them out and asked my parents to help me revise them. we’d meet every other night (or every night, depending on how much time was left) to review and discuss improvements.

i actually kept some of those printed drafts (only the first and the final ones for comparison), and let me tell you from experience—you’re probably going to have a lot of drafts (i think the most i did was seven? but you don’t need to go that far!). this part of the process does take some time, so remember to be patient and kind to yourself :) these essays won’t happen overnight!

enlisting the help of others also helps keep you accountable. one of the struggles many seniors face while writing essays is just... setting aside time to do them. and even though the constant reminders from your parents will definitely get repetitive and a bit stress-inducing, i can tell you from personal experience that i’m so glad they did; otherwise, i don’t think i’d have my essays done in time :’)

while writing college essays is challenging, your family will be there supporting you each step of the way. chances are that they’ll have their own pointers to pass on to you, since they probably remember doing this process themselves! and, out of everyone in your life, they probably remember the most about you (because you probably don’t remember much when you were four or five), so they might have a couple starter ideas for topics when brainstorming. you can rely on them for their advice and their experience.

tip #5: self-editing.

here’s the part that takes the longest time.

use action words. this is probably something you’ve heard all throughout elementary school where they didn’t like you to say “said” because it was “boring”… but honestly, the difference between “doing my own version” and “infusing it with my personality” could go a long way. also, use words that you would actually use in an essay—then it’ll have your own special flair, and not sound like it’s taken from some stuffy 80s textbook!

here are some of the words i used (once again, you shouldn’t use these words if they don’t sound like something you’d write/say): potential, overlay, wrestle, launch, analogous, weave, infuse, experiment, outlet, revel, fascinate, satisfaction, pursue, expand, distinction, capture, range, archive, engage, beyond, build, adversity, cultivate, preserve, commit, explore, convey, naturally

also, be on the lookout for repeated words. i once wrote an essay without noticing that i used “hope” three times in the same paragraph. don’t do that! use synonyms :) personally, i tended to run short on synonyms, so i always kept a tab or two open on my computer reserved for searching up new words.

side note: unfortunately, during my search for synonyms, i discovered that thesaurus.com just didn’t give me what i was looking for. i highly recommend using wordhippo instead; it has so many more options and they’re grouped by the different definitions of your word! i found the synonyms i needed really quickly and it was very satisfying!

avoid the passive voice! my teacher gave me this tip for theses or any other college-level writing. here’s an example of the passive voice: “there was a large part of me that wanted to turn back.” that’s twelve words taking up precious space in your word count! instead, say something like, “i considered turning back.” you’ve just freed up eight words :)

tip #6: final revisions.

this is the step where you fine-tune your essays. meet that word count.

read your writing out loud. does it sound like you? it should. every writer has a different voice, and you need to ensure that yours is pervasive throughout your essay. feel free to use contractions—not only do they reduce your word count (this was a good thing for me, since i had a problem with getting under 350 words), but they also give a more casual tone to your essay, as if you’re telling a story to someone in the room.

next, pretend to be an admissions officer and have someone else read your essay to you. do you get excited hearing about this student who shares your name? if you do, there’s a good chance the real admissions officers will love your essays, too. this also gives you a chance to review to your essay as a whole. pay attention to the overall flow. is there a clear beginning and end? do you resolve the issues and overcome the trials you brought up? listen to it as if it’s a story, and take this time to enjoy what you’ve written. you worked hard!

final thoughts / encouragements.

oh my goodness, did we make it to the end? honestly if you did, thank you so much 🥺

okay but despite my relatively optimistic tone throughout this post, i’m still going to be honest with you—the college essay writing process is difficult. it requires you to look inside yourself and analyze the “why” behind some of the things that you love, and that isn’t easy to do at all. it’s intellectually and emotionally challenging, because not only do you need to use so much energy writing, but you also have to dig deeper to understand yourself, and that’s not easy, either.

but i wanted to encourage you, too. no matter what you may think of yourself at 12am, 2am, 4am writing these essays, believe you have a personality that others love and will love when they meet you. you are an interesting person with unique experiences who deserves to share your thoughts with others. you have so many people behind you, supporting you during these next few months. and when you find that you can’t write any more, remember to take time to care for yourself. have a warm shower. go to bed early. i could go on and on about why sleep is good for your brain but i’ll spare you the details in this post 😉

one last thing: keep the bigger picture in focus. remember, by december or january, you will be finished with most of the application process. that’s no small accomplishment. you can do it. 💝

i really hope you found tips that you were looking for, and that they’re applicable to your own PIQs and other essays !! if you have any other questions, feel free to send in another ask (i promise my response won’t be this lengthy LOL) 💘💓

oh, and if you feel comfortable enough reaching out about anything in particular, i’m only a DM away 💕 i wish you the best of luck on writing your essays and i hope you enjoy your final year of high school !! 💗🌸💟💖

#asks #college tips

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miserablesme · 3 years

Text

The Les Miserables Changelog Part 7: 1987-1997 American variations

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. This time, we're going through the production-specific differences between the official 1987-1997 libretto and the US tour and Broadway productions of the era.

Compared to the West End production, American ones took far fewer liberties relative to what was in the libretto. For the most part, they stuck with what they were told to do. This makes the variations that did crop up all the more fascinating, and I think they are absolutely worthy of a post. Without further ado, let's get started!

Second National Tour

1988-1991

To the best of my knowledge, this is the first US production to feature any variation from the 1987 libretto. The only one I'm aware of: the original "Got a number on his chest" becomes "Got a brand upon his chest" prior to "The Attack of Rue Plumet". This would later be applied to other productions after the costumes were slightly tweaked so that Valjean now has a generic bar on his chest instead of the number "24601". Similarly, it seems as though this production may not have had the normal number for some reason?

Broadway and Third National Tour

Everything from this point downwards refers to these two productions, which seem to have been very much connected as they tended to make the same changes around the same times.

Circa 1988-1989 version

During the "On Parole" segment of the prologue, as Valjean takes his flight a voice can be heard shouting "Stop that man!" I suppose it makes sense that someone would send an alert about his presence, though it sort of distracts from Valjean's high note.

Much like the West End production at the time, these production changed the order of lines in "At the End of the Day". Usually the lines go as follows:

What is this fighting all about?

Will someone tear these two apart?

These productions instead put them in the following order during this timeframe:

Will someone tear these two apart?

What is this fighting all about?

I honestly have no clue what exactly is the purpose of swapping those two lines; nothing seems changed at all in spirit or meaning.

After "Red and Black", Gavroche now whistles prior to announcing General Lamarque's death.

That's literally it... everything else sticks to the libretto.

Circa 1989-1991 version

This is almost identical to the preceding version. One difference: a little joke has been added to the "Waltz of Treachery". Instead of just singing "Let's not haggle for darling Cosette", Thenardier pauses for quite some time, singing: "Let's not haggle for darling... Cosette".

Circa 1991-1994 version

"At the End of the Day" is now in its official format. However, the "Stop that man" line, Gavroche's whistle, and Thenardier's forgetfulness are all still present.

Circa 1993-1994

This variant was only used on Broadway, seemingly not the US tour. It is very close to the 1991-1994 version, with a few differences.

The first difference, which draws on the 1992 UK tour and then-current West End variations, can be heard in "The Runaway Cart". Officially these were the lyrics spoken by townspeople:

Look at that

It's Monsieur Fauchelevent

Don't approach

Don't go near

At the risk of your life

He is caught by the wheel

Oh the pitiful man

Stay away

Turn away

There is nothing to do

This was the UK tour variant:

Look at that

Stay away

You'll be crushed by the cart

Don't approach

Don't go near

It'll fall on you too

Oh my god, who is that?

It's Monsieur Fauchelevent

He is caught by the wheel

Oh the pitiful man

There is nothing to do

The US productions at this point almost used those lyrics:

Look at that

Stay away

You'll be crushed by the cart

Don't approach

Don't go near

At the risk of your life

Oh my god, who is that?

It's Monsieur Fauchelevent

He is caught by the wheel

Oh the pitiful man

There is nothing to do

Interestingly, the lyrics are identical to their revised form except that the original "At the risk of your life" is maintained instead of "It'll fall on you too". Perhaps the producers thought the scene was more suspenseful without a rhyme scheme?

Regardless, the remainder of the number plays out as was in the libretto, not using the UK tour and West End variants.

Now, prior to "Red and Black" the little sting introduced in the UK tour (and soon added to foreign language productions) is also audible in the Broadway show. To quote myself from Part 5 of this blog:

"If I’m not mistaken, this musical addition was placed in to account for a change in staging. Originally the number began with the barricade set sliding off-stage, revealing the ABC cafe set behind it. However, around the time of this tour the blocking was adjusted. Now, the turntable instead revolved at the beginning of this number, revealing the ABC cafe set on the other end of the turntable and allowing the barricade set to double as the walls of the cafe. I believe the opening sting was added to allow time for this slightly more elaborate staging."

Gavroche no longer whistles before announcing General Lamarque's death.

Circa 1994-1997 version

Used in both the tour and on Broadway, this version is the first time the US tour production actually diverges from the libretto to a significant extent. It uses the changes added in Broadway in 1993, along with some others.

The "Stop that man" line is still present in the prologue.

The 1993-1994 version of "The Runaway Cart" is still used.

Thenardier continues to forget Cosette's name during the "Waltz of Treachery".

The sting before "Red and Black" continues to play.

Calling on the UK tour and West End production, after "Night of Anguish" the instrumental "Drink with Me" tune has been removed. In its place, instrumentals of "A Little Fall of Rain" have been put in, as they already had been in the UK tour and the West End production.

Everything goes as expected right up until the epilogue. The official "And lead me to salvation" was replaced with "I'll lead you to salvation", which had already been used in the Australian and UK tours.

Circa 1997 version

This version (which was seemingly only used for a few months, if even that long) is almost identical to the previous one, with one significant difference. Drawing on the UK tour and the West End production, a sequence in "Lovely Ladies" was totally redone. Instead of the official libretto scene between sailors and prostitutes:

(SAILORS - simultaneously with prostitutes' lines)

Lovely lady, fastest on the street

Wasn't there three minutes

She was back up on her feet

Lovely lady, what you waiting for

Doesn't take a lot of savvy just to be a whore

Come on lady, what's a lady for?

(PROSTITUTES - simultaneously with sailors' lines)

Lovely ladies, lovely little girls

Lovely ladies, lovely little ladies

Lovely girlies, lovely little girls

We are lovely, lovely girls

Lovely ladies, what's a lady for?

There's this exchange between a prostitute and a pimp:

(PROSTITUTE)

God I'm weary, sick enough to drop

Belly burns like fire

Will the bleeding ever stop?

(PIMP)

Cheer up dearie, show a happy face

Plenty more like you here

If you can't keep up the pace

(PROSTITUTE)

Only joking, dearie knows her place

Side note: I only have evidence of this variant being used on the Broadway show, from January 1997. I have no idea if it was ever used in the US tour; the latest audio of the tour pre-official libretto change that I have is from December 1996, and it still uses the original lyrics.

And... that's it. See what I mean when I say the American productions didn't diverge that much from the libretto?

That just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

19 notes · View notes

simul16 · 3 years

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The Curious Case of the Original Women of Ravenloft (or Loose Canons Can Be Dangerous)

For many years, we in the Dungeons & Dragons RPG studio have considered things like D&D novels, D&D video games, D&D comic books, as wonderful expressions of D&D storytelling and D&D lore, but they are not canonical for the D&D roleplaying game. -Jeremy Crawford Those among us who are fortunate enough to become shepherds or stewards of the D&D game must train ourselves to become art and lore experts so that we know when we’re being faithful to the game’s past and when we’re moving in a new direction. We decide, based on our understanding of the game’s history and audience, what artwork or lore to pull forward, what artwork or lore needs to change, and what artwork or lore should be buried so deep that it never again sees the light of day. -Chris Perkins There is a very simple statement to be made about all these stories: they do not really come off intellectually as problems, and they do not come off artistically as fiction. They are too contrived, and too little aware of what goes on in the world. - Raymond Chandler, "The Simple Art of Murder"

There's been a bit of a stir in the D&D community over some comments that Jeremy Crawford made at a press briefing prior to the D&D Live event about how only the information published in a WotC Fifth Edition D&D product is 'canonical' for D&D. There was enough of a reaction that Chris Perkins, self-described as "one of the D&D Studio's principal game architects", published an article on the WotC site (linked under Perkins's name above) explaining this statement and explicitly calling out what it means when discussing an intellectual property with a long-standing and vast catalog of lore, where that lore is one of the primary positive features of that property.

On the surface, it seems pretty straight-forward. Crawford's comments focused on not overwhelming partners with lore requirements when producing peripheral products like novels and video games so that they can focus on producing their product rather than meeting arbitrary lore requirements (not that this seems to have helped the most recent video game product release). Perkins mentions this, too, explicitly evoking R.A. Salvatore's novels and how Salvatore (perhaps infamously) used to incorporate elements into his stories that were outright illegal according to the D&D game rules (such as Drizzt's dual-wielding of scimitars, only made legal in 5e, or his creation of Pikel Bouldershoulder, a 'mentally challenged' dwarf who believed himself to be a druid and even eventually displayed druid-like abilities, even though dwarves in the D&D of the era of the Cleric Quintet series, where Pikel appeared, were not allowed to be druids). Perkins's comments also refocused the discussion on players, DMs, and their games, making the point that every campaign develops its own canon, and that the version of the Forgotten Realms run at a given D&D table does not perfectly match either the version of the same world run at a different table, or even as presented in the official published campaign sourcebooks.

This position is easily defensible; I even presented it myself in a response on Twitter to Perkins's own comment on an event in the Acquisitions Incorporated campaign he runs and records for online consumption. A restaurant that exists in the Forgotten Realms of Acquisitions Incorporated might have been shut down for health reasons after a shambling mound attack in a different campaign, or a previous party of PCs might have made a disastrous error during the war with reborn Netheril that led to the fall of Cormyr, with the coastal area of the former kingdom being absorbed by their rivals in Sembia while the interior lands were allowed to be overrun with monsters migrating out of the Stonelands (which makes for a nearly ideal 'starter zone' for a new 5E Realms campaign, IMO).

But just because there are benefits to such an approach to canon doesn't mean that it's the best way to approach canon, particularly with respect to a property which has had a long lifespan and is expected to have an even longer one. There are plenty of ways to criticize such an approach, many of which have been brought up by other commenters:

In any long-lasting intellectual property, there is a core of fans that are devoted to the lore and canon of that property -- see Harry Potter, Star Wars, etc. 'Loosening up' the lore not only convinces your existing super-fans not to continue to support and evangelize your property, but also prevents the creation of a new generation of such fans to continue your property's life into a new generation of fans.

Since much of what is on offer in a published sourcebook is the current 'canon' (despite Perkins's statement that "we don't produce sourcebooks that spool out a ton of backstory", the reality is that much of the content of sourcebooks like the Sword Coast Adventurer's Guide and Van Richten's Guide to Ravenloft is setting material: i.e.: "backstory"), if you're not going to stand up for the lore of prior editions, and by implication make it clear that future editions aren't going to be beholden to the lore of even this edition, then why get heavily invested in the lore at all? (This ties into the above point, as the fewer people who get invested in the lore of a property, the fewer evangelists for that property you will produce.)

If you have any Organized Play for your game (which D&D does, as does so-called 'living card games' which are based on an advancing storyline), loosened canon makes it easier for those authors to produce content, but simultaneously makes it harder to incorporate the content that players enjoy into the overall game. In addition, the later stories can't take into account all of the potential outcomes that a given group might have taken through a given adventure, so in effect, this turns all adventures into "railroad plots" with respect to the larger campaign narrative, where the best outcome is assumed for each adventure and thus the PCs don't really have the ability to influence the overall metaplot. (This gets complicated, because it necessarily involves different campaign outcomes contesting with one another to become the 'canonical' outcome, which is itself pretty challenging. Regardless, one of the attractions of a 'living campaign' is that the campaign in theory adapts to respond to the actions of the players; a 'living campaign' that doesn't do this is no different than a traditional scripted campaign.)

Perkins's final point in his essay, though, seems just as important to the current 'administration' as any of the other explanations, and that's the quote referenced at the top. In effect, what Perkins is saying is that the 5E team wants to be able to take what they consider 'good lore' and keep in in the game, while revising or outright eliminating 'bad lore'. Again, this seems like a defensible position, but it also has a flip side: it assumes that your changes to the lore are not just lazy or arbitrary, but are made consciously and for specific reasons. This could work well if you actually follow through on your intention, but given the realities of publishing on a schedule, it's inevitable that some amount of lazy or arbitrary decision-making will occur, and in those decisions, you can inadvertently (or allow someone without your knowledge to deliberately) make decisions that harm the canon. The statement seems reasonable, but as we'll discover below, it's actually fundamentally dishonest.

With that in mind, let's explore...

The Curious Case of the Original Women of Ravenloft

The original Ravenloft setting as released in the early 1990s, like the game studio that released it, contained a lot of old white guys, and it didn't necessarily get any more diverse with time. The early 3E Ravenloft product "Secrets of the Dread Realms" by Swords & Sorcery Studios lists eighteen Domains of Dread, half of which were unambiguously run by old white dudes. Depending on how you want to define 'old' and 'white', you could even add a few more domains to the list (such as Verbrek, ruled by the son of the former old white dude darklord, and Markovia, depending on whether you consider Markov to still be human enough to qualify as an old white dude). Only five domains were ruled by female darklords, and one of those (Borca) isn't even wholly ruled by the female darklord. Comparing the darklords of Secrets of the Dread Realms to that of Van Richten's Guide to Ravenloft points out just how much of a priority it was for the 5E team to increase the diversity of darklords in the setting.

Curiously, though, the female characters retained from classic Ravenloft don't appear to have been changed in a manner that fits Perkins's explanation of what they consider when deciding what to bring forward from older lore, as in nearly every case, the character became less interesting and possesses less agency in her current 5E presentation than she did in her original pre-5E incarnation.

Jacqueline Montarri

Let's begin our survey with a character who technically doesn't yet exist in 5E lore, and thus by Crawford's definition doesn't exist in lore at all. It might seem odd to begin my presentation of 'female characters deprived of agency by their 5E presentations' by starting with a character who wasn't presented, but on the other hand, being removed from canon and thus from existence could be argued as the most severe loss of agency possible for a character.

Jacqueline doesn't exist in 5E because the organization she founded, the Red Vardo Traders, doesn't exist in 5E. In older editions, the Red Vardo Traders was both a legitimate trade company as well as a criminal organization engaging in smuggling, assassination, and other crimes, and are based in the Barovian town of Krezk. The version of Krezk presented in Curse of Strahd, however, makes no mention of the Red Vardo Traders, choosing instead to present Krezk as a small village dominated by the Monastery of Saint Markovia*, a location that does not exist in pre-5E Ravenloft. The Red Vardo Traders were founded by Jacqueline for a specific purpose, and thus both their legitimate business operations and their criminal pursuits are but shells for their true purpose: to find Jacqueline Montarri's head.

* - Saint Markovia himself was initially presented in the late 3E reboot adventure "Expedition to Castle Ravenloft", as one of the inhabitants of Castle Ravenloft's crypts; Markovia was changed from a man into a woman as part of Curse of Strahd, and the Sanctuary of First Light, the largest church of the Morninglord in Ravenloft pre-5E and placed in Krezk by its developers, was re-written in Curse of Strahd as the Monastery of Saint Markovia.

Montarri sought the secret of eternal youth, and in doing so, consulted with the Vistani seer Madame Eva to find it. Eva originally resisted, but finally revealed that the secret rested within the library of Castle Ravenloft, and Jacqueline, out of a desire to be the only possessor of such a secret, out of a need to do evil, or perhaps both, murdered Eva before departing for Strahd's castle. Unfortunately, Jacqueline's infiltration of Castle Ravenloft attracted Strahd's attention, and she was captured, turned over to the villagers in Barovia, and beheaded for her crime against Strahd. However, some of Eva's fellow Vistani asked to take custody of the body, explaining that the woman had murdered their leader, and Jacqueline eventually awoke -- wearing Madame Eva's head. She since learned that she could 'wear' the decapitated heads of others, and cannot survive long without one. Jacqueline's body has not aged, but her head ages a year for each day she wears it, requiring her to continually murder (and possibly assume the identities of those she murders) to survive while she searches for her original head, the only thing that can break the curse that Eva's kin placed upon her.

That's a pretty amazing backstory, and one I'd think would be very worth including in a new Ravenloft setting, save for one problem: Madame Eva's death. Now this isn't actually a big problem in the context of classic Ravenloft: both Eva herself and her tribe of Vistani were known to have a 'curious' relationship to time (former Ravenloft writer John W. Mangrum explicitly called Madame Eva a "time traveler" when it was pointed out that Eva's continued existence in Ravenloft canon suggested that she had not actually been killed), but it did cause confusion among those with a more static approach to continuity. Since Eva unambiguously exists in 5E Ravenloft, being referenced in both Curse of Strahd and Van Richten's Guide to Ravenloft, it appears that the decision to jettison Jacqueline and her Red Vardo Traders comes mainly from a desire to untangle that confusing bit about Eva actually being dead but still walking around.

Granted, the need for an organization like the Red Vardo Traders is perhaps less significant in a Ravenloft where the Core doesn't exist and every domain is its own Island of Terror, but given that Van Richten's Guide to Ravenloft still lists a number of organizations known to be capable of travel between domains, including two that they just invented out of whole cloth, it would seem as though making use of a pre-existing organization might have worked just as well. The other complicating factor is that Montarri is not herself a darklord; with the focus of the 5E Ravenloft experience on darklords as linchpins of the setting, having a compelling NPC who isn't a darklord (but who honestly could be made into one fairly easily, as her curse lends itself to a darklord's punishment and her formation of the Red Vardo Traders into her way of dealing with the limitations of being a darklord) would seem to detract from what the 5E designers were trying to do with the setting.

But this isn't the only or even the worst example of a female character deprived of her agency in the new regime...

Gabrielle Aderre

Unlike Jacqueline, whose elimination from Ravenloft seems like an editorial red pen taken to an otherwise merely irritating issue, anyone familiar with Gabrielle Aderre's backstory realized that her background would have to change significantly given the changes to the Vistani in Van Richten's Guide to Ravenloft.

In pre-5E Ravenloft, the Vistani were an exotic human culture of outsiders, driven by their heritage and abilities to make their own way within the Domains of Dread, and having developed mysterious abilities and customs to protect themselves from its dangers. Non-Vistani were viewed with suspicion, to the point where the Vistani had a specific word ("giorgio") for non-Vistani, and those who chose to breed with non-Vistani and their offspring were frequently outcast from Vistani culture. Female Vistani were often gifted with 'The Sight', a precognitive or divination ability, but the Vistani took great pains to ensure that no male children were born with The Sight, lest that child grow up to be a prophesied doom-bringer known as a Dukkar. (One such seer was Hyskosa, whose legendary prophesies eventually led to the Great Conjunction which nearly tore the realms apart.) Because of their separation from mundane society, more traditional settlements tended to fear the Vistani, especially their rumored skill with fashioning deadly curses when wronged, and though Vistani would often trade with such settlements, they were never truly welcome in them; ultimately, the Vistani would follow their wanderlust and move on, leaving even more strange tales and confusing lore in their wake.

Van Richten's Guide to Ravenloft changed all that. Now, the Vistani are simply a sprawling human culture who "refuses to be captives of a single domain, the Mists, or any terror." Their abilities are no longer unique -- there are a number of Vistani who "possess the Mist Walker Dark Gift" that can be taken by any character -- though they are said to "understand how to employ Mist Talismans" with their "traditional magic". Instead of being seen by others as mysterious outsiders, now "the news and goods Vistani bring ensures a genuine welcome" from more traditional settlements, and only "more dismal communities view Vistani with suspicion"; likewise the Vistani themselves no longer refer to non-Vistani as "giorgio", nor do they seem to have any issues with those of mixed Vistani blood traveling or dwelling among them. Most significantly, the legends of the Dukkar no longer exist, with both male and female Vistani serving as spellcasters "with many favoring divination magic for the practical help if provides in avoiding danger." In fact, Hyskosa is no longer a lost seer prophesying the doom of the Dread Realms, but "a renowned poet and storyteller" who is alive and leads his own caravan of Vistani through the Mists.

Given all of this, Gabrielle's pre-5E backstory would need to change quite drastically. Gabrielle's mother was half-Vistani, and possessed enough of The Sight to prophesy that Gabrielle could never seek to have a family or tragedy would be the inevitable result. Learning to hate the Vistani based on her mother's incessant refusal to acknowledge her desires for a family, Gabrielle eventually abandoned her mother during a werewolf attack, fleeing into Invidia where she was captured and brought before the darklord, who sought to enslave her to command her exotic sensuality. Instead, Gabrielle made use of the traditional Vistani "evil eye" to paralyze the darklord, murdering him and assuming his lordship over Invidia. Not long after, Gabrielle was visited by a 'mysterious gentleman caller', after which she discovered she was pregnant, eventually giving birth to a boy who proved to possess The Sight. Delighted that she had managed to give birth to a Dukkar, she failed to realize how quickly the boy grew or how powerful he proved to be until her son, Malocchio, usurped her throne (but not the dark lordship of Invidia) and cast her out of his court. Though there are definitely some problematic things in this story, it's not so terrible that it couldn't still serve as the foundation of a tragic Darklord's origin.

In Van Richten's Guide to Ravenloft, Invidia is detailed among the short descriptions of "Other Domains of Dread", and her pre-5E backstory has been utterly thrown out. There's no indication of how Gabrielle became darklord of Invidia, who the father of her child is, or anything from pre-5E lore. Instead, Gabrielle has become one of the parents from the story of Charlie and the Chocolate Factory -- a rich, bad mom convinced of her child's greatness and willing to accept anyone who supports that story while turning a blind eye to her child's misbehavior and cruelty toward his servants and teachers.

Pre-5E Gabrielle wasn't ideal, but at least she had a drive: she wanted a family, and refused to accept that her desire could not overcome the inevitable grinding wheel of fate. 5E Gabrielle arguably isn't even evil, just supernaturally deluded (ironically, her main flaw is her blind acceptance of the rightness of her own privilege), so it's not even clear why she rather than Malocchio is the darklord of Invidia. Rather than wanting a thing she can never have, 'modern' Gabrielle assumes she has a thing that doesn't exist, and is less a tragic figure desperately trying to assert her own agency than a deluded puppet, acting out a part in a drama that makes no sense. Granted, as we noted above, some degree of Gabrielle's old backstory would need to change to accommodate the other changes to Ravenloft lore as part of the 5E transition, but the decision to simply throw out the old Gabrielle and turn her into a character who isn't even aware of her own lack of agency in her situation is, in its own way, even more tragic than Gabrielle's original pre-5E story.

Isolde

Isolde is a fascinating character, because she was created after the Carnival, the group she leads in Ravenloft lore. In pre-5E Ravenloft, the Carnival was the Carnival l'Morai, run by a sinister being known as the Puppetmaster. The events that led to the Carnival breaking free of the Puppetmaster's influence are detailed in the 1993 Ravenloft novel "Carnival of Fear". Then, in the 1999 supplement "Carnival", John W. Mangrum and Steve Miller take the Carnival l'Morai and introduce them to Isolde, a mysterious woman who joins the Carnival and assumes the role of its leader and protector. Much of the internal story within the supplement itself involves the theories that many of the other characters have about who Isolde is and where she comes from, and how various aspects of the Carnival, such as the Twisting (a change that comes over those who remain with the Carnival for any signficant amount of time and seem to bring hidden or secret traits to the surface as exotic abilities or mutations), relate to her. In the end, though (spoiler alert!), Mangrum and Miller reveal Isolde's true backstory -- she is a chaotic good ghaele eladrin who voluntarily chose to enter Ravenloft in pursuit of a fiend named the Gentleman Caller (thus the Carnival supplement is also the origin of the Caller, one of the signature non-darklord villains of the setting). The Twisting is revealed to be a side-effect of Isolde's 'reality wrinkle'; as an outsider, Isolde can re-make reality in a short distance around her, and one of the ways she does this is by bringing someone's inner self out and making it visible to others. Honestly, if you wanted a domain or group whose underlying reason-to-exist seems tailor-made for a modern RPG audience, it would be one where having your inner self revealed to the world, one that you've been taught is freakish and strange, proves to be beautiful to those who accept you.

But that's not what we got in Van Richten's Guide to Ravenloft, perhaps because of the book's insistence on page 6 that "Nowhere Is Safe". Instead of the 3E ghaele eladrin, Isolde is now just an eladrin, a 4E planar elf variant. Instead of entering Ravenloft and finding the Carnival l'Morai in need of a leader and protector, she was manipulated first by a powerful archfey into leading a fey carnival, then inexplicably decided to swap carnivals with a different carnival run by a group of shadar-kai through the Shadowfell, even going so far as to accept the intelligent (and evil) sword Nepenthe, who is the actual darklord of the Carnival.

Again, as with Gabrielle, some simplification of Isolde's backstory was probably inevitable, as the original backstory made use of very specific Ravenloft mechanics that the 5E version simply doesn't want to deal with (mainly Isolde's 'reality wrinkle' which drives the Twisting). But not only did the designers take a character who had explicitly chosen both to enter Ravenloft in pursuit of the Gentleman Caller and to take leadership of the Carnival to serve as its protector and changed her into a character who is manipulated into doing everything she does that gets her into Ravenloft (and leaves her no memory of how or why she got there), the designers didn't even decide to keep Isolde as the most significant character in Carnival, allowing the sword Isolde carries to take that starring role.

Oddly, a lot of the changes to Isolde's story are reminiscent of the classic Ravenloft story of Elena Faith-Hold and how she became the darklord of Nidala in the Shadowlands, which suggested to me that perhaps at one time the Shadowlands were not going to be included in Van Richten's Guide to Ravenloft, and the changes to Isolde's story were meant to be a call-out to what would be the missing story of Elena. But the Shadowlands also exist as an "Other Domain of Dread", so in the end, the changes to Isolde served no real positive purpose.

Interlude

It's worth taking a moment to contrast the characters above with the domains in Van Richten's Guide to Ravenloft that gained female darklords who didn't have female darklords previously:

Dementlieu, formerly ruled by Dominic D'Honaire, is now ruled by Saidra D'Honaire; it is hinted but not stated explicitly in Saidra's backstory that she is not actually related to the former darklord, but simply assumed the family name as part of her assumption of the rulership of Dementlieu, in which the Grand Masquerade must be maintained above all else.

Falkovnia, formerly ruled by Vlad Drakov, is now ruled by Vladeska Drakov; Vladeska's backstory makes it plain that she is a female re-skin of the original Vlad Drakov, himself a character from the Dragonlance world of Krynn. Other than her origin, which is now no longer tied to Dragonlance, her backstory is largely the same as her predecessor's, save that instead of the dead rising to battle Drakov's attempted invasions of their northern neighbor, Darkon, now the dead rise to reclaim Falkovnia itself from Vladeska's attempt to 'pacify' it.

Lamordia, formerly ruled by Adam, the creation of the mad doctor Victor Mordenheim, is now ruled by the mad doctor Viktra Mordenheim; Victor's hubris in his attempt to create life are matched by Viktra's attempts to defeat death.

Valachan, formerly ruled by Baron Urik von Kharkov, is now ruled by Chakuna; in one of the few backstories in Van Richten's Guide to Ravenloft that acknowledges a former darklord, Chakuna's backstory is that she had to become a monster (a were-panther, specifically) to defeat a monster (a panther who was polymorphed into a man as part of a revenge plot, fled from the Forgotten Realms into Ravenloft upon realizing what he was, where he was transformed into a vampire...look, not every convoluted backstory for the old Ravenloft darklords was necessarily a good convoluted backstory).

I'd argue that each of the darklords above retains her agency in Van Richten's Guide to Ravenloft, but it's curious to note that each of those darklords seems to have inherited that sense of agency from her relationship to the male darklord that preceded her, sometimes literally (in the cases of Saidra and Chakuna) and sometimes figuratively (in the cases where Vladeska and Viktra are mainly female re-skinnings of the original male darklords). The designers clearly have the capacity to allow a female darklord to exercise agency and have drive and purpose to her existence, if that drive and purpose was inherited from or inspired by an original male character. If the character was a woman all along, though, then agency and drive and purpose are not really important to the designers, if they can fit that character into the specially designed hole the size of the concept they had for the new domain. Which brings us to the character who I feel was done dirtiest by the designers in moving from classic Ravenloft to 5E...

Jacqueline Renier

Jacqueline Renier is one of the original Ravenloft darklords, tracing her origins all the way back to the original "Black Box" campaign setting released by TSR in 1990. She appears in two different places in that boxed set -- once as the chaotic evil darklord of Richemulot in the Realm of Terror booklet, and in a portrait of the Renier family included as a handout in the box. The Renier family was actually an ancient wererat clan in the world they originally came from, and Jacqueline herself was the granddaughter of the patriarch of the clan, Claude Renier. When the Reniers fled into Ravenloft to escape the justice of their original world, they first appeared in Falkovnia, where they ruled the sewers until finally forced out by Vlad Drakov's troops. Fleeing into the Mists, the Reniers found themselves in the new domain of Richemulot, and Claude found himself the domain's darklord.

Jacqueline proved an eager student in the manipulative ways of her elders, however; both her grandfather, who maintained control over the clan through a combination of coercion and sheer force of personality, and her mother, who murdered Jacqueline's father seemingly only so that Jacqueline and her twin sister would not need to lose the Renier name. Jacqueline learned the game so well that one day she manipulated her own grandfather into his destruction at her hands, so cleanly that no one else in the family dared to oppose her ascension. Jacqueline was now the matriarch of the Reniers, and the ruler of Richemulot.

But 3E Ravenloft added a few additional wrinkles to Jacqueline's backstory. In the Ravenloft Gazetteers, it was revealed that Jacqueline's ambition to assume control of her clan and the domain of Richemulot were not just driven by a desire for power, but in the name of a vision of the future where wererats would reigns supreme over all other humanoids. She began encouraging migration into the largely undeveloped and underpopulated lands of Richemulot, while overseeing work in putrid laboratories to develop the Becoming Plague -- a disease that would transform humanoids en-masse into wererats under Jacqueline's ultimate command. In every speech Jacqueline would give about the glorious future of Richemulot, it was not the future of humanity she was referring to, but rather the coming age of the rat.

Jacqueline's backstory wasn't perfect -- as with other female darklords, she also got saddled with the 'she desperately wants to be loved and is terrified of being alone' trope -- but for the most part, this is a truly impressive backstory. And in our age, a domain featuring an ambitious politician pushing nationalism to motivate her partisans, only for that nationalism to not be what her partisans believe it is would seem to be an extremely fitting template for horror. It would certainly seem possible to re-write the few problematic aspects of her character with more modern tropes; make Jacqueline an 'ace' (asexual) but who still craves romance based on her upbringing and is both attracted to and terrified by anyone who might potentially prove to be her equal, and you've got what I'd consider to be one of the best darklords in the setting.

As you might expect, given Jacqueline's placement on this list, that's not nearly what we got in Van Richten's Guide to Ravenloft.

Instead, Jacqueline was born as a noblewoman within Richemulot, and was quick to notice that the rise of the bourgeoise would threaten the power of the nobility and lead to their diminution in society. Jacqueline's grandfather was not the charismatic, sadistic mastermind of a clan of wererats, but an aging nobleman growing infirm in his old age, and he proved unable and/or unwilling to work to change things, so Jacqueline would need to be the person to reverse her family's fortunes and the decline of the nobility in society. Not by doing anything herself, mind, but rather by trying to find an organization of nobles working to maintain the supremacy of the nobility. Finding them, she learned too late that they were secretly a society of wererats when she was forcibly made into one of them, but she quickly adapted, rising to command both the rat and wererat populations before finally unleashing a plague -- the Gnawing Plague -- upon the populace. Rather than converting the population into wererats, the Gnawing Plague just killed them, and when the people begged Jacqueline and the nobles for aid, Jacqueline made helpful noises but did nothing useful (it's not recorded if she uttered the words "Let them eat cake," as she watched the peasants die). Her 'torment' as a darklord is that she wants to return to the privileged life she had as a noblewoman, but can't, as the need to supervise the creation of new, more virulent plagues and unleash them to keep the peasantry from revolting and overthrowing the nobility prevents her from building the kind of society that would actually support a thriving nobility.

Instead of a domain where we have seen the future and humanity has no place in it, we have a one-percenter using every ounce of her privilege to stay above the ranks of the peasants she despises. Instead of an intelligent, ambitious planner capable of executing long-range goals flawlessly, we have a vapid, shallow socialite yearning to return to her days as a debutante. As villains go, Jacqueline has fallen a long, long way from her portrayal in pre-5E Ravenloft.

Probably the most offensive part of the redesign of Richemulot as 'the plague domain' is that we've spent over nineteen months living through a plague of our own, and the kind of horror that is presented as Richemulot's primary adventure cycle, the Cycle of the Plague, bears almost no resemblance to the reality we've lived through. Van Richten's Guide to Ravenloft presents a world where common people are to be feared, and authorities abuse their power to heartlessly quarantine the sick to stop the disease from overtaking everyone, yet say nothing about the horror of those who refuse to accept that the plague exists, or who profiteer from bizarre 'cures' and treatments. The designers present Richemulot as an example of 'disaster horror', where "the world has fallen into ruin -- or it's getting there fast," when the domain could be an example of the most classic of all horror tropes: humans are the most horrible of monsters.

Thus, the final quote leading this essay. It's not my place to argue that the folks who wrote Van Richten's Guide to Ravenloft are good or bad writers, and as Raymond Chandler noted, it's not really necessary. After all, "[t]he poor writer is dishonest without knowing it, and the fairly good one can be dishonest because he doesn't know what to be honest about." And ultimately this entire drive, to try to distance the product from the mistakes of the past by also distancing it from its successes, all while presuming that one can correct the deficiencies of the past without committing mistakes that, in hindsight, will seem just as obvious to our successors: that undertaking is fundamentally dishonest. The people writing, editing, and publishing Dungeons & Dragons today grew up on the old tropes that are now being rejected as no longer being relevant, as unnecessary complexity, as potentially harmful, without realizing that the harmful bits aren't just what was written down, but what was learned, such as a woman's motivation and agency meaning little unless they correspond with those of a man.

Yes, there's a lot of stuff published before 2014 that seems bad to us today that, for whatever reason, didn't seem bad to us back when it was published, read, and became part of our fictional worlds. But there's also no reason to assume that process ended in 2014. Update the lore where it's needed, but realize that the process never ends, even with the lore you're writing today to replace it.

#dnd

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a-bit-too-much-of-a-zelda-fan · 4 years

Text

LinkedUniverse Fanfiction Ch. 17: Swords, Shields, Arrows

Stop! You’ve Violated the Law!

So, you’ve stumbled upon this original post for my Linked Universe fanfiction. That’s okay, it happens to everyone. As of March 2021, I’ve uploaded the entirety of this fanfic to my Archive of Our Own page. Along with finally giving the story a name–Oops! All Links: A Linked Universe Story–I made substantial edits to some of the chapters. These range from minor stylistic revisions to fixing a gaping plot hole that kinda completely broke the character conflict in the earlier chapters. I also renamed and renumbered (but not reordered) the chapters. Specifically, this is now Chapter 19: Please, Don't Scare the Customers

The AO3 iterations of these chapters are the definitive versions. So, if you would like to read this fanfiction, please do so on AO3, right here. With this embedded link. Hehe. Geddit? Link?

Note: My screen name on AO3 is FrancisDuFresne. Yes, that is me. I am not plagiarizing myself.

Anyway, for posterity’s sake, the rest of the original post is below the cut.

In this continuation of my @linkeduniverse fan narrative, Wild and Four go on their own errand to find weapons to replace the resident amnesiac's busted sword and unwieldy Stalfos shield.

Word Count: 1482

Twilight and Wind had already left Madame Viliafore’s shop by the time Four and Wild had located an armorer. The town of Selggog was even busier in the late morning than it had been the previous evening. The sights and smells bombarded the two young heroes. Wild glanced down at his companion. The Hero of the Four Sword had to walk more briskly to keep pace with him, on account of him being a good deal shorter.

Four had planned to help Wild pick out new weapons once they had found an armorer. That was the main reason Warriors sent the two together. The moment they’d entered the store, however, Wild gravitated toward the higher-end swords. He picked a sword, tossed it between his hands, twirled it, shook his head, and chose a different one.

Four looked at the shopkeeper as Wild repeated this routine. The burly man behind the counter eyed the young knight warily. Four guessed his customers didn’t often test his weapons inside the store, if at all. Wild slowed his motions. He grasped the hilt of the sword he had been swinging with both hands, lowering it from above his head. When his hands were at waist-height, he stood still a moment. He took a deep breath.

The shorter of the Links watched in anticipation. The taller released his left hand’s grip and picked up the sword’s scabbard, then fit the blade easily into its place. He looked at Four and nodded. He strode to the shields, grasped an iron heater shield about half his height, fitted it on his left arm, and shook it a few times. He shook his head and tried a few more.

Wild stared at one shield for a moment before tilting his head to one side. He suddenly took off at a jog toward the opposite wall. He jumped, threw the shield to the ground, landed on it, and skidded a meter before he hopped off again. The shopkeeper had had enough. “Hey!” he growled, crossing his arms. “This isn’t a soldier’s barracks, kid. You’re scaring my customers!”

The young hero picked up the shield and checked the face of it for scratches. Content to find none, he faced Four and nodded again. Then he cast a glance around the shop. The Links were the only customers to be seen. The two of them exchanged a quizzical look. Wild turned to the shopkeeper. “Sorry, sir,” he said, “I’ve found what I want.”

The Links strode to the counter. Four passed a shelf with bundles of ten arrows each. He grabbed all fifteen of them. They placed their selection before the shopkeeper. The man scrutinized them. “What are two kids like you going to do with a knight’s weapons and my entire stock of arrows?” he asked.

Four looked up and stared the man in the eyes. He knew he was only fifteen but still didn’t like being called a kid. “There are actually nine of us,” he explained with a very slight edge to his voice. “We’re travelling a long way. Between monsters and bandits, the roads are dangerous.”

A few seconds passed before the shopkeeper cracked a grin and let out a bout of hearty laughter. Before either Link could recover from his confusion, the man planted his palms on the counter and continued. “Hell, whatever you say. So long as you’ve got the rupees, you’ve got the weapons. Let’s see… two hundred for the sword, three hundred for the shield, and three-sixty for the arrows… that comes out to eight hundred sixty.”

The Links winced at the number. Four shot a glare at Wild. Wild shrugged. He didn’t want to show how embarrassed he was that they were dropping five hundred rupees just because he needed new weapons. Thinking back to his conversation with Sky and Hyrule the previous night, he decided to try haggling. The young knight imitated Hyrule and put a forearm on the counter. He looked the man in the eyes. “Four hundred,” he declared boldly. Four saw the mistake immediately and shook his head.

The shopkeeper laughed even harder than before. Wild’s half-baked cocky expression faded. “Oh, boy,” the man said when he calmed down, “I know what you’re trying here, kid. Word of advice, huh? Never insult someone by offering less than half the starting price.”

Wild gulped. “I… um…”

“Save your breath, I can tell you have no clue what you’re doing. Let’s say seven hundred and call it even.”

Eager to avoid any more awkwardness, Wild just nodded. Four opened his wallet and withdrew three silver rupees, four purple, seven red, nine blue, and fifteen green. After placing them on the counter, he looked back in his wallet to find it almost empty. He sighed then stuffed the arrows in his pouch. Wild grabbed his weapons and the young adventurers went to leave the store. Four shot off a quick “thank you” before the door closed behind them.

Wild quickly fastened his new sword and shield to his baldric. “Right,” he started, “now to the café.”

Four sighed again. “You’re lucky that guy’s well-humored. That could have gone really badly.”

“How was I supposed to know what to offer?”

They started walking. “I dunno, but definitely not less than half.”

Wild’s shoulders slumped. "The Captain is gonna be on my hide for weeks.”

Four gently nudged his partner’s hip. “Don’t worry about it, he’ll probably appreciate that you picked such quality weapons. I saw the way you tested each sword. Where’d you learn that?”

“Part of knighthood is being able to choose the equipment that will keep you and your wards safe.” Wild went silent a moment. He remembered how the Master Sword had nearly fallen apart from the abuse of the Calamity. “When I’m out in the wilds, I take what I can get. Give me a choice and I’ll take the best I can find.”

“You didn’t pick the most expensive ones, though,” Four pointed out.

“I didn’t like the most expensive ones. This one,” he tapped the pommel above his right shoulder, “was weighted and sized the best for me. I know my abilities and my limitations. I can kill with virtually anything you give me, Four. Still, my own skill only carries me so far. My gear needs to pick up the slack. As the knight sworn to protect the princess of Hyrule, I’m most valuable when I’m at my most lethal.”

Four had to give it to him, that was solid reasoning. When he himself had forged the Four Sword, he put care into every strike on red-hot metal. In a way, he viewed the sword more as a piece of art than an instrument of violence. Wild had a point, though: Before everything else, a sword is meant to kill. Still, something bothered Four about his partner’s phrasing.

“Wild, your value isn’t just in your ability to slay evil,” Four said, careful to avoid the word kill. Wild looked down to his companion. Four couldn’t identify his expression, so he continued: “I don’t think you give yourself enough credit. You’re kind, caring, and humble to a fault. You had the weight of the world thrust on your shoulders, and nearly died protecting the princess. You lost your memory, but you still soldiered on and saved Hyrule. And you were able to wield the Master Sword, which is a testament to the purity of your soul.”

The shortest Link looked skyward and smiled. “Just look at all of us Links. We share a love for life and a sense of justice that drives us to protect the light. That’s what binds us, what summons us whenever Hyrule needs us most. I’d bet all four of my lives that we aren’t the only Links there have been or ever will be.”

A few seconds passed. Four glanced at Wild. The Hylian Champion seemed lost in thought, as if he were walking on autopilot. The young smithy had had to make sense of four fragmented personalities to achieve his full potential. He still couldn’t make sense of Wild sometimes. He figured, as the other Links had, that Wild came out of his adventure the most psychologically damaged of all of them—even more than Time.

Wild was shocked out of his reverie by a little girl shoving past him trying to chase her friends. The sights and sounds of Selggog rushed back to him. He stopped walking and shook his head to clear it. Four waited a few paces ahead. “Sorry, were you saying something?” Wild asked, still a little dazed.

Four walked back, reached up to put his hand on his friend’s shoulder, and smiled. “Not really, no. Let’s head back to the café and meet up with the others. They probably picked out some good food.”

“Yeah, sounds good. I’m down for a second breakfast.”

“Hah, you always are.”

#linked universe #linkeduniverse #my own #my writing #fanfic #zelda #the legend of zelda #creator content #linked universe fanfiction #swords shields arrows

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