#narrative hook

[allnovellas]

First Impressions Last: Nailing the First Chapter of Your Story

The first chapter of your story can be the make-or-break moment for your readers. It’s your opportunity to make a powerful first impression, captivating readers and compelling them to turn the pages. But crafting an engaging first chapter is an art in itself. Let’s explore the elements that can help you nail your story’s first chapter. Creating a Captivating Opening A gripping opening can hook…

[theweeklydiscourse]

God forbid you ever criticize the lack of consequences Bakugou experiences in MHA, or suddenly you’ll find dozens of Bakugou stans pouring into your mentions to make a speech about how cruel you are for forcing him to eat cement. They’ll act as though “consequences” inherently involves throwing him into the dungeon or putting him in detention for 100 years and then moan about how him facing consequences would only perpetuate a cycle of abuse/discrimination.

Listen, it’s not really that much of a consequence if the “consequence” in question isn’t directly connected to his current or past bad behaviour. “Oh but his scars!” “When he died that one time!” “His guilt for getting kidnapped” None of those are related to his bullying, and in my opinion, that makes them insufficient as consequences in an arc about changing for the better.

The consequences I would actually like to see could be as simple as: Izuku feels sad/mad because of what he went through, or certain characters reflect on how Bakugou’s past impacts their perception of him. More introspection on the victim’s end is needed, Bakugou doesn’t necessarily need to be pilloried for the arc to be satisfying.

[riverswaltz]

jackie is shauna's ghost just the same way laura was donna's ghost

[sobselpop]

Rick and Morty ! A hundred years !

[librarygf]

oh we’re really in it now

[warpedpuppeteer]

Thinking about how Buck's jealousy was misplaced and he was actually looking for Eddie's attention and how maybe Eddie's breakdown about his partner's death wasn't all about Shannon but about Buck too (3 minutes and 17 seconds).

[scholar-of-yemdresh]

Bare with me now but I think certain portions of fandoms reactions to a piece of explicitly aromantic media is telling in a way.

So I think TSV's lack of romance from the get go probably weeded out most of the types of people who aren't capable of interacting with media beyond shipping or romance. But even still I see the occasional er take or reaction to the SV's handling of & lack of romance.

I love how the most impactful plot and story relevant relationships are non romantic. I love how almost romantic relationships/attractions are exes,in the past, made the F up (Hayward the F we're you yapping about man?)or not on screen... All but one which brings me to the reason for my post.

But the strong reactions to episode 36 are tickling me.

A lot of people are upset about the ending specifically how they think the tragedy is excessive and depressing for no reason. Personally I belive Sebastian and Devereux did make it out at the end and that last bit was a ptsd flashback to the incident and I do agree that it'll be a bit much for the NPCs we've been following for a whole 1 hour+ episode will meet a grisly end for horror reasons I guess.

BUT the reactions by people who's interpretation of the ending as being more tragic I feel is interesting. I do not believe people would be as upset if it wasn't a romantic relationship that was centered. If Seb & Dev had been unambiguously "just" friends getting sucked into some nightmare Scooby Doo plot, if it was centered primarily on Dev & his sister, if it was only about those non romantic relationships and an unambiguous Bad End, I Don't believe certain portions of the fandom would've cared as much.

I feel people were waiting for a romantic narrative, wanted their cute assumed white yaoi boys to ship as a reward for "sitting through" all the aromantic relationship stuff. Were hoping for a cute soft fluffy romance that they could ship, the right kind of queer representation.

The aro/ace older woman, the Achillean trans man, the sapphic trans woman, all the myriad NB/agender main/major characters is fine...but where's the cis (white) yaoi boys?(nevermind that both of Seb & Dev's VAs are POC)

Idk I guess this is a fundamentally uncharitable assumption to make about people but I notice things and maybe I'm projecting too much

[auragasmics]

showing nanami a new way of pleasure with baby oil sex…gonna plan a fic so that this plot WORKS

[lesbikill]

discussion around character morality & fandom reaction to it in warrior cats always gets really annoying because people fail to realise that a lot of the time it’s not the actions of the characters that decide the way we respond to them but the way in which they’re written and the way the authors and the narrative view them. characters who are written as bad people, or at least morally gray people, will end up being received better then a character like brambleclaw because brambleclaw is supposed to be seen as a noble character who’s negative actions are totally reasonable or even good.

characters who are bad people but are written as good people are some written incarnation of negative biases within the writing team at worst and just straight up annoying to read about at best. it’s more fun to read about a character doing bad things without the erins beating you over the head with how morally superior they are almost every time a character thinks about them!

[brother-emperors]

Cicero, say these, would have had a better old age if he had taken in sail after the affair of Catiline, and Scipio, too, if he had given himself pause after adding Numantia to Carthage; for a political cycle, too, has a sort of natural termination, and political no less than athletic contests are absurd, after the full vigour of life has departed. Crassus and Pompey, on the other hand, ridiculed Lucullus for giving himself up to pleasure and extravagance, as if a luxurious life were not even more unsuitable to men of his years than political and military activities.

-Plutarch's Life of Lucullus

absolutely fucking CACKLING at this mention of Crassus and Pompey here

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[alicehardcore]

oh, wow...i need a minute to think about this...

[dimension-20-every-introduction]

Everyone Introduced in Dimension 20′s Mentopolis episode 6 (finale)

[thewholedamnboulangerie]

quite possibly my favourite thing about the entire Drake cameo is that his character didn't get a name. like he's literally just Drake

[nineblades]

I think the worst part about bg3 for me is the way I see a character I was not intending to romance smile or say the saddest fucking thing or their romance trigger cutscene pops up and I go. I need to romance you right now. and make a new character. and then I see a character I was not intending to romance smile or say the saddest fucking thing or their romance trigger cutscene pops up and

[nellasbookplanet]

Actually loving how the different critical role campaigns exist in relation to themselves, each other, and the world at large, and how their different narrative structures ripple outward.

Campaign 1 was story driven. Not to say the characters weren’t deeply important and dynamic, but their growths were largely driven through and by the plot. They were on a mission and grew along with that mission, and as a mission driven archetypically heroic party they also left very few loose threads by the end.

Campaign 2, meanwhile, was more insular and character driven. Where Vox Machina traveled all over the world and planes outside the main setting of Tal'Dorei, the Mighty Nein largely stayed in Wildemount, allowing for a more intimate and political look at it’s cultures. Instead of story and characters revolving around plot, plot revolves around character. We only got to see Yasha’s tribe in the epilogue, because her growth didn’t require facing them. We didn’t face Uk’otoa, because Fjord’s arc culminated in embracing the Wildmother, not in facing his former patron. Similarly, while the entire Assembly was an antagonistic force, only Trent was dealt with directly, because he was the only one directly tied into one of the pc's arcs.

The larger world building let us know about Molaesmyr and Ludinus, about the Luxon, even about Ruidus to some extent, but the Mighty Nein weren’t a typically heroic party here to save the world and solve every mystery, but a group of broken people finding it in themselves to heal, and to end their journey ready to face greater threats in the future. They were still getting the Assembly and Uk'toa, they just weren’t doing it in the main narrative, because they were irrelevant to the growth of the characters. Of course, that also left a lot of threads hanging, which brings us to campaign 3.

By now, it seems pretty clear that campaign 3 is another plot driven story rather than the more meandering, character driven narrative of c2. That leaves the cast free to pick up on the many larger mysteries in world building left in the wake of the last campaign. What is the nature of the Luxon? Of Ruidus? Of Aeor and the aeormatons? Half the party was just plopped down not far from the ruins of Molaesmyr, Ludinus' former home - will they go there? One of them is tied to the Luxon and dunamancy, another to Ruidus and Predathos - will we get to know the true nature of these entities?

Much like c1, the characters of this campaign are driven and shaped by events rather than shaping their own events. The difference is, c1 began as a blank slate, whereas c3 has history. Powerful allies and enemies alike are tied to former campaigns because such is the nature of the world. Mysteries left to solve were introduced earlier but approached only now because this is a campaign whose narrative and characters are served by approaching them. The world is dynamic. Alive. One story merges into the next, and new heroes are born on the shoulders of the last, ready to be shaped by their own narrative.

[taffingspy]

one of the most lost opportunities of the world guardian title is rs didnt explore the dehumanising nature of titles enough