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builderschristchurch · 2 months

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What To Expect When Working With Renovation Builders?

So, you've finally decided to turn your house into the home of your dreams. You’ve got Pinterest boards, colour swatches, and a head full of ideas. But now comes the tricky part: finding the right people to bring your vision to life.

Enter renovation builders in Christchurch—the magicians who can transform your space into something extraordinary. Let’s dive into what you can expect when working with these experts and why every moment of the journey is worth it.

1. Initial Consultation: Sharing Your Vision

The initial consultation is the first step in working with renovation builders in Christchurch. Think of this as a first date. It’s your chance to share your ideas, hopes, and dreams for your renovation project.

Be prepared to answer questions about your style preferences, budget, and timeline. This is where you’ll discover if you and the builder are a match made in renovation heaven.

Tip: Bring along any inspiration you have. Photos, sketches, or mood boards can help convey your vision.

2. Detailed Planning: Laying the Groundwork

Once you've found the perfect renovation builder, the next phase is all about planning. This stage involves creating detailed blueprints and obtaining necessary permits.

It’s a collaborative effort where your ideas are transformed into a feasible plan. Expect frequent communication during this phase as every detail is ironed out.

Tip: Stay involved! Regular check-ins and being available for questions can ensure the project aligns with your vision.

3. Budgeting: Crunching the Numbers

Budgeting is a critical aspect of any renovation project. Renovation builders in Christchurch will provide you with a detailed estimate that includes costs for materials, labour, and any potential contingencies.

Discussing and understanding this budget thoroughly is essential to avoid surprises down the road.

Tip: Always set aside an additional 10-15% of your budget for unexpected expenses. Renovations can uncover hidden issues that need addressing.

4. Timeline: Setting Realistic Expectations

A well-planned timeline is crucial to keep the renovation on track. Your builder will outline the project's phases, including start and finish dates for each part of the work. This timeline helps manage your expectations and allows for better coordination of activities.

Tip: Be flexible. While having a timeline is great, unexpected delays can occur. Weather, supply issues, or unforeseen structural problems can sometimes slow things down.

5. Construction Phase: Watching the Magic Happen

The construction phase is where the real transformation begins. You'll see your ideas come to life as walls are knocked down, new structures are built, and spaces are redesigned. The site can get noisy and messy during this phase, but it’s all part of the process.

Tip: Regular site visits can keep you informed and excited. It’s also an opportunity to address any concerns promptly.

6. Communication: Keeping the Dialogue Open

Effective communication is key when working with renovation builders in Christchurch. Your builder should provide regular updates on the project's progress, any issues that arise, and any changes that need to be made.

Ensure you have a clear line of communication, whether it's through weekly meetings, phone calls, or emails.

Tip: Don’t hesitate to ask questions or voice concerns. It's your home, and you should be delighted with the results.

7. Finishing Touches: The Final Flourish

As the project nears completion, it’s time for the finishing touches. This includes painting, installing fixtures, and final clean-up.

Your builder will walk you through the space, ensuring everything is up to your standards and making any last-minute adjustments.

Tip: Create a punch list of small details or touch-ups needing attention. This ensures everything is noticed.

8. Enjoying Your New Space: The Big Reveal

Finally, the moment you've been waiting for unveiling your newly renovated space. It’s time to celebrate and enjoy the fruits of your patience and investment.

Thanks to the hard work and expertise of renovation builders in Christchurch, your home is now a reflection of your style and needs.

Tip: Take a moment to appreciate the journey. Renovating can be challenging, but the result is a home that truly feels like yours.

Conclusion

Working with renovation builders in Christchurch can be a rewarding experience if you know what to expect.

From the initial consultation to the finishing touches, each step is a collaboration to create your dream space.

With clear communication, detailed planning, and a bit of flexibility, you’ll find the process manageable and exciting. So, prepare to transform your home and enjoy the incredible journey ahead!

Source From : What To Expect When Working With Renovation Builders?

#Renovation Builders christchurch

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wordsnstuff · 4 years

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Guide to Drafting

Patreon || Ko-Fi || Masterlist || Work In Progress

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Planning v. Discovery

The first thing you must decide when you embark on the journey of drafting a story is how you’re going to get it done. Typically, there are two groups you can fit into, though most writers are somewhere in between. There are writers who plan meticulously before they begin writing to create a very clean first draft, or there are discovery writers (otherwise known as “pantsers”) who find more success in choosing a premise and then using a zero draft to explore the idea before gluing down any details. You are most likely someone who falls between those two methods. Some initial planning to feel familiar with your idea before you do some of the planning through the writing itself. Having some semblance of a method will help you narrow down your own process, which is immensely important if you want to get any substantial project near completion.

Consistency

Drafting is a difficult process because it’s either the revisitation of ideas you’ve already had, or the generations of ideas in quick succession. If you want to have a draft in a reasonable amount of time, you must develop a consistency in your writing. I won’t say that it must be a strict routine because time management can be a luxury, but you must make the consistent effort to write, and keep it in the forefront of your mind. Even if you don’t write every day, it should be something you try to make time for every day.

Know What You’re Trying to Accomplish

To get a draft done, you need to set expectations for yourself and they must be realistic. That doesn’t mean they have to be easy, or an amount of work you’ve been able to accomplish in the past. Considering how much time you dedicate to writing and your skillset, it should be a goal within reality. In addition, you must accept that you cannot create a masterpiece in one draft. For each version of your story that you write, you must have a focused goal, such as maintaining consistent characterization, making the plot concise and engaging, or making the prose more fluid and efficient. If you have a specific and attainable goal that you can accomplish in a reasonable amount of time with a fair amount of precision, each draft will be better than the last.

Designate Work to Phases

As mentioned in the last section, it maximizes your time and effort to have specific and attainable goals for each draft. This doesn’t mean that you rewrite the draft each time (though that is very common amongst writers), but that you designate tasks to draft versions. I find it very helpful in clearing my mind and soothing my perfectionist anxiety to make a “schedule”, outlining what I’ll accomplish in each version following the zero draft. For example, my draft schedules usually end up something like this:

Zero Draft: Main plot line, basic characterization, key world building

First Draft: Finalize Timeline, research for world building, structure

Second Draft: (Rewrite) Plot Development Fine Tuning

Subplot development

Foreshadowing

Build up to climaxes

Tone & Pace

Third Draft: (Intermittent Rewrites) Character Development Fine Tuning

Backstory

Subtextual Development

Making sure motivations are clear

Relationships between characters

Reinforcing character arcs

Checking dialogue

Fourth Draft: (Give to Beta Readers) World Building & Prose

Descriptions & Flow

Finalize settings

Checking grammar & punctuation

Reader Immersion

Fifth Draft: Incorporate Beta Reader Feedback

Write for Yourself First

In what some call the “zero-draft”, there are no rules. This draft is purely for your eyes. It’s you telling yourself the story for the first time. So, you don’t have to write in chronological order, or know the right word you’re looking for, or take a break every time you run into a problem. The purpose of the zero draft is to get a rough idea of as much of the story as you can and avoid getting snagged on minor details. This part is important. A lot of writers like to outline meticulously before they begin drafting and if that works for you, that’s great, but the majority of writers who attempt that get stuck in the planning phase, or burnt out on their story before a word of it exists. The easiest way to avoid those two situations is to do a zero draft, which can be as long or short as you want if it provides a skeleton for you to add meat to later.

Common Struggles

~ How do you estimate the number of words/chapters?... That depends on the genre, mostly. However, that’s usually something you decide in the second draft and beyond, and it can vary because of factors you haven’t got locked down until the plot and character arcs are firm or final. This is also something you’ll probably do a lot of tinkering with, and receive feedback on, especially from beta-readers, who can advise you on where natural breaks could occur from their perspective.

~ Why, after planning everything out, do I always struggle to write the draft?... 99% of the time, it’s because you’ve either burned yourself out, or accumulated too much pressure. When you put that much effort and time into a story, you can either slip into a headspace where you feel little excitement about it because you’ve already done all of the problem solving and had all of the revelations. It’s usually beneficial at this stage to take a step back (even if you’re not burnt out) and give your story some space, so that once you come back to it, you’re enthusiastic enough to fully realize your vision. If instead you’re struggling to write because you feel a lot of pressure to do justice for a story you’ve put so much love into already, take a step back, remember that the first draft is just for you, and work on letting go of the idea that the zero draft is meant to serve any purpose beside simply existing.

~ How do I come up with the necessary scenes to move the story forward between major plot points?... Most writing problems can be solved by asking yourself the right questions. When you’re trying to figure out what your reader needs to see next in order to effectively set up the next major event, ask yourself “What would happen between event A and event B that would add context or make event B more impactful?”. Treat it like a real situation and try to map out all of the tiny, notable moments that would take place between the major plot points, and then assess those moments on the basis of how impactful they would be to the coming scenes, and whether they can add context, set the tone, or aide in the rising action.

~ How do I balance sticking to the draft and following my own creative instinct in the moment?... This is a judgement call. Sometimes you’ll realize that maybe you should have just stuck to the outline, but remember that you can always go back, rewrite, test things out, etc. Always save every version of every scene, just in case, and go wild. Don’t be afraid to take detours just to explore. The writing process is anything but linear.

~ How do I maintain momentum in my writing progress when I constantly have distractions or other responsibilities that take priority?... Work at it. There’s no magic trick or piece of advice I could say that gets rid of your personal responsibilities. Write when you can, don’t make excuses on top of the reasons you have no control over, and remember that you create your own deadlines and expectations. Be kind to yourself, do what you can, and don’t spend potential writing time punishing yourself because there isn’t as much as you’d like.

~ How should I designate space (words/pages) to specific scenes/description/conversations, etc?... Trust your instinct and remember you can always cut/add later. In the earlier drafts, I’d advise you try to create as much material as possible to work with, and in the later drafts, be ruthless when determining what is necessary and adds value, and what doesn’t.

~ How do I finish a draft if I regularly lose motivation or interest in my projects?... Accept the fact that motivation is fickle, and that no writer in history has ever maintained “inspiration” for any project from the beginning to the end. There are going to be days where you’re like “ugh this is not what I want to do right now”, probably more than there are days where you’re stoked to work on your project, but that’s reality. If your goal is to finish a draft, you must recognize that writing is work, and nobody wants to work all the time. Try to supplement the lack of motivation by setting a positive and enjoyable routine so that, even when you’re not particularly motivated, you still know that your writing time will be peaceful and comfortable.

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Masterlist | WIP Blog

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

Shoutout to my $15+ patrons, Jade Ashley and Douglas S.!

#writing #writeblr #writing advice #writing tips #writing resources #resources for writers #writing reference #writing help #writespo #writing inspiration #writing motivation #inspiration #motivation #drafting

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thespectral-wolf · 3 years

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Making a Sonic Fancomic: I. The Writing

Hello, hi! So recently, I finished a lenghtier fancomic, and I want to share a Behind the Scenes on how I put it all together for people who are interested in such things. So let’s get started!

Brainstorming

So like every story, it all started with an idea. Back sometime in summer 2019, less than half a year after getting into Sonic, I took interest in some aspects of Sonic Boom (both the games and the cartoon). I was thinking of ideas for stories within that universe, specifically to expand on Shadow’s paper-thin character in that continuity. The first idea was actually a story that would follow Sonic and Shadow as they begrudgingly try to work together to get out of a labyrinth (you can read about that story here). The second idea was a story that would have been a loose sequel to it, where Shadow approached Amy for mysterious reasons. While I couldn’t manage to write the former outside of a couple of scenes and jokes, the latter story managed to form in my head more solidly, and that is what became An Enigma in Shadows.

I didn’t write down my ideas prior to the first draft, but as far as I can remember, the outline of the story was more or less the following: “Shadow approaches Amy for, well, reasons (something connected to the Ancients), they form something close to a friendship, but a heated moment ruins everything.” As you can see, this is very barebones. All that was clear is that I wanted to write a story involving Amy and Shadow. :D

Anyhow, there was a lot of brainstorming where I tried to figure out the whats and the whys in the story: what does Shadow want, why is Amy helping him, what’s keeping them together, what breaks them apart in the end, etc. The Ancient projector, which was the "mystery to be solved” in the story was something I came up with pretty late in the process, which, admittedly is one of the reasons why the story itself doesn’t focus on it too much until the last part.

The ending was also something that I struggled to figure out, as I wanted it to be a tense moment in the story. Some early ideas just had Shadow trying to make Amy spill her agenda, only for him to walk into his own trap and blurt out some really personal stuff. One iteration would have been that they had gone into an argument where Shadow criticized the bond that Amy has with her friends - culminating in Shadow telling her that friendships are not long lasting, especially with people like Sonic, whose life will one day will be cut short due to his recklessness; alluding to that Shadow has some past wounds he’s hiding. Realising his mistake, Shadow would storm out, telling Amy that letting her close was a mistake.

These were all very loose ideas of course, and it took some time until the story started to form in a more concrete way. When I felt that I had enough ideas for a beginning, middle and end, I was ready to write down the first draft...

The Draft

This was during sometime in October 2019 (I usually date my writings, but this draft doesn’t have one on it, so I’m going by memory). I think I managed to write down the draft in one sitting, and filled up about five A5 sized pages in my little notebook. The draft looks like this:

(if you can read it, congrats, even I struggle to read my own handwriting sometimes. If you can read and understand it, then you know Hungarian haha)

The draft is kind of just a quick description of what happens. It’s nowhere near a prosaic masterpiece. There are some lines of dialogue that I came up and quickly wrote down so I wouldn’t forget them, but it’s hardly anywhere near an actual story. It’s more or less just the outline to work with while writing the script.

Which is to say, a lot of things that happened in the story are not in the draft. For one, the majority of the story was supposed to take place in Amy’s house. The idea of the bunker where Shadow kept his stuff came during writing the script. I mostly wanted that so I didn’t have to draw the same location over and over again, but this later allowed some good additions to the story. More on that a little later.

The Script

With the draft ready, I could get down to working on the script. Even though I worked completely alone on this thing, having a script helped tremendously, as the dialogue was already on hand when drawing the pages. It also helps figuring out how the events will play out way ahead of time.

Like the draft, the script isn’t a collected, rich writing. The difference is, the events are described in a little more detail, and there is actual dialogue in it. For me, the whole script is written bilingually (descriptions in native lang., dialogue in English) but for convenience, I’ll translate them. Here is the script for the first page:

Opening: Amy’s house. Inside, Amy is doing something.

There is a knock, Amy looks up. She looks at the clock on the wall.

Amy: Huh? Who could it be? It’s pretty late.

Amy goes to the door.

Amy: I hope it’s not a case of some ’crazy shenanigans’.

She opens the door.

Amy: Yes?

In front of the door is Shadow. Amy is startled and slams the door. One panel wait. Next panel, she opens the door with her hammer in hand.

Amy: What are you doing here, Shadow?

You can see that it’s very simplistic and also not entirely matches the actual page. I tend to make a lot of changes while I’m working, so for me, it’s more of a guideline.

Speaking of changes, the script did not stay unchanged once I started working on the pages. Those who are long time followers of my blog may have seen me mentioning that I did rewrites during the two hiatuses. In the first revision, I made larger additions to the story. These additions were pages 21-26, and 33-50. Yes, the part concerning Shadow’s claustrophobia was not part of the story originally. The second revision was made early summer 2021. This wasn’t as big as the first one, I mostly just refined how the ending plays out in consideration of the first additions. This affected pages 61-68 for the most part.

But before those revisions, there was already a script that I considered finished, and I was ready to go into the next step: It was time to actually draw a comic.

Next part: Thumbnailing and Drawing

#eh putting it out now #idk how to tag this #behind the scenes stuff

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definitelynotkatesblog · 4 years

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Illustrated Man l Spencer Reid Fic

Pairing: Reader x Spencer Reid

Category: Fluff

Summary: Spencer comes home from a particularly difficult case, and begins to doubt himself. Reader helps him unwind and helps paint a picture of all the great things about him.

A/N: Helloooooooo friends! Yet again, I thought of a single line of dialogue I really wanted to make work so I spit a thousand words around it to bring it to life lol. Anyways! This fic is free of reader pronouns and gender identifiers, so anyone can read this and make the “I”‘a their own ☺️

P.S. I’ll see what I can do about not disappearing again for weeks on end, but I make no promises

Content warning: None! Except Spencer has his shirt off? But that’s it!

WC: 2.4k

The sound of the door clicking shut and Spencer vacating his lungs of all air drew my head up from my book.

“You’re home!” I cheered, closing my book and getting up to greet him.

He lifted his satchel over his head and gave me a small smile that didn’t touch his eyes. I nodded, mostly to myself, knowing that this meant the case was harder than most. On nights like this, Spencer was hard to reach. I padded my way across the living room and wrapped my arms around him like he might slip away if I didn’t hold him tight enough.

I pulled his head down to rest on my shoulder as his arms snaked around me, wrapping himself in me, too. We stayed like that a while until he stood up and cupped my cheeks in his hands, bringing my face up for a kiss.

‘Hi,” he said softly.

I smiled into his palms. “Hi.”

I took his hands in mine and kissed his knuckles, then led him to our bedroom to get him out of his work clothes. I helped him out of his cardigan and dress shirt, then left him to do the rest while I got him some water. When I returned, he was laying face down across the bed in a pair of sweatpants. His head rested on his crossed arms, and turned to face me when I laid next to him on the bed. I propped my head up one arm and gave him a half smile.

“Do you want to tell me about it?”

He thought for a moment before giving me a recap of the case, leaving out the gruesome details. I listened and ran my fingers across his back, alternating scratches with swirling patterns on the soft skin. Sometimes my hand would find itself at the nape of his neck and work through the hair there.

As he spoke, his voice became more resolved and tired. He worked so hard, but the things he saw, the things this job had put him through weighed on him. He was strong and incredibly smart, but just because he carried it well didn’t mean the load wasn’t heavy.

I took a deep breath and spoke gently, not wanting to offend him. “Maybe you can take some time off?” I suggested.

He shook his head, his chin brushing his hands folded under his chin.

“The team needs me. These victims and their families need me.”

I bit my tongue. I needed him, too. But this was hardly the time to bring that up.

“But this job,” he paused for a moment before continuing, “It takes pieces of me I can’t get back, and I’m scared all I am is the parts I’ve managed to pick up off of the ground.”

I closed my eyes and wished away the tears forming in my eyes. I heard him take a deep breath but he didn’t say anything else.

“I have an idea. Stay there.”

His head lifted and his eyes followed me around the room to our closet where my painting supplied resided.

“I’m going to paint you.”

“Paint me?”

I turned around, a towel in one hand and my box of paints and brushes in the other. “Yes. You’re gonna lay here and talk to me about anything in the world and I’m going to paint you.”

His eyes scanned the contents of my hands. I could see the gears in his head turning for a moment before he shrugged and gave a small nod.

“Okay.”

I ran a hand through his hair and bent down to kiss his forehead before climbing on the bed and straddling his thighs, setting my supplies on the towel beside us. “Talk to me.”

His head cocked to the side as he contemplated his answer.

“Not about work,” I clarified.

I felt his laugh beneath me. “Okay then, what would you like me to tell you about?”

I tapped my bottom lip with the handle of my paintbrush. “Hmmm. Read any good books lately?”

I could feel his smile without seeing it. If there was one thing Spencer loved more than saving lives and doing crossword puzzles in pen, it was reading. “I revisited some Ray Bradbury on the plane home,” he said.

“Mmm, tell me about it.”

He took a deep breath beneath me and began. “I re-read The Illustrated Man. It’s a compilation of short stories told through interactions between an omniscient narrator and a man covered in tattoos that each tell tales of events that have not happened yet. The tattoos are magic, and they come alive to tell the stories they depict. The stories are mostly science fiction, but have elements of pretty universal truths that Bradbury is famous for addressing.

For example, in one story explores the deep seeded longing of one man to take a trip to outer space. Something that, in this story, is attaintanable. He works his whole life to be able to fulfill this yearning, but he is torn between going or staying with his family, whom he also loves. It begs the question of the existence of duality of desire and duty.

Then, in another, there’s this incessant rain. And this group of men are searching for cover and sunshine, but it’s wearing them down and breaking them. These small raindrops, just water, becomes torture. It’s interesting how something as small as raindrops can break both canyons and men.”

I listen as he tells me about each story behind the man’s tattoos, about how they’re all different but important and lend themselves to portraying the then-futuristic perception world around us. Sometimes, his voice gets sad at the implications of the stories, but other times he seems to appreciate the sentiment behind them.

I dip my brushes and admire the way they drag across his soft skin, leaving a wake of vibrant pigments behind. I hmm and ahhh at appropriate times, partially paying attention but mostly glad that he’s able to enjoy himself and is able to think of something other than the darkness in his world.

We stayed in our respective positions for the better part of an hour- him laying on the bed with his head on his hands while I straddled the back of his thighs, stroking brushes across the lines of his back.

When I’m finally finished, I roll my neck and place my hands on the small of his back, taking a moment to take it in. The idea of creating a universe compelled me; there was so much beauty and so much unknown in the expanse of space. The concept seemed fitting for what I hoped to help him understand. I’d mixed a navy blue paint for a base, and created swirls of light with yellows, creams, and whites to create a brighter contrast and background for the more intricate featured parts. One section had books, a coffee cup, a molecular model I’d hoped was an actual chemical, and a small red apple.

The next was a canyon, modeled after one of the scenic drives we’d taken the last time we visited Vegas to see his mom at her new care facility. We parked at a lookout spot and watched the sun set- gorgeous oranges, yellows, and pinks painted the sky over the rock. It was at that moment I’d never been more jealous of Spencer’s perfect memory.

Another section, closer to the bottom curve of his spine was a silhouette outline of the Christmas card the team had sent out two years ago. Spencer had a copy hanging by a CalTech magnet on the fridge, another on his desk, and a folded and fading copy in his wallet.

He loved that photo – the way it captured their joyous spirits and ability to be carefree despite the things that initially brought them together.

I took a deep breath and playfully patted his bottom. “All done!”

He threw a boyish grin over his shoulder and handed me his phone.

I snapped a few pictures, holding the phone up by my chin to capture the expanse of his back, then a bit closer to the individual parts. I passed the phone back over his shoulder and brought my clasped hands up under my chin. “Okay, so, if you don’t like it, that’s okay you can wash-” I rushed, but stopped short when I felt his breath hitch from underneath me.

He was silent for a moment, staring at the phone in his hand.

I took a deep breath. “Spencer, you contain multitudes. You’re a loving son, an amazing friend, a brilliant profiler, a great cat-sitter, an instant mashed potato extraordinaire, and my favorite boyfriend.”

I dusted an invisible speck of dust off his shoulder before continuing, giving my words a moment to sink in. I needed him to hear me, and to know these truths. “You are so much more than the things you don’t love about yourself. You are more than this job, you are more than the obstacles you’ve had to overcome. They’re a part of who you are, yeah, but they’re not all that you are.”

I shook my head, though he couldn’t see it. The knowledge of the man beneath me not knowing he was deeply loved seemed so wrong.

“You are so incredibly loved, Spencer. The people in your life are so lucky to know you and to be loved by you. Each and every one of your friends is changed and is better for having known you, believe me.”

He was silent for a short while, pinching and zooming in on the screen to see the different parts of him illustrated in his skin. He cleared his throat a few times. Part of me was grateful I couldn’t see his face, and he couldn’t seem mine. Though, I didn’t need to see the way his mind was working to know he was trying to find a flaw in my logic.

The amount of love I had for the man beneath me threatened to spill over in the form of tears.

“Favorite boyfriend?” he asked finally, feigning insult.

I laughed. “So far, yeah.”

I knew that wasn’t the only thing he’d heard, but probably was the only thing he could bring himself to comment on.

I scrambled off of my perch unceremoniously, stretching for a moment before straightening up and offering my hand. He laid with his chin resting on his fists stacked, staring at me for a moment.

“What?” I asked with a small huff.

“Being loved by you is one of the greatest joys of my life.”

I felt my mouth pop open, a bit taken aback at such a bold admission. A sweet smile touched his lips while he watched me try to scoop my heart back into my chest. He climbed off the bed gingerly, careful not to rock the tray of paint and brushes with his long limbs.

His large hand wrapping around mine grounded me from cloud nine and I could feel the smile forming on my lips. I turned and started heading towards the bathroom.

“Come,” I said, pulling him along behind me.

When we arrived in the small room, I halted and spun him so the back of his thighs were resting against the porcelain countertop and I was flush against his front. My hands came to rest on the edges of the countertop, caging him between my arms. I looked up at him, squinting slightly.

“I’d like to take a picture, is that okay?”

I knew Spencer was wary of having his picture taken; most of our pictures together were candids I’d puppy eyed my way into him letting me keep.

He narrowed his eyes back at me. My lower lip made an appearance, coupled with a knitted brow and cautious look from under my lashes.

He laughed and shook his head. “Okay.”

Before he could change his mind, I grabbed my phone and rushed back to my place in front of him, pressing my front to his.

I snaked my arms around his torso so our chests were together while his back bearing my painting faced the mirror. My arms poking out from between his arm and torso space made him look like an alien, but placing one hand on his hip while the other held my phone gave the pose a more artistic feel.

I snapped a few pictures, messing with the lighting and exposure, playing with shadows from the vanity and positioning him every which way. Every once in a while, I’d pull my arms from him and show him a few shots I liked but they never felt like the one.

He smiled and nodded encouragingly, taking my direction to tilt this way or arch his shoulder that way. I started to feel for him, we’d been there for 15 minutes at least.

I pouted and let my head fall back dramatically. “I give up,” I whined.

He gave a small smile and leaned down to kiss me. I met his lips with a smile of my own before resting my head against his chest.

“Try one more time,” he encouraged.

I nodded and wrapped my arms around him again. I poked my head out so it was just visible behind his arm, resting my chin on his bicep as I focused my phone camera to capture the two of us and my work on his back.

“Smile,” I said before snapping a few shots. Spencer’s body shook with his laugh as he leaned down to press a kiss to the top of my head. My thumb grazed the shutter button, capturing the moment.

It was perfect.

His back was illuminated perfectly by the soft glow of the vanity mirror lighting, the muscles in his back tensed when he bent down, creating dips and curves that separated the focus points brilliantly. My hand wasn’t posed, just gently resting on his hip, a soft touch that lent itself perfectly to the lightness of the moment.

I pulled myself from around him and held the phone between us. His hand found the small of my back and he pulled me closer to him, sealing our lips together. Our lips were unhurried, enjoying the softness of the moment and the love between us. His free hand cupped my cheek as we broke apart. His eyes bore into mine, both pairs slightly glossy.

“Thank you,” he said softly.

I nodded and buried my head into his chest so he wouldn’t see the fresh tears springing in my eyes. His arms wrapped around me as he pressed more kisses to the top of my head.

——

Let’s talk about it!

#criminal minds #criminal minds fan fic #criminal minds fan fiction #spencer reid #Spencer Reid fluff #criminal minds fluff #spencer reid x reader #Spencer Reid x you #spencer reid x y/n #gn reader #criminal minds self insert #Spencer Reid gif #criminal minds gif #my writing

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dp-marvel94 · 3 years

Note

For the "40 Questions - Meme for Fic Writers"

(I have many, just pick a few if you don't feel to answer all - though I am curious :) )

8, 9&10, 15, 17, 18, 21, 23, 29, 37, 38

8) Share a snippet from one of your favorite dialogue scenes you’ve written and explain why you’re proud of it. From Face to Face, chapter 13

[Jazz said] "I didn’t even believe in ghosts until thirty minutes ago.”

Phantom raised an eyebrow, amused. “But you boo-lieve in me now?”

Fenton snorted. “I think it ghosts without saying.”

“Oh stop it.” Jazz waved a hand.

“Come on. These puns are ghoul-den.” The ghost grinned, white teeth sparkling.

“Positively spooktacular.” His human finished and both laughed.

Jazz rolled her eyes, though she couldn’t hide her smile. “I don’t think I’ll ever get used to this.”

Anytime I come up with puns or jokes, I'm really proud of myself. Humor isn't my strong suit but I do love Danny's puns and him bantering with himself so much

9) Which fic has been the hardest to write?

Face to Face has been a long exercise in planning, patience, and persistence. Setting up things and making sure they pay off is hard with a story this long. And just writing sometimes, when the inspiration is waning.

10)Which fic has been the easiest to write?

That's hard. I'd say "Mom makes Everything Better." It's short so I managed to write in one sitting without too much agonizing over what I was going to write.

15) If you could choose one of your fics to be filmed, which would you choose?

I don't really have an answer for this one. :/ Most of my stuff is very introspective so it wouldn't work very well as a movie. I'm going to say, "Hope can be a Heavy Thing to Hold." There's a good number of fight scenes in it and the ending would be absolutely heartbreaking to watch.

17) Do you write your story from start to finish, or do you write the scenes out of order?

Start to finish. I feel like, things would get really jumbled and confusing for me if I tried to write scenes out of order.

18) Do you use any tools, like worksheets or outlines?

I have a Google doc with fic ideas and the outline for whatever story I'm currently working on. According to my outline, I've got 13 chapter left in Face to Face. But then again, that outline's very flexible. I mostly have it to write down ideas so I don't forget them.

21) How many times do you usually revise your fic/chapter before posting?

Maybe once? I write really slowly and tend to agonize over my words. Whenever I sit down to write, I re-read what I wrote the last time before starting on the new stuff and I normally make small changes then. But by the time I got over it with the beta, we just look at grammar and spelling. At the most, she'll make minor suggestions to a few lines.

23) If you were to revise one of your older fics from start to finish, which would it be and why?

I don't think I'd revise any of them, actually. Some of the older stuff could stand to be re-edited for grammar and spelling but I'm happy with the actual content, I think.

29) If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose?

This is really hard! I'm trying to think of stories that I commonly day dream about a potential sequel. The top contenders at the moment would be Smokescreen by Nylah and Masquerade by Five-Rivers. As I said in the endnote of my Invisobang story, I am you (and you are me), Smokescreen ended very similarly to where that one began. And for years, literally years!, I'd been thinking about what would have happened after that story, with Danny coming to accept his new self and his loved ones learning the truth. I wanted to see it, so I finally decided to write my own version, damn it! But with the actually events leading to that shared outcome being so different, I'd still love to see what happened after that story, especially with the romantic plotline. I don't write romance but that would really be interesting, to see Sam's reaction to the fusion, especially with Danny trying to argue that his clone dating her wasn't an act. The clone really did love her and Danny knows this because he remembers being him. That's a heartbreaking conversation I've been thinking about on and off for a long time.

And Masquerade, after that story came out, Five-Rivers and I did DM and brainstorm about what would happen in a sequel for a bit. I would never trust myself to actually write a sequel for that but daydreaming and hoping is fun :)

37) Talk about your current wips.

So I'm still working on Face to Face. I'm hoping to finish by February which will be the two year anniversary of the story. I'm to a part in the story that's supposed to be fluffy with a lot of family bonding and very little angst so... it's really dang hard for me but I'm getting there. I'm really excited about a bunch of scenes that will probably be in the last five chapters or so. I've literally had some of these things in mind for years so I'm excited to get to them. But I've still got a lot of work before the resolution can finally come.

On another note, @magicalmonsterhero submitted a post recently asking about some AUs, including one where Vlad and/or Danny's powers were not the result of an accident, which led me to what I call "The happy version of Danny was an experiment created by the GIW (and Jack and Maddie are scientists contracted to the project)" I wrote out an outline one the post but decided to expanding it into an actual story for Ectober. I hope to have to done for Nightmare vs Sweet Dreams on October 24th.

38) Talk about a review that made your day.

Well, my lovely friend @mymadmedleyw getting reviews from you always makes my day. :) You always say so many nice things and are so encouraging.

On a funnier note, a few days ago, a long time reader on Fanfiction.net left a review saying they could tell my grammar and spelling had definitely improved which got some out loud after from me. XD

#danny phantom #my post

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queer-as-used-by-tolkien · 3 years

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Storyline Study: Order Mentor

When you joined your Order at level thirty and met your mentor at level forty, each of the three was instantly revealed to be a different person altogether from the other two.

Tybalt Leftpaw, Lightbringer of the Order of Whispers, was on his first-ever field mission. He was very blatantly calling for you in a sort of undercover way, and simultaneously panicking when you tried to mention the full name of the Order. Your supposed mentor was as new to this as you, had a (sometimes very human-teenager) sense of humor, and had a rather sad backstory balanced by his good nature. You knew he liked apples.

Sieran, Magister of the Durmand Priory, was full of reckless abandon, disregard for authority, boundless curiosity and a heart for the little things. She was confident in her role and her ability, and unhesitatingly took you into dangerous places for the sake of exploration and adventure while brushing off rebuke like a tree sheds sap - even when it was heartily deserved. You learned to be rather frightened for her.

Forgal Kernsson, Warmaster of the Vigil, was an archetypal gruff, stern old mentor whose every drop of praise spoke volumes. But he also carried a sort of wildness to him, that rough edge from growing up a hunter in the Shiverpeaks, coupled with every willingness to say it like it was if it was true. He could be surprised, he could observe calmly when something was new, he could snark like the rest of them and even say things he didn't mean from time to time.

They all fought the dragons - they each more or less took it seriously. But Tybalt was a partner and friend, you were keeping Sieran in check, not the other way around, and Forgal trained you mercilessly.

You all grew together - they had each changed for the better by the time they died. Tybalt had learned that he was worth something, Sieran had learned friendship was worth everything, and Forgal had learned... well. He'd found a student to be proud of, a partner to fight with, a friend to trust... a child to carry on his legacy. But I'm not sure, exactly, what Forgal learned - what the point of his story was.

Sieran was more-or-less well suited to her role in the story; she symbolized innocence and cheer and optimism and the beauty of the world - so you could recognize what was being lost by the dragon's onslaught. Tybalt's story was one extremely well-suited to his character; he taught you that working together was vital to survival, even when neither of you knew exactly what you were doing - a valuable lesson as the story progressed. Both of their stories fit well enough into the three-mission story sequence concluding in their death.

But Forgal was different. He was the mentor who dies partway through. He was the one who trained you and taught you all he could, who died imparting one last gem of wisdom. Or, he should have.

I am not attacking Forgal. I am attacking ArenaNet. We had too little time with Forgal for the story Anet was trying to tell with him. He was like Obi-Wan but without showing up again as a ghost, without the prequels, without being able to send Luke to Yoda - without, most significantly, being able to explain why he'd said Luke's father was dead.

We don't know Forgal. We don't understand him. We only know his family died to Icebrood... but why is he with the Vigil, specifically? Why is he a good friend of Almorra's - allowed to butt in and insult a diplomatic ambassador with barely a reprimand? Forgal is the character that tells me the Vigil has been around decades, not a mere five years. Was he in another military? Forgal was over a hundred years old. You don't join a military at that age and, five years later, are a highly self-disciplined warrior such as he was. Maybe he was Lionguard? Hear this: Forgal is actually older than Lion's Arch. If he'd survived, he would have been old enough to bear witness to all three incarnations of that city. But, apart from being able to recognize the Orrian Scout on sight, this is only a trivial piece of lore.

After he judged us worthy, we should have had long training sessions with him - sparring matches wherein he would easily fend off our blows while simultaneously teaching us about the world, all the wisdom he'd gathered, expounding just a bit on the history of the Elder Dragons (perhaps customized for player's race!) - and then we go off and have a real Vigil mission. Perhaps remove the racial sympathy 'choice' and have all five! A sparring match before each one, with a different lesson (the racial sympathy missions were awfully short anyway). And if you want to keep the idea implied by the term 'racial sympathy,' you could change the tone of some of them, make the player more reluctant and Forgal more impatient, have a middle-of-mission lecture on why it's important to work with everyone - this way you joining an Order feels less 'oh you've always been sympathetic to other races' and more 'wait who are these people.' But you know the real kicker? These training sessions would have made us actually feel like we were a treasured part of his life, the kid he never had, that he takes the effort to train us and takes the time to correct us when we're wrong, that he shares his history with us.

And then, at Claw Island, he would place a hand on our shoulder and tell us - hey - don't worry. You did good. You tell my tale and you take my lessons and put them to good use, you hear me? Listen to Trahearne over there - I've told you a bit about him - he's a good kid, he's smart and he knows what he's doing. And - partner? Partner, I need you to put me down if that blasted dragon raises me.

And we're in tears and Trahearne standing there also puts up a fight and tells him not to go, but Forgal goes anyway, roaring his defiance at the dragon - and his famous line, "you may win the battle, dragon, but you will never defeat our spirit!" And maybe he adds - "you may defeat me, but I will be avenged!" like some cartoon villain only you know - you know that means you.

That is the storyline Forgal deserved. (I selfishly also fixed it just a bit with regards to Trahearne, but...) I don't care if we add an extra ten or twenty levels to the game to account for the four extra racial sympathy story chapters.

And see, now you'll argue that that's biased in favor of Forgal, to do all that with him but not the other two - and that's part of the idea.

Forgal isn't like the other two. He shouldn't be compared to the other two. The storyline we have is good for the other two. Extending their stories would feel... false. Yes, there are supposed to be parallels between the three Orders, but... in that case, ArenaNet should have done something entirely different with Forgal.

How about this: Almorra assigns us to someone else for a mentor, but we show such epic promise she switches us to Laranthir. His storyline? It's right in his idle dialogue at the Vigil Keep - he's always sought love. This puts his storyline on par with Sieran and Tybalt. What about Forgal? He's a Lionguard that all three Order mentors know well. We do racial sympathy with Forgal plus our Order mentor (doing those with only one ally is kind of absurd anyway). This can help set-up and foreshadow the tactical significance of Claw Island, too - and hey, maybe Forgal can even survive that! Or maybe he doesn't survive it but our Order mentor does! (Yeah, that fits better, since Laranthir is important in HoT.) And then, once the Pact is formed, their stories end more naturally without regard for the Order parallels, which would keep the story unique - where your choice of Order still matters even when it doesn't anymore. Tybalt didn't have to die - in fact, it's kind of absurd that he did since his story was about finding his own heroism, and then he dies. He can die later, perhaps, after he's thoroughly proved himself. (And hey, throw in an encounter with his old warband! Bonus lore points!) And Sieran 0 maybe Sieran could go through a heartbreaking transformation in Orr, the land of the dead - you see something far more heartbreaking than her death as she loses her spirit, and you and Trahearne both resolve that even if you're super-busy with the Pact, you can still cleanse Orr together to save Sieran. (This makes cleansing Orr a personal thing for you as well as Trahearne!) And Laranthir - well, I don't know what he was doing originally. Maybe he stayed back at the Vigil Keep to manage things, but you still see him now and then and he gives good advice and (since his storyline was about falling in love or something) you get to tease him about whatever's going on in his life, and then later he shows up again in HoT.

I'm going to stop - I already just presented a rough outline of a whole rewrite of core PS, I'm not going to step into HoT territory. (But since his storyline was about falling in love - ? Anything could happen really. Maybe his love died in the crash (we don't actually know of any characters who died in the actual crash. Awful shame) and that's why he takes the lead against Mordremoth. That would give him a cool motive.)

Anet I want this now.

I only wanted to say how unfair Forgal's story was to him, and then I came up with this whole thing - ? Some of it included a few helpful fixes for the Trahearne hate - this isn't something I can write out into a whole fic since I have a main fic and while this is a significant AU it's not quite enough for a whole fic but also far too much for just a headcanon - maybe I'll invent a new Commander.

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deardragonbook · 3 years

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How I use Trello for Book Series Management (a Free alternative to so many of those overpriced world building programs!)

I constantly see posts about how these world building programs changed the way you write, help you write faster and accomplish more. And then you go in and they’re super expensive and you read comments are people are like, well, I’m too poor for this, shame.

And I’m just like, okay but... there are alternatives, ya’ll know that right? Right?

So, today I’m going to talk about my alternative and how I use it.

This might not be the best tool for everybody, it works really well for me but I do compliment it with a timeline and a map that I keep separate (will eventually get round to an couple of posts about how I do them).

I use Trello, for this tutorial, I’m specifically going to use this board, I’ve made it editable (I think, I don’t usually work with other people) so you can play around and get a feel for it, please don’t mess it up too much so others can mess with it later.

I had to make a separate board for this tutorial to my usual book board because spoilers! Like, big spoilers. Like, the entire series outline is up there, but I’ve copied pretty much the same lists:

Progress: Here I keep track of what I’m up to and more importantly I will store outlines and drafts through attachments. Basically just another backup (you can never have too many).

Scenes Book 1: Here I write down anything and everything I would like to include in the first book. This can be important things, plot points or silly bits of dialogue.

Done Book 1: Once I’ve written something into the draft I will move the content from “Scenes Book 1″ here.

Future Book Scenes: Here I write scenes I plan to include later on in the series but don’t have a specific book for yet.

Cut Content / Just Writing: If something that was previously in “Futre Book Scenes” or “Scenes Book 1″ gets cut, due to plot changes, fluidity or any other reason, I will move it straight here. This is also a place I use when I get the urge to write something random.

Locations: a quick list of important locations for me to reference (usually because I forget names or spelling).

Characters: a quick list of character’s full names and sometimes pictures for me to reference (usually because I forget surnames).

The second and third I have several off (for each book) and I will drag them to the very end of the screen once I’m done with them. Right now in my original board all the book 1 content is at the very back (where Characters is on this example board).

Each little white square with text is called a card. As you can see, you can add attachments to cards (the little paperclip), these can be images that show up on the main board, perfect for characters or locations:

Or they can also be documents (pdfs, word documents...) perfect for saving drafts. (I uploaded a social media planner just to show you can upload PDFs because it’s what I had on my ipad, don’t pay it much notice).

As you can see below, in each card you have the option to write a description. I don’t think there’s a limit to how long this can be (I’ve never found it), and if you have the time and motivation Trello has several formatting options you can use to make it look more appealing. I don’t tend to use them but it’s nice that they’re there. (This shows up on your card on your board as couple of lines underneath the title, so you can easily see which cards have content in them and which don’t).

If after writing a nice little description you want to add something but don’t want to add it to the description, Trello allows you to add comments, I use this for clarifications or quick added info. (This shows up on your Trello board as the little speech bubble with a number referring to how many comments).

This is an example of a character sheet with a photo and description I made to give you an idea of how to do this!

(Yes, there are two characters in the photo as a pose to one, it’s the last picture I saved on my ipad, just roll with it).

Now that you’ve seen a quick walk through how I use Trello, you’re probably wondering why Trello? Why not posts its or normal lists? Well, Trello has a simple yet powerful feature that makes managing my storm of ideas far easier! The easy drag and drop feature. As well as how quick it is!

Check out this quick video of me moving cards around like I would when editing my main series, creating a new list for book 2 scenes and adding a card.

youtube

Are there better apps out there?

Probably.

But trello had served me extremely well for years now! I love it’s functionality, and none of the features locked behind premium seem particularly important to my personal experience.

Another thing to keep in mind is it’s online, which means I have Trello on my phone, ipad and computer and use it in all three locations. A lot of programs are not available on all of these systems which can make for a slower experience. Especially when I wake up at 3 in the morning and need to add a card somewhere, being able to just reach out for my phone and throw it in is a huge advantage!

They also allow you to add Check lists. My current WIP Oppida Institute for Reformation is actually fully outlines in Trello, I use the comments to write out scenes that are important and hide ticked of boxes for a cleaner look.

I use a different Check List for each Act of the story and so far it’s been a very good experience!

If you have any questions about specific aspects of Trello, feel free to ask because I’ve been using it for a long time and feel like I have a pretty good idea about most stuff.

And if you use a different program for managing series, why not tell us about it? You thinking of trying out a new program?

As always, feel free to:

Buy my book here. (Or read it on amazon unlimited!)

Check out my website

Check out my wattpad

Check out my Instagram (you can see some of my art! Plus real time updates on what I’m up to)

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pedros-mustache-main · 4 years

Text

like the movies

summary: he’s the writer; you’re the muse. there’s a cup of coffee somewhere in there, too.

word count: 3.3k+

warnings: fluff & pining—so, a change of pace from my usual angst. :) also: a serious lack of dialogue because i am feeling verbose.

a/n: this is entirely @joemazzmatazz‘s fault. it was her idea (albeit given to me actual ages ago), but she said “do it” and who am i to say no? anywho, i’m relatively uncertain about how this turned out, but have it regardless!

your latte is hot, almost too hot. it burns your tongue on the first sip.

but you welcome the heat and the momentary burst of pain. the weather swirling outside borders on atrocious: freezing rain mixed with snow flurries, bloated, gray clouds, and a thin layer of ice on all surfaces. though the tip of your tongue stings upon that first sip, the heat that rushes to your chest pushes away the dreary weather you’d slogged through to get to the coffee shop.

you’re a regular here. not a regular regular, but regular enough that the interchangeable baristas recognize you and you recognize them. you exchange tight-lipped smiles and nods of greeting when you approach the counter, but nothing more than simple pleasantries. you don’t know their names, and they never ask for yours, but they remember your order: frosted blueberry latte with extra foam. it’s gotten to the point where you can simply walk up to the counter, money in hand, and the barista can repeat your order before you open your mouth.

it’s the little things, you suppose. in this little corner of the world, you feel seen.

today, you have your laptop open, latte pushed to the side, and a cherry and almond scone on a bright blue plate. you resist the urge to pull your foot up on the chair and rest your chin on your knee. though you’re here more often than you’re at home, this isn’t your living room. you settle for sliding your ankle beneath your opposite thigh.

being a paralegal is decidedly unglamorous. sure, it sounds highfalutin to the person sitting beside you on the airplane, but damn, if it isn’t stressful. you feel like a glorified secretary most of the time. pushing papers and getting signatures and making tens of phone calls to people and places that are not interested in speaking to a lawyer isn’t really what you signed up for. at least, it’s not what you ultimately want. it pays the bills for now, though; a partnership… that’ll come later.

you’re lucky enough that you can work remotely, hence your sturdy corner of the café. from where you sit, you watch customers enter and exit the shop. each time the door opens and the little bell tinkles above, a blast of cold air rushes into the cramped space. you enjoy watching the reaction of newcomer—the way they stamp their snow-covered shoes on the wood floor and shiver, turn to their companions with a smile, hurry to the counter to order something sweet and warm. in those moments, you grow wistful, your heart lurching with loneliness. it’s been a long time since you’ve had anyone to meet for an afternoon coffee date, friend or otherwise. your job doesn’t afford much downtime, and what downtime you do have is devoted to menial life responsibilities.

your phone buzzes, and you glance down. a text from your boss. time to refocus.

you work for a while longer, nibbling on your scone, sipping from your latte. the emails pile up, and your phone buzzes incessantly. a headache forms at the base of your skull as you struggle to keep up with the constant flurry of communication.

after receiving a terse email from your boss’s legal partner in relation to something that is no fault of your own, you shut your laptop. a five-minute break; you deserve that much. rubbing a hand down your weary face, you grab your purse, slide out from behind the table, and head for the restroom. in the poorly lit bathroom, you splash some cool water on your cheeks and sigh at your reflection in the mirror. you look tired, feel it too. the dark bags under your eyes bely how little sleep you’ve gotten in the last week, and your shoulders droop under the weight of the world. maybe by christmas…

who are you kidding? christmas is just as busy as any other time of the year. people don’t stop needing lawyers just ‘cause it’s the holidays.

when you return to your makeshift workspace, you immediately frown. you freeze several paces from the corner of the table and glance over your shoulder, tightening your grip on the strap of your purse.

someone had been at the table in the five minutes it took to freshen up.

nothing is gone, thank god. (in retrospect, you probably shouldn’t have left your laptop and phone sitting in plain sight. call it naivety, but you like to think the best of people. however, your line of work consistently reminds you that the bad in people often outweighs the good.) your laptop, though, has been nudged to the side, the movement causing the charging cord to fall out. several drops of dark liquid—spilled latte—dampen the corner of your yellow legal pad.

what truly catches you eye is the square piece of paper resting on your laptop’s keyboard like a discarded feather.

you look over your shoulder again, but the shop is largely empty save for the baristas and an older couple in the far corner. the weather is certainly a deterrent from lingering. perhaps someone had come in while you were in the bathroom and left you a note. had your car been hit? you hope not. you don’t have the extra funds for vehicular maintenance right now and even less time to fix whatever damage had been done.

leaning forward, you lift the piece of paper, and your chest tightens.

it’s a drawing—a drawing of you. blue ink scattered across the page in swirling lines forms the hazy outline of your profile. your chin rests in your hand, and the artist made certain note to emphasize your eyelashes, which are not that long in actuality. at the bottom of the page, a message in curling script: when you are old — yeats

your mouth runs dry, your palms moist with nerves. returning to your chair, you quickly type the words into the search bar of your browser. you remember enough from high-school english to know yeats is a poet, but when the poem loads and you read the words, you feel like you might fall over.

your neck snaps up, cracks at the sudden movement. someone had been here in the café long enough to watch you, to sketch you, and to think of the yeats poem in relation to you.

how decidedly… romantic. like something out of a chick-flick.

despite the warmth in your chest, you shut your laptop, fold the sketch, and shove it in your coat pocket, willing yourself to forget the random happenstance. things like that—serendipitous moments of romance—only happen in the movies. they certainly don’t happen to you.

whomever had left the note, well—at least they’d brightened your day. your mother would call it a gift from the heavens, an angel smiling down on you.

shaking your head, you gather your things and hurry out into the cold, wintery weather. you refuse to allow yourself to go home and daydream. you could use the note as a bookmark, sure, but there was no use in dreaming about the artist. no use whatsoever when you would likely never cross paths again.

except you do go home and daydream. why you ever thought you could keep yourself from mulling over a moment rife with potential is ridiculous.

all throughout the evening—as you make your stir-fry dinner, as you draw your bath, as you change the sheets on your bed, and fold the laundry—you consider the possibilities:

you’d been at the café for a handful of hours, but how much had you truly paid attention to the patrons coming and going? barely, if you’re honest with yourself. you had noticed the older couple when they came in; you’d wondered how they’d managed to get from the parking lot to the warmth of the coffee shop without slipping on the icy sidewalks. you’d noticed, too, a man who looked a lot like how you imagine paul bunyan: massive height, plaid shirt stuffed in worn jeans, impressive beard. no one else of note sticks out in your mind hours later.

what had you been doing all afternoon? hopefully you hadn’t done anything embarrassing. god, sometimes you have this habit of resting your fingers over your mouth in such a way that it pushes up your nose to resemble a pig’s snout. had you done that? sometimes you fiddle with your hair too much and bounce your knees and hum to yourself. you want to sink below the suds of your bathwater when you recall your propensity for talking to yourself.

your thoughts turn fanciful when you finally slip beneath your covers.

maybe the artist is like tom hanks in “you’ve got mail.” only instead of emails, you could exchange notes in a coffee shop and forgo the business rivalry part.

maybe the artist is like tom hanks in “sleepless in seattle”: soft and sweet and really good with kids.

maybe you just have a thing for tom hanks.

you turn your head with a girlish grin, tucking your lower lip between your teeth.

you’d promised yourself you wouldn’t daydream, but how could you not? yeats’s poem filters through your mind like the moon filtering through your curtains: how many loved your moments of glad grace, and loved your beauty with love false or true, but one man loved the pilgrim soul in you and loved the sorrows of your changing face.

with a muffled squeal, you allow yourself a moment to thrash in delight—like a schoolgirl with a crush and a note checked yes i like you tucked beneath her pillow. the idea that someone somewhere notices you, of all people, is simply too much to bear. you feel like your heart will explode and sunbeams will burst from beneath your skin. you feel warm and happy and drunk on possibility.

you settle, then, and sigh, smoothing your hands over the rumpled comforter. you’re a professional, though. a paralegal, for god’s sake. you’ll go back to the café. maybe not tomorrow, but you’ll go back. just maybe—maybe, maybe, maybe—you’ll run into your artist again.

you return to the coffee shop in two days, lugging your over-stuffed bag with you, earbuds snug in your ears. when you cross the threshold, you can’t help the way your eyes immediately scan the customers who have parked themselves in the various sitting areas. you’re looking for your artist, obviously, but you have nothing to go on other than the note tucked away in your jewelry box at home. a few words, a carefully drawn profile—that’s not enough to determine who had created the note from a simple glance.

begrudgingly, you remind yourself once again that life isn’t a movie. there’s no tom hanks waiting for you on the other end of the note. it’s silly to dwell on it any longer, really. you’ll get too wrapped up, too attached, and that wouldn’t bode well for the upcoming holidays.

the table you usually occupy is already taken by a man in a red sweater. his head is bent over his laptop, glasses slipping down his strong nose. you try not to take it to heart; the table was never explicitly yours. with a soft grunt of effort, you drop your belongings in an orange armchair across the room before meandering to the counter. julie (at least, you think that’s her name?) smiles when you approach, and she rings up your order, asking about the weather and plans for the holidays.

once your coffee is in hand, you return to your new seat and relax in the accommodating plush armchair. maybe the man in the red sweater had done you a favor after all. you glance up to look at him. if he stays as long as you often do, his ass will ache by the time he leaves. the wood chairs offer zilch in the way of comfort.

you quickly lose yourself in work, but the idea that your artist could be in the same room as you never truly leaves your mind. you find yourself glancing about the room from time to time, studying those who come and go, wondering if perhaps they were the one who saw something worthwhile in you. no one catches you eye; everyone is too busy with their own affairs, and you don’t blame them.

by the end of the afternoon, you find your latte completely and utterly forgotten. it’s cold when you take a tentative sip, and you sigh. maybe not five dollars wasted, but five dollars you had meant for a hot drink, especially considering the cold weather. rising from your seat, you take the latte to the counter and ask the barista to pour your drink in a to-go cup with some ice. might as well make the best of it, and you don’t like things to go to waste.

when you return to your chair, you nearly drop the plastic cup.

another note.

“holy shit,” you breathe. instinctively, your palm tightens around your cup, and the plastic gives a small crack. you wince and double-check to make sure no leaks have sprung before picking up the folded piece of paper on your messenger bag.

your fingers tremble as you flip open the folded note.

the same blue ink, same hurried penmanship. no drawing this time; only words.

she sat, much as i did, working fervently. i couldn’t help but watch, and maybe that made me a creep, but i’d been called worse. she sat with an heir of regality, her chin held firm, eyes dancing about the room like she owned the place. not haughty or self-possessed. just sure of herself. what did that make me then? alone in my corner? i didn’t like to dwell too long, so i—

the words stop in time with the seize of your heart.

you can’t seem to look away, to look around the room again in search of your artist, your writer. your heart pounds in your chest, flush rising on your cheeks. eyes—you feel eyes on you whether they are present or not. you feel dizzy. never have you felt so… seen, so noticed. not even in past relationships have your boyfriends took such care to notice the minute details of your being.

the strange urge to vomit rises in your throat. you aren’t afraid; you aren’t creeped out.

you’re just… overwhelmed.

so, you tuck the note in your pocket and leave, careful to keep your gaze on the floor as you exit. just in case your writer is still there, still watching.

you’re nothing special, nothing like the paragraph they penned. they should get that through their thick skull before they find themselves disappointed.

you don’t return to the coffee shop until after the holidays.

it’s not that hard to stay away. the hustle and bustle of work combined with the hustle and bustle of family gatherings keeps you from finding the time for an afternoon of solace anywhere, let alone the café.

you must admit that you think of your author often, try as you might to forget them.

by now, you have the cadence of the yeats poem memorized and the prose of the paragraph tattooed on the front of your mind. each time you pass a couple in a warm embrace, you wonder what became of your writer. you wonder if they think of you as much as you think of them; if they ruminate over the possibility of a life that cannot be.

if this were a movie, you would run into your author by random happenstance. you’d bump into them at the market, spill your legumes on the floor, touch hands in your haste to right the mistake, and—boom—as you look up, it would all fall into place.

if this were a movie, you would see them in the library or the post office or the deli or—

—or the coffee shop.

you sigh as you enter the café, wishing for your author to be there, knowing they won’t be. it is enough that you’ve experienced two mysterious love notes; things like that don’t come in threes.

that’s only in the movies.

the café still has its holiday decorations up. twinkle lights hang draped across the ceiling, and music filters over the sparsely filled tables and chairs. in the post-holiday haze, you didn’t expect the café to be crowded. in all truth, the sight of few patrons eases your mind.

less of a chance to run into your author. less of a chance to reveal yourself as the decidedly uninteresting person you are.

you set your belongings down at a side table, and as you reach for your wallet, a presence hovers over your shoulder. frowning slightly, you straighten, prepared to ask the person to kindly give you some space. when you do turn, your heart leaps to your throat, and the wallet in your hand clatters to the table.

it’s your author. you just know it.

there’s something vaguely familiar about the man, about his strong nose and groomed facial hair and crystal eyes. he’s tall, warm looking, like a hot drink on a cold day or a crackling fire. his eyes scan your face as though he is worried, as though he’s uncertain of what he should do now that you’ve actually faced him.

you speak before your thoughts catch up with your heart. “you wrote those notes, didn’t you?”

he nods, and the movement—so gentle, so reminiscent of a small boy on the verge of a scolding—makes you love him all the more. “yeah.” he sighs, lifts a hand to rub the back of his neck. “yeah, sorry about that. i wanted to apologize. wasn’t sure i’d get the chance, if you’d come back again.”

you shake your head. “no, don’t apologize. please don’t apologize.”

it’s his turn to frown, and he looks up from the table. you lose your breath momentarily. god, his eyes are blue. “when you left last time i thought… well, i thought i’d scared you off.” with a rueful chuckle, he shoves his hands in his pockets. “would serve me right, too.”

“why do you say that?”

“i mean, notes on your laptop when you aren’t looking? intently watching you? kinda stalkerish, huh?”

you can’t help but smile—smile at him, at the nervous twitch of his mouth, at the way he avoids your gaze. “i guess.” on a daring move, you reach out and touch his elbow. when you touch him, he feels like home. “but i don’t want you to apologize. i like the notes. i haven’t thought about anything else since you gave me the first one.”

“really?” there’s a hopeful tone in his voice; it sets your heart on fire.

“yeah.”

“i’m writing a book—a novel, really. i saw you so often that any time i got stuck, i just wrote about you instead.”

you could kiss him then and there. instead, you tell him your name, and he grins.

“i’m gwilym.”

“tell me, gwilym.” you pull out your chair and motion to the café counter. “how would you feel if i bought you a coffee? i want to hear more about that novel.”

“i’d—i’d like that.”

he follows you to the counter, his hand brushing the small of your back.

the barista—matt, you think—looks up from the register and laughs. “holy shit, i won!” he looks over his shoulder. “hey, julie! you owe me a fifty.”

you glance at gwilym, but he’s already looking at you. you smile.

matt continues. “we had a pool to see how long it would take for you two to get together. you were always looking at each other but never at the same time. you knew that, right?” still laughing, he rings up your orders without be asked. “coffee is on us today, guys.”

as you wait for your latte to be steamed and gwilym’s chia to be poured, you tuck your lip between your teeth to stem your widening grin. gwilym is strong by your side, the perfect height for you to rest your head on his shoulder. you look up at him, at the noble planes of his face, and your chest squeezes. when he looks at you again, your chest squeezes even tighter.

maybe life is like a movie after all.

#gwilym lee #gwilym lee x reader #gwilym lee imagine #bohemian rhapsody #j writes

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catinthesun2 · 3 years

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A little encouragement for you 🌿

A lot of writers get strapped for time and wish they could write more, but end up demanding more from themselves than they can manage and stressing themselves out! So, ask yourself what you can manage every day. 30 mins of writing? 250 words? More? Less? And then create boundaries. Outline your daily writing moments and fence them in! This is your time to do one of the things you love, No Trespassing! You can create a little moment in your day that's just for you and your writing. Even if it's 10 mins before you pass out for the night!

Remember that everyone's got their own unique situation. When I worked and studied, sometimes I spent days or weeks not writing. Some days I had more energy than others. Some days I managed to sneak in some writing at work when things calmed down, even just a few lines of dialogue for a scene I would flesh out later on. Every little bit helps. 15 words today? No problem. 37? 102? Great! Still more than there were yesterday, and the day before! And if I didn't write for some days? That's not a bad thing, either! Life demands that we are there for so many moments. With so much to do and give and make and see, it's only natural we won't get to do everything we want to do in a day. There's always tomorrow! 🌼

Happy August & happy writing! 🍀

Awww! Thank you so much.

#writing #writieblr #writing encouragement #writers support writers #writing inspiration #writing is hard #but it's better with friends

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hangingslothcentral · 3 years

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Here’s what writing an episode of Spirit Box Radio looks like...

If you’ve ever wondered how episodes of Spirit Box Radio are written, here’s a little overview of that process!! If you like this, I can also write up a similar breakdown of the sound design process!

Most, but not all, episodes are born in the ‘Episodes’ section of the Show Bible. The Show Bible is a document of epic proportions - 50k in length and growing every day - which contains all the essential information about the show, from the continuously evolving methods I use to edit different character voices as I learn more and more about audio editing and production, right to ‘sketches’ of the episodes for all three series of the show. There is also a large section called ‘Ideas and Notes’, where I’ll write freeform dialogue between characters and keep track of themes and ideas to try and keep them consistent. These are all numbered, and referenced in a seperate spreadsheet I have of all the characters with significant and/or speaking roles in the show.

The full break down is under the cut!!!

The grandaddy of the the plans in the Show Outline, where I go over all of the main ideas I want to be talking about in the show and roughly mark out the outline of the shape of each season. The first draft of the Show Outline was very messy and rough, but subsequent versions are broken down into Season-by-Season chunks, all talking from a multi-series perspective so as to place the ideas of the show along a three-series-long arc.

Season Outline

Season Outlines take those ideas for the shapes of the series from the Show Outline and refine them further from a beginning-to-end-perspective. I'm a goal-oriented writer, which means my story ideas tend to come from a very ‘the end’ kind of place, and the stories that lead up to that ending are all about serving that ending. Quite often the ending itself changes a long over the planning and writing process for me, but that’s the great thing about a plan! Once you have it, you can change it if you need to. What a plan does, however, is provide you with a framework for understanding what bits of a story you have, and what bits you still need to make.

The three seasons of Spirit Box Radio are quite deliberately split into two halves. There are lots of reasons why and one of them is that it gives you a very specific kind of shape to be working from. A season with a mid-season break has a part one which has it’s own escalation of tension and climax, which comes at the mid-point of the season-long escalation, where the story might otherwise sag a little.

Beyond splitting the plan into Parts 1 & 2, I typically also break episodes into ‘Blocks’. This is partly practical; I can refer in conversations with my guest writers to where it falls in a specific block of episodes, and where that block fits in the story as a whole, and it also makes splitting up the episodes for sending out scripts to my actors a lot more straight forward. Part 1 of Season 1, for example, was broken into three blocks; episodes 1.1-1.7; 1.8-1.13; 1.14-1.20. I won’t go into detail about how this effects the structure of the episodes themselves, but it’s usually about building characters up to making a certain decision, or following a certain subplot more closely before pulling away.

Episode Sketch

A ‘sketch’ is a very brief summary of what needs to happen in that specific episode. This can be concrete, like ‘find [x] item’, or vague, like ‘establish that Character A has Trait Y’. Sometimes I’ll make a note to include a specific sound or character beat, or I’ll reference a noted scene from the ‘Ideas and Notes’ i think would fit in there. It’s usually at the sketch summary stage that I figure out whether or not there will be other characters in a specific episode. The sketches for almost all of the episodes in Season One were written between August and October 2020.

Episode Plan

This stage takes those necessary elements from the sketch and fleshes them out into a coherent story. The key thing about podcast episodes is that they have to be able to be entertaining on their own, minute by minute, as well as serving the whole series (I talked a lot more about this in the last episode of Hanging with the Sloths on Patreon which is only £2/equivalent pcm to access if you’re interested!!)

Whilst I’m making my episode plan, I’ll look back at the sketches for the episode I’m working on and those before and after it, and refer to the series outline where I can, to make sure I’m keeping a handle not just on the individual pacing of the episode, but the pacing of the show overall.

I like to have Episode Plans done by about a month before I need to have a script finished.

The Script Itself

Spirit Box Radio scripts are either agonising or happen in the blink of an eye. I do not have a set approach to how I write an episode. Sometimes the plans come with sections of dialogue written months before and I’ll drape the rest of the episode around those moments and see where I end up. If there is a character other than Sam in an episode, I’ll typically attempt to write that section of the script before the rest, so that I’ll definitely have it locked by the time I need to send it to the actors.

Any script that is for other actors (i.e. not me) has to have notes, direction, and additional information included to help the actors give their best performance. That’s difficult sometimes because I guard my show secrets closely, so it’s often a game of working out how much I can tell an actor without including spoilers for later important plot points unless absolutely necessary, and how to supplement gaps in their information. I’ll usually compare a character to a character from something else as a shorthand for performance.

This means there are two versions of every script which needs to be seen by people who aren’t me. My scripts, which I call the master scripts, have all my audio cues, breaks for drinking water in recording sessions, character notes that are Top Secret, sound scaping ideas, specific sounds I’ll need to use at different moments, and specific audio cues. As I get better at sound design, my version of the script only gets messier and messier to look at. Sometimes, when I’m writing scripts, I’ll actually even start with sound design notes now!!

Script Locking

This is the point at which a script can no longer be changed. Scripts with other characters in them have to be locked before scripts for just Sam, because they need to go out to actors and I need to ensure that I have time to go back and ask them to redo things if necessary, and also to make sure they have proper time to rehearse and organise read-throughs as they’d like to. That means sometimes sections of an episode are locked way before other sections are even written. This can be challenging as a writer because sometimes I’ll come back to a section which I know still needs work, and find I’m extremely limited in what I can do because I’ve already sent an actor a script to record from - sometimes for later episodes, I’ll have the lines from otheres already recorded and ready to go before I finalise some of Sam’s lines for a specific episode.

Sam is recorded a minimum of three weeks before an episode is due to air, and I’ll record in 3-episode stints, usually. I like to have the scripts locked a week before I record so I have time to read them through at my own pace, but sometimes I won’t manage to have them locked until three days out. On one hateful occasion, I threw out an entire script after I’d recorded an episode and re-recorded the whole thing the day before airing. I do not recommend doing this and whilst I am much happier with the result it was an agonising experience because once I’d rewritten and re-recorded that episode I then had to edit it before it was due for release, a process which takes about six hours minimum. I was making tweaks until 20 minutes before the episode went live. Do not recommend.

Editing

Speaking of editing, the final stage of writing an episode actually happens in the cutting room. Sometimes episodes are simply Too Long. Sometimes stuff that worked on paper just don’t work in audio. Sometimes I can’t say a word correctly for the life of me and have to cut a whole sentence to cover it over. More rarely, but still often enough an occurence it bears mentioning, I’ll realise in the editing process that a conversation is better in a different order than the one given in the script, and pull and move around the dialogue to adjust the flow. Sometimes I’ll move sections about a bit to accomodate similar problems with narrative flow.

Annnnd that’s it! That’s what the process looks like!

#spirit box radio #spirit box radio podcast #writing #audio drama #behind the scenes #writing process #show runner

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