September 7, 2014

khymeira:

So far, the worst of it involved passing a gaggle of lively teenage girls, and one exclaimed, “What a silver fox!” Otherwise, strangers will generally categorize me as a mutant, and not as an octogenarian. 

(via satoshihiwatari)

September 2, 2014

yuusaris:

agentchurch:

yuusaris:

agentchurch said: Wow, the both anger and the begrudging respect between the 3 could destroy worlds.

The respect towards Texas is nowhere near begrudging from Locus, but Felix and Tex do tend to butt heads from time to time, yes.

Honestly I just seeing them fighting with money constantly and debating on who would do what for the lowest price.

It’s actually more practical than you’d think.
Felix is a big spender, but Felix also takes very good care of money and things that cost money. So when Felix spends, it’s on high-quality shit that’ll last and work the best. That’s not just luxury, that’s common sense. The TV the size of a billboard isn’t just about size, it’s contrast, quality of the screen, what packages come with it for cable and satellite or what have you - it’ll be the whole damn package.
Buuuuut, as said, this is /insanely expensive/ and Tex isn’t so much frugal as she is a bit of a money hoarder. She’ll go for cheaper if it means still having a pile of money to roll around in at the end of the day. Felix spends money to make money. Texas makes money and keeps it around like a dragon with it’s hoard.
Locus just wants enough money to live on. He’s usually on Texas’ side when she and Felix fight. He’ll mention getting the cheaper one because it still has good reviews and it’s not a necessity, Felix, stop whining like a child.
Felix whines more because Felix DOES ’ /WANT/ THE CHEAPER ONE, FELIX WANTS /THAT/ ONE, YOU ALWAYS TAKE HER SIDE YOU LIKE HER BETTER THAN ME.

That is, all things being equal, Locus /does/ like Texas more than Felix, but that wasn’t the origional point and Felix knows it and only Felix can go from being practical and conscious of spending to a whining, insufferable brat in five seconds.

July 1, 2014

yuusaris:

yuusaris:

yuusaris:

omg ashley you have unlimited scroll im not sure how you survive

I CAN REMOVE THE FUCKING UNLIMITED SCROLL?!?!?!?!?!

the deed is done. 

image

(you do it by going into ‘setting’ and then clicking on ‘dashboard’)

I never knew this. never. My life is so much simpler now.

July 1, 2014

yuusaris:

ashley imma make make your life 300% easier and turn off unlimited scroll. tell me if you want me to change it back.

When I backtrack, I just scroll. I scroll and scroll and scroll until I’ve found my tail and the cycle begins anew

2:53pm  |   URL: http://tmblr.co/ZE9bEv1KGtEl5
  
Filed under: BLESS U 
June 26, 2014
On Writing: Secondary Characters

readingwithavengeance:

Secondary (and tertiary and further) characters are every bit as important as your main character.  Where the main character has to be the vehicle for her or his personal story — and more often than not it’s a story of exceptions — the secondary characters are going to carry your world.  By having a wide and diverse cast of bit characters, you show your world as being rich and fully-formed.  Characters will accomplish this impression of a ‘full world’ far more evocatively than any amount of trivia you might come up with.  But, seeing as secondary characters by nature get less page-time than main characters, it can sometimes be hard to really express them as being vivid and fully-developed.

  • Less is more - It feels hard to give your secondary characters as much development as your main characters because it is hard.  It’s nigh-on impossible.  And frankly, books that try it run the risk of getting too cluttered.  So don’t.  While your characters should be fully-formed to you, the audience should only get glimpses of them when they’re on the page.  If they have their own character arc but we only get to see the start and the end of it, that’s fine.  The impression that they’ve got off-page stuff we don’t get to see is going to make them feel more real anyway.

Read More

(via thewritingcafe)

June 25, 2014
Writing Research - Ancient Rome

ghostflowerdreams:

Ancient Rome was an Italic civilization that began on the Italian Peninsula as early as the 8th century BC. Located along the Mediterranean Sea and centered on the city of Rome, it expanded to become one of the largest empires in the ancient world with an estimated 50 to 90 million inhabitants (roughly 20% of the world’s population) and covering 6.5 million square kilometers (2.5 million sq mi) during its height between the first and second centuries AD.

In its approximately 12 centuries of existence, Roman civilization shifted from a monarchy to a classical republic to an increasingly autocratic empire. Through conquest and assimilation, it came to dominate Southern and Western Europe, Asia Minor, North Africa, and parts of Northern and Eastern Europe, Rome was preponderant throughout the Mediterranean region and was one of the most powerful entities of the ancient world. It is often grouped into “Classical Antiquity” together with ancient Greece, and their similar cultures and societies are known as the Greco-Roman world. [x]

Names

Society & Life

Commerce

Entertainment & Food

Hygiene, Health & Medicine

Fashion

Dialogue/Language

Justice & Crime

(via thewritingcafe)

June 11, 2014

(Source: stkreuz, via cutestforlife)

June 5, 2014

God, I can’t delete that untuil i get home FUCK internet explorer….

June 5, 2014
yuusaris:

ygocanonshuffle:

yu-gi-yaoi:

an au where kaiba teaches sunday school


an au where atheist kaiba teaches sunday school
“THERE IS NO GOD. THERE IS ONLY DUEL DISK.”

 #’BUY KAIBACORP’

yuusaris:

ygocanonshuffle:

yu-gi-yaoi:

an au where kaiba teaches sunday school

image

an au where atheist kaiba teaches sunday school

“THERE IS NO GOD. THERE IS ONLY DUEL DISK.”

 #’BUY KAIBACORP’

June 2, 2014

sxtrovert said: Okay, so I recently began writing a new story (after shamefully abandoning a previous story with over 30k words) and I'm a little stuck on something pretty trivial. There's a scene in which two characters are walking to a nearby location and talking to each other along the way. My issue is that the scene is basically 70-80% dialogue, which I think makes it boring and would have readers skipping lines. Is there any way I can bring the scene to life? Thanks in advance.

fuckyeahcharacterdevelopment:

Well first off, make a list of all of the information this scene delivers unto the reader.

For example,

  • The reader learns there is a great war brewing in the east.
  • The reader learns that Jo has budding feelings for John.
  • The reader learns that hunters frequently poach the woods, looking for…

Then ask yourself if all of this information really needs to be conveyed via dialogue. I’m gonna stick with those things for my scene to use as an example. It’s not gonna be the best writing in the world, but the purpose is just to show you how to work with scenes where there is due to be more dialogue than there has been previously.

Keep Them Talking

The first point about the war could be relayed through conversation alone since there isn’t likely to be a news broadcast in the middle of nowhere. In this instance, word of mouth is the most likely source for the information, so you don’t have to avoid dialogue at all costs. By all means, use it!

'Things are tense now,' said John.

He had his back to me, his gaze trained on the sun as it rose behind the distant mountains.

'They've closed their borders for fear of invasion from the north. There's no way we're getting through that passage today.'

Just don’t make it black and white. Tease information, so that the reader can draw their own conclusions. I don’t have to say, ‘there is a war brewing in the east’. John looking eastward and speaking of closed borders and invasion makes that clear enough.

Undertones

The feelings of one character towards another are things you can layer underneath the scene. Rather than getting a character to shout, ‘I hate you!’ or ‘I care about you!’, try and show their brewing hatred - or affection - in other ways.

He looked thin and frail, and the wound at his arm still seeped through the precarious bandage I’d tied the night before. Pulling my jacket tighter around my waist, I hid the torn part of my shirt out of sight.

'We should keep going,' I said. 'There's a town not far from here -'

'And what if we're seen?'

'You can't carry that injury for much longer. It's already infected.'

'Then I'll lose my arm.'

'Don't be ridiculous.'

I shoved him hard, knocking him a step off balance. It would have been more fitting for me to keep the distance between us, but I closed it with a sure stride. I teased the bandage at his arm and re-tightened the knot…

Rely on Your Setting

You say your characters are walking from A to B, so what kind of things around them can speak on their behalf? I listed that in my scene, there are hunters around, poaching the woods for something specific. It’s not likely that John or Jo would know everything about the landscape or what is to come, so they can see it or hear it instead, right?

Already, I have a fair bit of dialogue in my scene, but it can be broken up with description or internal monologue to keep it from coming across as a ping-pong dialogue segment.

Where the track had once been uncertain, a pathway of flattened grass opened up beneath the tree boughs. John shielded his eyes from the jabbing rays of the sun. If I hadn’t kept my gaze low, I might never have caught it. With no time to explain, I wrapped my arms around his waist and dragged him a few steps back.

'Idiot,' I seethed. 'You almost lost your foot as well as your arm!'

He broke free of my hold and stared ahead, aware of the toothed, metal trap concealed well by the long grass.

'Hunters?' he wondered aloud. 'It's unusual for them to be this far out.'

I shivered. ‘Let’s just get out of here already.’

'Yeah,' he agreed. 'Rumour says they're raised in darkness. They see in the night better than they see during the day.'

I caught a laugh in my throat, then stifled it. Hurt softened his expression for a brief moment, before he continued to walk on ahead. I trotted to keep up…

My examples aren’t the best, but I hope you can see now that dialogue segments can still be kept interesting (this being the operative word when it comes to my quick writing, but you know what I mean, ha ha!) without it all being supported by talking alone.

To recap:

  • Use the five senses. Sometimes taste is a difficult one to put in there, but make sure your characters are taking in the world around them as they walk through it. Give your reader a strong setting, so that they can visualise the world you have created and also learn through the dialogue and the things your characters perceive.
  • Break up the dialogue. Without indicators or any kind of movement between characters, your reader might struggle to keep up with who is talking and when. This in itself should keep the scene from being too dialogue-heavy.
  • Subtext. Try not to have the dialogue too black and white. Make your reader work for their information, and also use the opportunity to show them some character development and character interactions. This will keep the dialogue pieces interesting and also motivate your reader to pay attention as they learn new things about the characters and their feelings for one another.

I hope this helps you out…! Best of luck.

- enlee