my mom and dad were arguing in front of me whether to give me a present now or to wait til christmas and my mom was like “can we give her it now?” and my dad was like “what present” and my mom was like “you know… the good one” and my dad was like “spell it” and my mom goes “GREG, SHE’S 23”
"You two have managed to accomplish something together no one ever has; you surprised me.”
I’ve been fucking waiting for this photo set right here, and let me tell you why. Monsters University quickly became my favorite movie due to a single fact, that these two? They failed. They actually went to school and they failed, they didn’t get brought back in, they didn’t make a miraculous come back at the end, they fucking failed College.
But that didn’t stop them. Through hard work, perseverance, and taking opportunities that came a long instead of just settling for where they were at, they were able so still make it to where they wanted to be.
That is super powerful, it gives you hope, knowing that college isn’t the only way. Because you know what? It isn’t, you don’t have to go to college to get to where you want to be or to be happy. You just got to take chances, take opportunities, swallow that fear and do things to help change your life for the better. If you believe college is it? Fantastic! Go for it!
However, remember: Life is never over if you fail something. You just got to look for opportunities to bring yourself back up.
Gotta reblog for that commentary
Alvens: These are Water faeries who float around on bubbles and hate fish. During a full moon, they come on land to dance and play. They are not particularly friendly.
Amadan Dubh: This is a particularly dangerous type of faery that is greatly feared among the Gaels. They are…
Today, Haley Radford, president of the former NaNoWriMo sponsor and agent matchmaking service Litfactor, shares three things authors might not know literary agents want:
Communication is king in 21st century publishing, and yet, there so often exists a frustrating breakdown between those who work in the business of books and those who are producing the glorious stories that sustain it. The mismatch between what literary agents really want and what writers think they want is a perfect example of this peculiar industry disconnect.
I made these as a way to compile all the geographical vocabulary that I thought was useful and interesting for writers. Some descriptors share categories, and some are simplified, but for the most part everything is in its proper place. Not all the words are as useable as others, and some might take tricky wording to pull off, but I hope these prove useful to all you writers out there!
(save the images to zoom in on the pics)
beowulf-is-cooler-than-you asked: I want to include LGBTQIA* characters in my current story, but I don’t want my story doesn’t really include romances. I want to write an LGBTQIA* character like any other character, but if my characters were straight, I wouldn’t mention sexuality at all because it would unfortunately be assumed, but not mentioning sexuality and pulling an “oh yeah, she was asexual” out of no where with no contextual proof is queer baiting. But without a romance, I feel like announcing “I’m gay” is gimicky. Help!
I’m still learning about all of this, so please bear with me. :)
My understanding is that asexual does not mean aromantic. So, even if you don’t want your character to be in a romance, that doesn’t mean that they couldn’t have or express romantic feelings for someone. Having said that, though, I’m not really sure what would be the best way to hint that a character is asexual. It’s tricky because asexuality isn’t uniform, so it really depends on the specific needs and desire of your character.
My best suggestion would be to read as much as you can about asexuality and writing an asexual character, and then decide on the specifics of your character. Then you can sit down and brain storm some situations wherein your character might be likely to drop hints about how they feel toward other characters or sexuality in general. You could also read up on what it’s like for asexuals to come out as asexual, and then maybe have your character come out to another character.
Here are some resources for you:
LGBQA+ SERIES: ASEXUALITY via fuckyeahcharacterdevelopment
How to Show That a Character is Asexual via anagnori
On Writing Asexual Characters (from an Asexual) via serenityaithine
Resources for Writing Asexual Characters via mugglibus
Asexuals on Coming Out Experiences
Does anyone else want to weigh in?
Better than our resources I think. Lots more.
Here’s our link to our tag as well.
Dialogue Should Move the Story Forward, Provide Information, or Enhance Characterization, Unless You’re Really Witty
The best dialogue can do all three. This is a rule that’s often broken by great writers, but before you can get away with breaking it, you have to understand why it exists. Recently, I reread one of my first stories. I thought it would be fun to reread, but I was disappointed in much of the dialogue. In the middle of a scene, my heroine Mildred and the housekeeper broke into an exchange about what my heroine wanted for dinner. I think they were the only two people in the world who cared about it. Readers never even got to see them eat this dinner, and the exchange had no point. It didn’t advance the plot, and it told us nothing about Mildred except that she hated sour beef and dumplings.
But let’s say you’re writing a romantic mystery where several people are poisoned by arsenic in the sour beef and dumplings. Suddenly that exchange becomes crucial because the reader knows Mildred was spared because she didn’t like the dish — does this mean the killer poisoned that dish because he didn’t want her to die? Or let’s say the point of the scene is that Mildred’s late father is a famous chef whose specialty was sour beef and dumplings, and Mildred confesses that no longer eats this dish because it brings back too many memories. Now the scene tells us something about Mildred’s personality, not just about her food intake. It wouldn’t take much work to use this exchange to move the plot forward while telling us something about Mildred and sharing the information about the food she likes.
Are you a witty author? Are you sure? If so, then you can get away with writing dialogue that doesn’t advance the plot, doesn’t tell us anything about the character, and doesn’t provide information to the reader. But even if you can get away with it, why should you do this? Even the most sparkling dialogue won’t help your story if it’s completely empty of anything but wit."
Requested by Anonymous.
I’ll admit, I’ve been a bit lazy getting this edited and ready. Good thing my husband can force me to get working on things. Hope you enjoy!