Did I ever post this one?!? I drew this last year actually, when I was thinking about the climax, and of course it’s going to go down a bit differently now that I’m here (they spent far more time arguing than hugging 😆), but it still makes me 🥺🥺🥺.
(via hobbitsetal)
flatid planthopper nymph, Singapore. hemipterans (true bugs) like these have mastered the art of covering oneself in weird waxy filaments, which are shed along with their last juvenile molt, revealing a sleek, gossamer-winged adult
(via prideandpen)
FOR ARTISTS AND WRITERS WHO NEED IT IT’S AMAZING
I know some of you need this! (you don’t need to have giant or tiny characters either. it’s a great ref for everyone!)
Holy shit
(via cerusee)
“Christianity came in here as before. It came in startlingly with a sword, and clove one thing from another. It divided the crime from the criminal. The criminal we must forgive unto seventy times seven. The crime we must not forgive at all. It was not enough that slaves who stole wine inspired partly anger and partly kindness. We must be much more angry with theft than before, and yet much kinder to thieves than before. There was room for wrath and love to run wild. And the more I considered Christianity, the more I found that while it had established a rule and order, the chief aim of that order was to give room for good things to run wild.”
—G.K. Chesterton, Orthodoxy.
(via lady-merian)
Is it Possible for an Idea to be Beyond Your Skill Level?
I think writing as a skill is often underappreciated. In that, I mean I think even writers hold ourselves to a standard that no other creator does. Out of all the skills or hobbies, it’s probably one of the least physical ones, which is often seen as the “benchmark” for skill, or the limiting factor in someone improving something.
For example, musicians get more nimble and can reach their notes quicker and more accurately, allowing them to play more difficult pieces. Athletes get stronger and gain in endurance, allowing them to score more goals or otherwise go farther in the season with their team.
I see writers all the time who believe they should be able to do anything because they don’t have that physical benchmark to limit how far they can go, and then the draft doesn’t come out how they wanted it to, and they get discouraged.
Here’s my take, writing as a skill is just like any other. It needs practice. It’s not something you’re either born with or not, it needs to be developed and strengthened.
With that in mind—I promise your idea isn’t beyond you. No one is ever going to finish a perfect draft on their first try—that’s never how anything works, and it has nothing to do with how “talented” you are.
Rewrite the scene until it’s capturing what you want it to. Rework that character until they are who you need them to be. Edit until your motifs are coming through. It’s all practice, every draft is another practice towards nailing the end product. Do you think artists nail drawing hands on their first try? What about on their tenth try?
So why are you holding yourself to this idea that it’s taking too many drafts to perfect?
It’s okay to keep trying. If you’re really struggling with realizing a concept, take it out of its context. Write the character you want to see in different situations separate from your project. Read how others have done something similar, take notes. Gather sources and inspiration for what you want to do. Reach out to other writer friends for advice.
Overall, don’t not write because you think it’s beyond you. With a little bit of work and practice, there’s no story you can’t finish.
Good luck!
(via cerusee)
New writing rule: Checkov’s friend
If you introduce a named character with a relationship to a protagonist, their character arc must be resolved in a way that feels reasonable and satisfying
Which is to say: they can’t just dissappear when they’re no longer a convenient plot device
Thor’s Mum rule – If you’re going to kill a character who’s carried any part of the plot, take a bit to reimagine the plot as if she were the main character, and the story ends when she dies. If it’s unsatisfying, rewrite either her plot points, or her death, to make both more meaningful.
Which is to say – don’t treat side characters as ammo with which to hurt your main guy. ESPECIALLY if they’re women.
I’m reblogging because this second part is the best explanation of how I distinguish between fridged characters and other characters who just die.
And yes, it is intrinsically a bit subjective and that’s okay.
Absolutely agreed!
(via songscloset)