WE HAVE OUR PLOT SYNOPSIS BABYYYYY

Happy Birthday To such an amazing person.

__________________________________________________________ 

If you are anything like me then this very man changed your life. 

To most people he is just a simple voice actor, but to us (the TF fans) he is so much more. 

Peter showed me, through Optimus Prime, what it meant to be a hero. He showed me that you should always stand up for what we believe in. That you should never turn your backs on your family, and to always fight the good fight. 

He saved my life in more ways then not, and he showed me that you should never, ever, ever, give up. No matter what.

So today is not just a simple birthday, but a celebration for all the amazing things we, the fans, have been shown by the amazing Peter Cullen.

We love you Peter and wish you a very Happy Birthday and many more! 

"Saints Row The Third! Haha the dudes don't stand a chance against me!" Alfred laughs, shooting the cops in the face.

“I’ve been good I’m playing a game right now and I’m kicking ass on it!”

Living a normal happy life was not possible for her. From losing her parents at 5 years old, to gaining another father figure who becomes a mutant, and two brothers who were stranger than they seem. To training the art of Ninjitsu with her new father and brothers, she begins to make discoveries about herself. With that she teaches them the ability of mystic powers, which at first turns out to be a disaster. As they all learn their new ability's, they come to use their new found powers as they face the being who destroyed NYC, his name is Lou Jitsu...but what happens when something goes awry and they end up in another universe. One where Lou Jitsu is good and hes a father of 4 Mutant Ninja Turtles?

I call it Dark Descent.

I figured since theirs so many AU'S out, I wanted to create one of my own. Ill admit I'm not sure where this series will head, but hopefully it turns out to be a good one since I recently just got back in the mood to write, hopefully I can actually make this a good series...anyway! This idea came to me a few days ago and I figured id share it since I grew inspiration and motivation to write again from EternalGlitch's story "Like Father Like Son". I highly suggest reading it, it made me cry and get angry at certain moments. So please follow them, give their story a read!

Their will be warnings since this series will get very morbid and dark at times, so I would suggest if you are not comfortable with those types of stories then do not read it.

eternalglitch.tumblr.com

glitch's scribbles

she/her || 22 || writing and art blog

what if everytime KO and Bee are sharing a nice moment, Smokescreen pops out from nowhere and not intentionally though, ruins the scene.

Smokescreen, emperor of cockblocking

I read a lot of writing in my line of work and while that’s amazing, I see the same flaws again and again. Below is a list of 7 common writing mistakes in fiction and how you can fix them. This list is by no means complete. In fact there’s a great list over at The Editor’s Blog that covers even more mistakes.

1. Bad dialogue

Sometimes writers can forget that they’re writing a conversation and thus not write a conversation. The dialogue can be boring, stilted and unnatural, and I’d rather listen to the territorial call of an Australian Raven than read one more word of it.

There are many things that contribute to bad dialogue, but here are the three that really get on my nerves:

Not using contractions–I’ve seen work that is modern and still doesn’t use contractions. Consider this: “You are going to be late.” Unless the speaker is trying to sound like an irritated mother and is leaving an emphatic silence between each word to sound threatening, use contractions. It sounds really drawn out and like the speaker is pointing their nose in the air. We generally don’t speak like this in real life, so neither should your characters.

Using complete sentences–Not only is it natural for your characters to chop their sentences, this can also contribute to their voice. Does your character say “I don’t know.” or “Dunno.” Would he/she say “I missed the train and had to find a lift home.” or “Missed the train. Had to find a ride.” In casual speech, we often only use the words necessary to convey our message, even if it doesn’t form a complete sentence. You shouldn’t apply this to every line of dialogue, but consider it if your dialogue sounds stale.

Using characters as a conduit for research and plot information–Sometimes writers like to show off their research (looking at you Jurassic Park), backstory, world building and plot by having their characters talk way too much. If your character says “Once this valley was home to an ancient race of elves, who looked after the land and treated it with respect. One day, the secret magic spring dried up and then the goblins came. Without their magic spring, the elves couldn’t fight back, and they were killed by the goblins. The goblins didn’t respect the land and now it’s uninhabitable.” he should probably shut up. It sounds less like a person talking than it does an audio tour. The information he’s shared could be given in a much more interesting way.

How you can fix it:

Listen to and watch the way real people talk to each other. Do they speak in full sentences with full words? Do they speak with grammatical correctness? Do they speak differently in different situations? How do hand gestures, body language and facial expressions help them communicate?

Read your dialogue out loud as if you’re practising lines for a movie. Does it sound natural? Does it flow?

Test every piece of information your characters give out. Does it all need to be said? Would your character say all of it at once? Do they need to say it all in so many words?

2. Passages of uninterrupted speech or thought

Sometimes you might want to avoid telling the reader about something and have a character tell another character instead. Sometimes you might want to avoid telling the reader how a character feels about something by having them think about it excessively instead. If this goes on for longer than a couple of paragraphs (or less), you risk allowing your reader to drift out of the scene.

The only thing anchoring your reader in the scene is your characters and what they’re doing. If the characters are talking or thinking for a long time without interacting with anyone or anything else, they might as well be floating in space, which can make the reader feel like they’re floating in space. That’s not to say that they’ve forgotten where the scene is taking place or who else is involved, just that it can feel that way if this is how the character acts.

How you can fix it:

If your characters have a lot to say, try to include the other characters as well. Have them ask questions or make comments so it feels like a scene and not a soliloquy.

If your character is around others when he/she is deep in thought, try to include the other characters in some way. If the POV character is thinking about something that the other characters can see, why not give voice to one of the other characters in between thought paragraphs?

If the character is alone when he/she is deep in thought, is there a way they can interact with their environment? Unless they’re standing in front of a wall, they should be able to see, smell, feel or hear something.

If your character is absolutely, completely lost in thought, is there a way you can bring some sort of image into it? For example, on page 216 of The Hunger Games by Suzanne Collins, Katniss is thinking about how to treat a burn she receives. Almost the entire page is a paragraph describing a memory; however, there is still action in this memory and, therefore, there is something for the reader to imagine.

3. Not knowing when to/not to use said

Some people will tell you to use descriptive speech tags and others will tell you there’s nothing wrong with said. Both are true, but when do you follow the former and when do you follow the latter? And when do you use no speech tags at all?

Using anything but said and using nothing but said both get exhausting and boring very fast.

How you can fix it:

Below is a rough guide to what kind of speech tag to use. Please bear in mind that it is only a guide and will not and should not apply to every situation.

Said is unobtrusive–a way of letting the reader know who’s talking without making a song and dance about it. Specific verbs (e.g. whispered, shouted, mumbled) give the reader information about how the words are being said. Adverbial tags can also give extra information about how something is being said, but more often than not they can be replaced with a stronger verb (e.g. she said loudly can be replaced with she shouted). Writers can also fall into the trap of telling where it’s better to show when using adverbial tags, which can make the writing bland. Sometimes telling is better, but with speech tags, it’s usually better to absorb the reader in the conversation. If you’ve used an adverbial tag, go back and have a look at it. Is there a better way you could get the message across?

What you need to pay attention to when determining what speech tags to use is the context of the speech. If the reader is already aware of the manner in which a character is talking, it won’t be necessary to remind them every time the character speaks. If there are only two characters in the conversation, it won’t be necessary to finish each quote with he said/she said. Going back to #2, you can also do away with speech tags entirely and use action to demonstrate how a character is feeling, while also grounding the reader in the scene.

The key to avoiding repetition and blandness is to find a balance between using the unobtrusive said, using something more specific, and mixing it up with a bit of action, which means you might not even need a tag at all.

4. Too much description/overwriting

Sometimes it’s better to tell and not show. Some details just aren’t important enough to warrant a lengthy description. If you want your reader to know that it’s raining, you can write something better than “It was raining”, but there’s no need to go overboard and write a poem about how the puddles on the asphalt looked like a great abyss.

Think of description like camera focus. The more you describe something, the more focus you put on it. If you put enough focus on something, you eliminate everything else. What’s this? A close-up. What does a close-up in a movie tell you? That object of the close-up is significant.

Be wary: when you write thirty words describing the way the moonlight is reflecting off the inky black lake, you might not be just setting the scene. You might also be giving the lake undue emphasis, and it’s probably going to irritate your reader when they realise there’s nothing significant about the lake at all, you were just showing off your imagery skills.

How you can fix it:

Keep it real. What would the character notice, what would they think about it and is it worth the attention? And try not to focus on sight. Your characters have more than one way to perceive their environment, and incorporating their other senses can help build a 3D setting for your reader rather than just painting them a picture. Give the reader enough to imagine the scene, and no more.

5. Not knowing when to/not to use adverbs

There’s a lot of writing advice out there that will tell you to cut all adverbs. The result is that many writers now think adverbs exist only to eat their children and wouldn’t dare to ever use one.

There is truth to the advice, but to say “The road to hell is paved with adverbs”? Really, Stephen King? And his dandelion analogy assumes there’s no editing process.

Adverbs aren’t evil, but there is such a thing as using them ineffectively. Which of the below are more descriptive?

She ran quickly or She sprinted

“It’s a long way down,” he said nervously or “It’s a long way down,” he said

He was shamefully prone to anxiety or He was prone to anxiety

She sprinted not only gets to the point faster, it also creates a more powerful image for the reader. “It’s a long way down,” he said gives no indication of how the speaker is speaking or feeling; however, “It’s a long way down,” he said nervously is telling, not showing. Rather than using an adverb here, the writer could describe the speaker’s body language. He was shamefully prone to anxiety tells you how the character feels about being prone to anxiety and there is no stronger word to replace “shamefully prone”.

How you can fix it:

Ask yourself:

How would the meaning of the sentence change if the adverb was removed?

Can the adverb and verb be replaced by a single verb?

Does the action really need clarification?

Does the adverb add something to the sentence that can’t be described in another way?

6. No conflict in the beginning

The first few chapters of a lot of stories I’ve read involve the main character plodding along in their daily life. This is a good thing as the reader needs to get a feel for your character before the big plot things happen, but that doesn’t mean the first few chapters should be without conflict. I don’t want to read about a character waking up, looking at themselves in the mirror, getting dressed, getting coffee, going to work, getting home, going on a date etc. for three chapters. It’s boring and I don’t care about any of it.

The confusion might be caused by common story structure theories that say the main conflict enters the story at the first plot point, or 25% into the story. But this doesn’t mean there should be zero conflict at the beginning! At the beginning of Harry Potter and the Philosopher’s Stone Harry was told ‘no funny business’ or he’d be grounded. Not long after that, there was some vanishing glass and an escaped boa constrictor. After this happened there was a mysterious letter addressed to Harry, and he spent an entire chapter trying to get hold of it as the weirdness escalated. There’s conflict and a goal right off the bat, and the story hasn’t even really started yet. In The Hunger Games Katniss faces the Reaping. In The Hobbit Bilbo finds himself hosting a dinner party for dwarfs and being asked to go and fight a dragon.

How you can fix it:

Take a look at all the books you’ve read. Most of them (if not all) start with some sort of problem or goal. Study up on this to help you realise what makes a good beginning.

Don’t fill your first few chapters with characterisation and nothing else. Build your character in the context of a problem or goal.

Keep in mind that you find your characters more interesting than your reader does. What you like about your character might not be enough to keep the reader’s interest.

What’s going on in your character’s life? How is this going to influence what happens when the conflict or story goal takes the stage?

What would happen if you cut your beginning out of the story? Would the plot still make sense? Maybe it’s better to start the story at a later point.

7. Lack of story structure

When you write a first draft, whether you’ve planned it or not, there are going to be structural flaws. Maybe halfway through you thought of a way to solidify a character’s motivation. Maybe at the climax you thought of a way to strengthen your conflict. Maybe somewhere in the middle you had no idea where you were going with this and slugged your way through some boring scenes. It’s all good; this is how stories come together.

What should happen next is that you revise your draft with story structure in mind. There’ll be a lot of “I should add a scene here about this” and “what was I thinking when I wrote that?” and after a few goes, you’ll have a story.

Writers don’t always do this though (which, by the way, makes my job take longer and cost more). They’ll go through and fix all of the obvious problems, but what remains is a manuscript that still lacks a solid structure. It’s messy to read, it’s confusing, it’s clearly not thought out, and it feels like the writer is giving me the finger. I’ll regret paying for the book, stop reading it and leave a negative review on Goodreads. Is that worth not giving your book a good edit?

How you can fix it:

Read a lot. Make sure you have a decent grasp on different story structures. Make sure you understand the way stories progress, the way they’re paced and what keeps the reader engaged.

Re-outline. Or if you pantsed your way through the first draft, make an outline. Write a checklist for what each scene should accomplish and what each chapter should accomplish. Make a timeline of how the events progress and how the tension increases. Don’t base this on what you’ve written, base it on what you’ve figured out about your plot.

Edit ruthlessly. If a scene doesn’t measure up to your new plan, cut it. If it’s in the wrong place, move it.

No matter your age. No matter your weight. No matter your race. No matter your gender. No matter your skills. Cosplay is about everyone coming together & having fun.

Alfred looked at Mason shocked. "Wow dude...so you never did anything like that before huh. Reminds me of when me and Mattie bro were younger, we always played pranks on each. Of course England being England, he would always yell at me and Mattie but in the end he laughed about it afterwards." Alfred remembers back on his younger years and smiles.

“Oh come on dude it would be fun! Don’t tell me you never played any pranks on someone before, or at least thought of pranking someone?” Alfred laughs, thinking of pranks to play on England.

"Uh...that sounds good but bad dude...I hope I dont get cleansed or well killed..." Alfred states, staring at the red eyed man, shaking, trembling in fear...wait he shouldn't be afraid he's a hero and hero's aren't afraid of anything!

Hm.... interesting..... very interesting man.

“Dude what the hell are you?! Are you a villain?!” Alfred asks the man getting into a defensive position, not really sure of what might happen.

Would Anyone Care

Leo x Depressed Suicidal Reader x Donnie

Warnings: Attempted Suicide, Depression, Self Harm (Do not read this if it triggers you, you have been warned)

Song: Would Anyone Care by Citizen Soldier

Notes: Uhm yeah this is a real banger, kinda cried in the middle of making this one because its to close to home. I suffer from Depression myself and it tends to get worse over time. I rely alot on my friends to help me out and I'm so thankful for each and every one of them. If you suffer from Depression know this, you are not alone and not the only one suffering with it. You are cared for and loved by everyone and anyone and don't ever think that you aren't. Please take care of yourself, not just for your sake, but for others. Also side note uhm, sorry if it seems like its all over the place lol, kinda rushed this one. Also again while reading listen to the song as it will definitely not make you cry. 😢

Days turned to weeks, weeks turned to months and months turned to a year. Yet nothing has changed for the better for Y/N.

Aside from meeting them.

The turtles.

Y/N has to thank her friend April for meeting them, it was an accident of course.

An ugly one at that.

(Would anyone notice?)

(If tonight I disappeared?)

April decided she was gonna introduce Y/N to her friends, seeing that her friend was lonely and quite frankly it worried her.

Y/N was always alone if not being bullied for being a bookworm, but on top of that she was also shy. April however never judged her for who she was and managed to befriend her.

(Would anyone chase me)

It wasn't enough however, after that fatal day, everyone was a bit on edge.

April managed to convince them to come meet her friend and they obliged. What they didnt expect was that they all had walked in on Y/N cutting into her skin, blood running down her arm as it dripped onto her apartment floor.

Everyone was panicking as they rushed over to Y/N to asses the self injury.

(And say the words that I need to hear?)

This lead to being introduced to Donatello or Donnie, the tech savvy turtle in purple, he seemed arrogant, prideful, and rude at first but he's actually alot nicer than you think of course. He's also a certified bad boy or so he claims he is.

He stepped closer to Y/N, as he tapped away at his wrist watch as he ran some vital scans.

She doesn't even rememeber what he said, it all was so blurry to her. Then again she knows she hasnt eaten in a couple of days and hasn't drank alot of water too. So perhaps that would explain her blurry vision but she wouldn't know she's not a doctor.

(That I'm no burden)

(Not so worthless)

She does remember watching the blue banded turtle step forward, as he started to fix up her arm. His name she came to know was Leonardo or Leo for short. He called himself the face man, the star of the team he claims he is. He is as tactile as he is annoying, well only when he says his one liners. Which Y/N enjoyed very much, much to the brothers disappoinment.

She should have been paying more attention when it came to everything going on around her, but at the time all she focused on was the blue and purple turtles.

Donatello and Leonardo captured Y/N's interest from that day on.

Time passed after that day, and for the better?

As she got to know the turtles, things got easier and better for Y/N. She started to come outta her shell (heh) and began opening up to the others.

(Bent so much that I might break)

Y/N really was getting better.

(All consuming, so confusing)

(The questions that keep me awake)

I mean she did get into a relationship with Donnie and Leo. Which at first shocked them both from her startling confession of the two, to which they at first weren't sure how to go about this relationship.

Things worked itself out eventually, and for the better.

Or so they thought.

(Would anyone care)

(Would anyone cry)

At first they took to keeping an eye on her, due to past experiences she either talked about or their first meeting with her...they would rather not talk about it.

Eventually they were able to trust her by herself.

Which in itself should have been a good thing, but it wasn't. Y/N took advantage of her alone time and wound up hurting herself due to not being enough.

Not being good enough for Leo and Donnie.

She would constantly put herself down and think negatively, and it would always lead to her cutting herself or trying to end her life.

Leo found a noose in her bathroom at one point which scared the shit outta him. After that you never seen it again, which he was relived of.

Unfortunately this lead Donnie to researching her symptoms and it alarmed him.

Y/N had Depression, severe Depression at that.

The first thought that ran through his mind was if she was on medication, and if she was taking it.

The answer was no.

(Would anything change?)

(Would you all be just fine?)

Of course Donnie told Leo about this startling information and it bothered Leo tremendously.

Which led Leo to telling Donnie about the noose, and god did it freak Donnie out. Leo had never seen Donnie act so outta of it before, unless it came to his tech.

So from then on both tended to be by her side...well as much as possible after finding out about her Depression.

('Cause I need a reason to not throw the fight)

They made sure she was taking her men's once she got them, along with making sure she was eating and drinking properly.

(It might just save my life)

Things were going so well, until now that is.

Today was their one year anniversary of dating, both the turtles thought it would be a good idea for a dinner date up on the roof at night.

Only their was one problem.

They couldn't find Y/N.

(Would anyone want me)

(If they knew what was inside my head?)

(Would anyone see me)

(For the person that I really am?)

(I won't lie so hard to hide)

They checked her apartment on arrival only to find nothing but a recently used bloody razor on her bathroom sink. Then they checked her bedroom, Donnie found her empty depression med bottle on the floor.

With closer inspection, Donnie found all the pills were emptied out into her trashcan.

(I've never felt worthy of love)

Y/N wasn't taking her meds!

(I would give up everything I have just to feel good enough)

"Leo! Has Y/N been taking her meds like she's suppose to?" Donnie asked his twin with a slight quiver to his voice.

"I think so...why?" Leo ask with hesitation only for Donnie to wave him over as he points to the trash can. Leo's eyes widen as he lets out a gasp.

"She...she hasn't been taking her...why?!" Leo slams a fist against the bedroom wall in anger, not at her but at himself for not checking in on her even more.

"Donnie where do you think she is?" Leo asks his twin, as he eyes the hole in the wall he made himself.

He'll fix that later he reminds himself.

Right now the only thought running through both there minds is where Y/N is at.

"The roof!" Both say is unison.

(Would anyone care)

(Would anyone cry)

(If I finally stepped off of this ledge tonight?)

Witht that they rush outta the apartment and ascend up to the roof, seeing Y/N standing by the very edge.

"Y/N!" Both Leo and Donnie yell out, watching as she slowly turns around to face them both.

('Cause I need a reason to not throw the fight)

"I'm sick of being alive!" She yells out, making both flinch at the tone of her hoarse voice.

Y/N's been crying. They can see her puffy red eyes from where there standing.

"Y/N don't do this!" Donnie yells, as Leo nods in agreement. "We love you Y/N please...keep fighting through the pain!" Leo says as he starts to cry.

She takes a step back, wobbling slightly as she's getting closer to the edge.

(Let me in, let me share in your pain)

(From my lungs through the dark)

(Spoken straight from the heart)

(Let me give you a reason to stay)

"Y/N!" Both yell, there eyes widening as they themselves try to get closer to her.

They need to think of something fast or else they might loose her.

"Mikey's gonna miss how passionately you get when you share your stories that you write!" Leo shouts out, startling Y/N as her eyes widen.

Wait...does he really like my stories? She questions.

"Yeah! What about Raph? You share his same worries over all of us, the both of you make sure were taken care of and we love you both for that!" Donnie yells out, knowing what Leo is trying to do. He'll thank his brother later for the quick thought on this.

They continue to tell Y/N how much they mean to her and how many broken people their would be if she left. They can tell its starting to get to her.

Y/N starts to cry at this.

"Most of all, we love you for being you. You loved us when we never thought anyone could ever love a mutant like us." They both say, making Y/N cry harder. "Come back home Y/N, you can talk to us about how you feel, hell you could move in with us, I'm sure dad wouldn't mind." Leo says a bit rushed.

Y/N stops crying as she stares at the both them, small smiles adorning there face as they hold out their hands to her.

She can't do this, they deserve so much better than her.

With her last ounce of energy she shoots them a small smile, giving them hope that would quickly be taken away.

(Would anyone care)

(Would anyone cry)

(If you finally gave up and turned out the light?)

With that she leans back as she lets herself fall off the ledge of the building.

"Y/N!!" There eyes widen as they both rush forward to try and grab her but they miss.

She stares back at there horror stricken faces through blurred eyes.

The rush of the wind around her feels nice as she's falling to her death.

They deserve better she reminds herself as she allows another smile to grace her face.

Just when she thought she was about to hit the ground a new pressure is being wrapped around her waist?

She opens her eyes that she didnt even know she closed, to see Donnie had grabbed ahold of her, him using his jetpack to save them both. To save Y/N.

Donnie guides them both back up top as he holds her in shaking arms. Leo sees this and comes rushing over to embrace her as well.

"Y/N please...please never do that again! We love you! We don't wanna loose you, you mean the world to us both. You mean the world to April...she sees you as her sister...if you had died...she'd be devasted." Leo says in between sobs as Donnie hums in agreement as he too is crying.

"Let's go home...Donnie can make you stronger meds, and I'm sure your hungry too so Raph can order the pizza. Oh! Mikey can play some of your favorite music that calms you down!" Leo rambles on as Y/N is left alone to her thoughts.

They do care, they do love me, they really would miss me if I left...but I didn't because they saved me.

(Tonight is the night, you take back your life)

(Take back your life)

(Take back your life)

(Take back your life)

"Let's go home...my real home boys." Y/N says as a geniune smile graces her face as both boys kiss the side of her head.

Just close your eyes and press play. We all need this right now, I think. 

OP by wilford-warfstache. Reuploading to put it at the top of the tag and remind everyone to take a deep breath. Everything’s going to be okay. 

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