This Shit Right Here I Would Watch The Movie And The TV Show Spinoff

best brownies in the known universe (at least, according to my grandma)

some year and a half ago when i was getting ready to move out i combed through all the family recipes that lay lost to time and one of the ones that i found was my grandmas brownie recipe. idk where she got it from (nor can i ask cause she has dementia) and its a printed out email she sent to my mom in june 2000. but by george these the best brownies i have ever tasted. would she be pleased that i am sharing this recipe with my vast following? absolutely.

YOU WILL NEED:

5 tablespoons butter (unsalted) 1 ounce unsweetened baking chocolate (or as much as your heart desires) 2/3 cup unsweetened good cocoa powder 1 cup sugar (white) (superfine preferred, normal works fine) 1 cup sifted white flour (can use gluten free) 1/2 teaspoon baking powder as much cinnamon as your heart desires (your heart needs to desire at least some cinnamon. its essential to the recipe) 3 egg whites 1 egg splash of vanilla extract (again, non negotiable step!)

preheat your oven to 325 degrees. grease a square baking pan (9x9 preferably).

in a small saucepan over medium heat melt the butter and baking chocolate. while that is melting, sift together the flour, baking powder and cinnamon into a small bowl. once the butter and chocolate is done melting add the cocoa powder and cook it together for 1 minute. add in the sugar and stir. it will get very thick. this is correct.

set that aside to cool. while thats cooling take a large bowl and put in your egg whites, egg and vanilla. beat it up with preferably a whisk but you can use a fork if youre fresh out of whisks. once the chocolate is cool enough to not scramble your eggs dump it in the eggs and mix it together. add the flour in gradually and keep mixing until its smooth and happy.

spread into your greased baking pan. put it in the oven for EXACLTLY 18 MINUTES. very crucial step. they will come out slightly under done. that is what we want. as they cool they will continue to cook in the pan. we dont want them to get hard and sad. they are not good when they are hard and sad. do not overbake them. you will be sad.

slice them up and as the official last step on the original recipe says: EAT ENJOY AND MAKE MORE! (theyre very good with mint chocolate chip ice cream)

First neil gaiman book !

Put your clothes back on, I lied. i wanna build puzzle >:D

This just makes me wanna write something 😩

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Honestly same-

And he's correct, he could do that.

dialogue by @twipsai

Got anything for dialogue

Writing Dialogue 101

Dialogue is conversation, nothing more, nothing less. The catch is: diagloue is EDITED conversation. It must be more concise, purposeful and witty than the everyday sentences we speak, while sounding natural.

The Purpose of Dialogue

Diaglue is definitely a fiction elements that pops everything up and out. Thus, dialogue is going to have more impact than your normal paragraphs, in order to:

Characterizes/reveals motives

Sets the mood in the story

Intensifies the story conflict

Creates tension and suspense

Speeds up your scenes

Add bits of setting/backgronud

Communicates the theme

Matching the Dialogue to the Genre

The dialogue in a book should speak the reader's language. There is a type of voice that suits each genre/category of fiction, and we must understand what matches the reader expectations and rhythm of the plot we are writing.

Magical Dialogue

"Do not kill him even now. For he has not hurt me. And in any case I do not wish him to be slain in this evil mood. He was great once, of a nobel kind that we should not dare to raise our hands against." - The Lord of the Rings, J.R.R. Tolkein

"As much as I want you and want to be with you and part of you, I can't rear myself away from the realness of my responsiblities." - The Bridges of Madison County, Robert James Waller

This is the language of The Hobbit, Star Wars, The Lord of the Rings, The Wonderful Wizard of Oz.

When writing literary and mainstream fiction (that is targeted at the general public rather than a target audience), we need to go with what sounds real, even with a magical setting

Science fiction and fantasy can be more unreal, i.e. things like "May the Force Be With You."

In romance, magical dialogue takes on a differen form. It's magical in that it transcends the way we talk to each other in normal society. Magical in that all of it makes perfect sense and is said in such eloquent langauge that we marvel at it while at the same time knowing that if we are left to ourselves, we would say something absolutely banal.

Cryptic Dialogue

"You know, the condom is the glass slipper of our generation. You slip it on when you meet a stranger. You dance all night, then you throw it away. The condom, I mean. Not the stranger." - Fight Club, Chuck Palahniuk

This is the dialogue in literary and religious stories that dealw ith abstract ideas and vague concepts and has double meanings. Readers aren't meant to understand theses right away.

These bits of dialogue plant sublimnal messages in the reader's mind that help communicate the theme later on, ultimately making sense.

Cryptic dialogue is difficult to do well. If we're not careful, we'll end up sounding preachy, moralistic and dogmatic.

You need to be able to view the world in different perspectives.

Descriptive Dialogue

The literary, fantasy and historical story often relies on dialogue for worldbuilding (expplaining history, magic rules, etc.)

The author's goal in descriptive dialogue is to provide the reader with information. However, the character's goal cannot be sacrificed for the author's. Dialogue can still have tension and suspense and can be inserted into a scene of action so the story doesn't bog down while the readers get some info.

Shadowy Dialogue

In shadowy dialogue, the character's job is to keep the reader suspended in a state of terror/suspense. Then you periodically tighten and loosen the tension.

The key here is uncertainty. The reader cannot trust the speaker, so we're always questioning him, wondering whether he's speaking truthfully or is presenting the full picture.

Keep the tone as dark of possible, using action and background as supporting tools.

Make it cryptic, or even better, offering an omnious threat of what is to come.

Provocative Dialogue

This is the type of dialogue that conveys the theme, talking about the "universla truth" your book is trying to convey.

Readers like to be challenged in their thinking, provoked to consider other ways of thinking, and shaken up in their belief systems with a fresh perspective about the world.

Consider this example from To Kill A Mockingbird:

"...but there is one way in this country in which all men are created equal - there is one humna institution that makes a pauper the equal of a Rockfeller, the stupid man the equal of an Einstein, and the ignornant man the equal of any college president."

There is no way we can read this and not think about something that is bigger than our daily lives.

Make your readers squirm, and shock them out of their comfort zones.

Uncencored Dialogue

Uncencored dialogue in YA stories are of young people, but that doesn't mean it's filled with hip-hop words and slag.

While adults cencor themselves when they speak, teenagers haven't yet learned that skill so their dialogue is more raw, edgy and honest.

Readers of YA novels expect realism, so make it as authentic as possible. The last thing we want to is for our characters to be brash and honest, but NOT sound like they've just stepped out of Planet Way Cool.

For example:

"What if he doesn't like me back?" "You are too much of a chicken to do anything aboutit but mope."

As an adult, how often do you admit fear of rejection out loud to another, or call out your friend to her face? In YA-type of dialogue though, we can just write what comes into these characters' minds.

So that sums up the different types of dialogue. Consider the nature of your plot, what your readers and the genre of the story you are writing to choose an appropriate way for your characters to speak!

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As a child a hero stood by as your family was slaughtered, too afraid to intervene. Now as an adult you are a hero yourself. One day the government assigns you a partner to take down a villain, the exact one who killed your family and your partner is the hero who allowed it to happen.