I love a character raised to be a weapon as much as the next guy. But what really gets me is a character raised to be a shield. Who can’t fathom being needed—or even being wanted— beyond keeping others safe. Who believe they are alive only to insure someone doesn’t die. no matter the cost. Characters who self-sacrifice not because they think they deserve it, but because no one else does deserve it, and it’s their job to protect.
Characters who’ve been told that’s why your important. Your worth something because this other person/ thing is important, and you are here solely to keep them safe.
Bonus points if it’s not a legitimate job they’ve been given. Maybe at one point it was, but now that they are free from it, they haven’t given up that mentality. No one is forcing or asking them to do this, but they need to. They need to in order to be deserving.
who can relate
[Podfic] The Beverage Comrade by @sishal01
DC/Marvel: Clint Barton/Roy Harper
Rated: G | No Warnings | Length: 12 minutes
Roy is alone in a new city, trying to forget about his loneliness through caffeine and sugar. It doesn’t work. Not until he suddenly isn’t alone anymore. The thing is just that he has no clue who his new beverage comrade is.
This shit right here I would watch the movie and the TV show spinoff
“I will train these new teen superheroes like the nation wanted, make sure they will survive and win. But I promise you General, someday I will drag you to hell for conscripting these kids into child soldiers.”
Yikity yeet ive stolen your sheet(shit)
This just makes me wanna write something 😩
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Put your clothes back on, I lied. i wanna build puzzle >:D
you guys ever have someone ask you if wanna go do something they know you have to do anyway?
what do you mean elon musk did a nazi salute on live tv at the united states presidential inauguration twice and is now erasing the evidence off the internet by replacing the footage with the crowd cheering instead?
would be a shame if people reblogged this, wouldn’t it?
Got anything for dialogue
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.
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
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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