only wakes up to eat
and occasionally post stuff
HOVER
Where a Snorlax R dumps all the resources a Snorlax R wants. Most things are queued... even if I forget to tag them as such.

NOT-SO LAZY FC DIRECTORY

Faceless Gif Hunt Directory
»

A Few Quick Resources on Explosions

writeworld:

Thank you! We actually do have a few ideas on how to get some solid information on explosives!

If you have Netflix, try looking into the Mythbusters collection on explosives. They talk a lot about shrapnel and shock waves and other aspects of an explosion that many writers (especially those in Hollywood) often omit. Here are a few good myths to check out:

If you wanted to talk to an expert (which I highly recommend), look for people online or in your community who have the sorts of jobs listed below and set up an interview with them (over the phone, through email, or in person) to get your burning questions answered. If the people who do these jobs can’t get you the answers you need, they’ll definitely know where you should look.

  • EOD Technician
  • PSBT Technicians
  • UXO Technicians
  • Firefighters
  • Fireworks Technicians 
  • Munitions Experts 
The Big Bang. A History of Explosives by G.I. Brown is also a great resource for information about the effects and history of explosives. 

And here are a few online resources for learning more about explosives:

Thank you for your question! If you have any comments on this post or other questions about writing, you can message us here

-C

3 hours ago on July 23rd | J | 732 notes

Minimalist Poster Tutorial

lucyhaele:

So I got a request on how to do something like this:

image

It’s really easy so click read more if you want to find out how to do it!

Read More

6 hours ago on July 23rd | J | 1,338 notes

Gee, I don’t know how to research writing Characters of Color tastefully:

granolapaladin:

gordonecker:

girljanitor:

missturdle:

1.) It’s not hard to figure out what to do, there are plenty of resources.

People say you have to get it right, do your research, but … what else are you supposed to research? It’s not like people with more pigment in their skin have completely different personalities than those with less, any more than any individual. It’s frustrating when I can’t even figure out what the heck people are talking about.

Bam. Research step one done for you.


2.) Writing characters of color/minorities is a good thing.

I don’t like the notion that fantasy authors are under some kind of obligation to present ethnically diverse worlds. I’m English, and a fair sized part of English history consists of unwashed beardy white people in mead halls. If I’m inspired by my own history and cultural heritage, then that’s what I’m damn well going to write about. I’m not writing about some other culture just to appease the people who think there aren’t enough black characters in fantasy, or whatever. You want it, you write it. Nothing to do with me.

You’re wrong.


3.) Your all White Fantasy Land Didn’t Exist in Real Life:

…the rather medieval one has more diversity than real medieval Germany probably had […] In a world with medieval means of transport, it just doesn’t seem natural to me to mix dark-skinned people with blue-eyed blondes in one setting. I just try to give the people a colour that fits the place where they live.

You mean like the people from Africa and the Middle east who began to take over Southern Spain, as well as the Jews who were pretty well spread out throughout Europe, the Middle Easterners they would have met on the Crusades, and the incoming Mongol Hordes who spread to the very edges of Eastern Europe before the empire finally collapsed? Don’t forget that Turkey is right there, and the silk road would have gone from Song Dynasty China, through India, and ended in Turkey before moving further westwards into places like Germany. Also the attempts at the Franco-Mongol alliance would have been pretty interesting. (That’s about the 13th century - arguably smack dab in Middle Ages Europe and definite contact between France/Christian Europe and the Mongolian Empire.)

Unless you’re writing everything in the far reaches of Denmark or something, historically speaking, I call bullshit on people who have societies that are only all white ever, because it’s just inaccurate. Consider the relative closeness of Northern Africa to Spain, or Turkey to the rest of Europe, the conquests of Alexander the Great, the Crusades, Slavery existing in Europe, including England, the slave trade, imperialism, Pax Mongolica, The Silk Road, Jewish Diaspora, the Islamic Empire vs The Holy Roman Empire, Egypt, Algeria, China’s sailing across the world, The Maruyan/Gupta Empires of India, tea trades, Columbus sailing in hopes of finding China, etc, etc, etc.


4.) I mean I just don’t believe you anymore. It’s unrealistic. Seriously guys.

You’d think I’d just denied the holocaust or something. Get a grip. All I said was that I’m going to write about my own cultural experience and anyone who thinks I should do otherwise for the sake of political correctness can bugger off.

This isn’t even about being PC this is just not being wrong about everything.

good lord.

I recently had a much more realistic and nuanced version of this conversation with a white person I’m related to, who is quite a good writer. And it took her having the conversation over again with someone like the idiot above to make her realize that race when it comes to writing fantasy literature matters, and it matters even more than she’d already considered.

So reblogging for white followers to hopefully take note and think a little harder about what you create, and the responsibility it engenders to more than just yourself and your fee-fees. Because you’re not writing into a fucking void, and to say or think otherwise is just plain foolishness.

I’ve been looking for this post.

Cross-posting here.

10 hours ago on July 23rd | J | 27,916 notes

Symbolism

whataboutwriting:

The thing about symbolism is that everything can be a symbol. Think of a symbol as anything that has a deeper meaning beyond its appearance. Symbolism is common in classical books, but its usage has increased as writers understand it can be a powerful tool for passing their message along to the reader. 

Some might think it’s not worth it to incorporate symbolism in your story, as most people will not pick up on the symbols. While this might be true for some of your future readers, those who do understand you’re using symbolism will appreciate the nuances of your work. 

Symbolism is not mandatory. I don’t think any publisher is going to reject your book simply because you don’t use symbolism. However, it might be useful for your story, as it gives it a deeper meaning and lets your reader connect and relate to your story in their own way. 

The first thing you need to know about symbolism is that two people will definitely interpret your symbol in different ways. It’s our personalities and the way we perceive reality that makes us interpret certain symbols the way we do. For some people, red represents love. For others, it represents jealousy. There’s no right or wrong when it comes to what emotion a certain symbol makes us feel. Therefore, if you want your symbol to mean something very specific, it’s going to have to be stated somewhere in your story, even if just later on. This adds a certain kind of suspense to your narrative, and also a possibility for your readers to feel like you tied loose ends. 

Symbolism can be useful for foreshadowing. Little things that apparently have no relevant connection to our character can have deeper meanings that give them an exponential relevance when put in perspective. One of the most cliche things in writing happens when certain writers begin their stories by describing the weather. This is a cliche because, 99% of the times, when it’s raining cats and dogs, one of the characters (usually the main) will be feeling extremely sad or something bad will be happening to them. This is an example of how symbolism can be used to foreshadowing and creating the mood to how actions are going to enroll from then on. 

There are several ways of writing symbolism into your story, but there are also some things you should keep in mind when trying to write symbols. 

  • First and foremost, you need to do a little research on what you’re going to use as a symbol. There are some cases in which research isn’t really necessary, like when your symbols depend only on your story, and in this case, you can trust your reader’s capacity to interpret them correctly. For instance, if your character’s ex-lover never liked to see them in shorts and they continue to refuse to wear shorts because they’re still too connected to them, you can trust your reader to understand that when this person starts wearing shorts again, they’re starting to get over that past relationship. However, there are some situations in which you do need some research. When you’re using, let’s say, colors as symbols, you can’t just pretend blue means death and think your readers will get it. Some colors, objects, etc, have specific meanings attached to them, because they usually appeal to everyone in an almost universal way. However, there are some images or colors that have more than one meaning worldwide accepted, and you need to adapt your symbols to your situations. For instance, love is usually represented by the color red, but it can also mean jealousy or death when compared to color of blood. In these situations, you can immediately eliminate one of the possibilities. If you’re depicting a happy setting, your readers will most likely not associate red to death, but let them decide whether your character is in love or jealous. It gives readers a kind of freedom they can’t get any other way.
  • Simple ideas work. There is a common misconception that symbolism must be a complex little thing that will get into your readers brain and make it see things where they don’t exist. Wrong. Symbols can be the most simple things. As long as they make the reader feel something or associate it with something, it will work. 
  • Stereotypes work. This is one of the few times when stereotypes can be your best friends. Stereotypes are preconceptions that people will have, almost universally, in their minds a priori. If you want your readers to know your character is fat, tall, and has a full white beard, it’s okay to use Santa Claus to describe him. That’s the preconception we all have in our minds about Santa Claus, and people will get your point. However, try not to use any stereotypes that might come off as offensive. 
  • Don’t use symbolism to reveal something too important. Remember readers are likely to perceive symbols in different ways, and therefore, it’s not always safe to try to tell them important stuff using symbols, as readers can create wrong ideas about what you mean and see the following parts of your book as inconsistencies. 

For further reading on Symbolism:

  1. Enhance your Writing with Symbolism
  2. (Metaphor and) Symbolism in Fiction
  3. Symbolism and All That
  4. On Writing Symbolism Into Your Story
  5. Symbolism - How to Make it Work in Your Writing

Below this cut, you’ll find some images that you can use as symbols in your writing.

Read More

13 hours ago on July 23rd | J | 781 notes
20 hours ago on July 22nd | J | 7,054 notes

peaceofseoul:

Let me know if you have questions!!!

23 hours ago on July 22nd | J | 59,334 notes
How should one make actions speak louder than words? Like if one had a rather silent character. How would you take the reader deep into their thoughts?


houseoffantasists:

I apologise in advance, because this will probably be a terribly long answer. There’s a lot that you need to understand before you can tackle the issue, and I don’t know what you already know and what you don’t, so I’m going to start from the beginning and work my way forwards.

Bear in mind, this is my perspective, not law.

My protagonist is an exceptionally quiet person, so this is something I’ve had to overcome in my own writing; I need her to be the emotional lure for the reader, but she very rarely says much more than a sentence. So, here’s how I do it.

 

1. Understand the difference between internal reaction and external reaction.

It’s a fairly obvious difference, but it’s often forgotten. What we feel and what we do are two completely separate things. There are people out there who just behave the way they feel without filtering themselves or understanding how the context around themselves might affect how they’re perceived. This isn’t often the case with quiet people. People who don’t speak much always have a reason for it; high levels of self-control, social anxiety, feelings of inadequacy, acute awareness of appropriate behaviour, dislike of interacting with others, etc.

This is relevant because it stands between the internal and external reactions. It’s the kind of filter installed, if you like. It provides the ‘why’ for the external behaviour, and why a person behaves in a certain way is the lure for the emotional connection with the reader.

Example: The internal reaction is disgust. Jamie is too afraid of other people’s negative reactions to express it; therefore his external reaction becomes approval.

2. Answer ‘why?’.

When people behave a certain way, we’re immediately looking for why they’ve done so. It helps us to understand the behaviour and translate it into something we can relate to. We’re creatures who constantly need to develop an awareness of others and our surroundings if we hope to survive very long.

In order to answer why, you need to establish one key thing with yourself, and yourself only; what happened to this person to cause or reinforce their quietness?

You don’t actually need to convey that that answer overtly to anyone, because if you know it, your character’s internal logic will follow along that rule throughout your story. You make them consistent. People understand consistency and their brains will automatically infer their own feelings and comprehension of certain behaviours to what they’re reading. Once you know why your character is quiet, you’ll inevitably express it along the way as a personality trait rather than having to say to your reader, “He’s quiet because his dad always disapproved of him”.

3. Understand behavioural cause and effect.

This is another one that seems simple, but in writing, it rarely is (because we’re dealing with people, here, and people are rarely simple). Behavioural cause and effect is slightly different to scientific cause and effect, and it looks like this:

What has happened -> internal emotional response -> internal intellectual response -> personality filter -> external context -> external response -> context filter -> behaviour

So, a fair few stages to look at, there. This all happens within seconds in the human mind, but you need to spread it apart and examine each piece before your character is able to respond in a way that’s true to them. If you keep this formula in mind for approaching how your character feels and behaves in situations, then you’re well on your way to having solid actions that might not be expressive just yet, but they’ll at least be consistent and represent a clear character (which is half of the battle when it comes to using actions as powerful expressions of feeling).

The type of emotional response will dictate how much influence each stage has. Angry people will probably only have minimal input from their intellectual response if they’ve shot straight up to outright fury (and the intellectual input will probably be something like, ‘Oh, shit, don’t do tha-‘). Consider how the emotion itself influences the following stages and their influence.

4. Understand what your character wouldn’t like to do.

We all have a line we seemingly won’t cross (even if, under duress, 90% of us will cross it if we have to). Decide where that line is for your character. Explore what would happen if they were forced to cross it, how their behaviour would change and how people would then perceive them. Would it lead to understanding from your reader, or shock?

5. Understand societal cause and effect.

Your character themselves isn’t the only conduit into their thoughts and behaviour. The judgement of others based on your character’s behaviour will become very important in how they respond to them and how they will counter-behave. How people respond to your character will ultimately change how your reader perceives them.

6. Decide what will make your character speak.

Go back and look at why they’re quiet. When will they speak? Why will they speak? What do they consider important enough to say? How would they say it? How careful is their word choice?

7. Teach your reader what certain physical clues mean for the character.

We are all capable of lying, but some of us are far better at it than others. What remains universally true is that our bodies change when we lie and we exhibit unconscious clues to indicate that we’re doing so. This is true of all emotion. We do things we don’t know we’re doing when we respond to things emotionally. There is a fraction of a second where our intellect hasn’t kicked in yet, and our emotion has free reign. It’s a tiny window, but it does exist.

If, when your character is sad, they tend to look at the floor, you need to show your reader what that means. Expose it earlier than a key scene in which the character needs to be sad and show them what it means by the behavioural response of the character when they’re alone.

8. Understand the difference between public and alone.

We behave differently and more freely when we’re alone. There’s nothing wrong with following your character around when they’re not in the public eye, so long as what they’re doing has meaning to the story. If your sad character has looked down whilst in conversation with someone, move them to a place where they’re alone, and show them crying. You just created a link between the two things without having to hammer it into your readers. The next time that character looks down, we know they feel like crying. Something has hurt them; what happened right before they looked down has hurt them. We understand that, and our comprehension of the character as a whole will tell us why they’re hurt and we will emotionally grasp that this person is in pain because that happened and it means this for them; all without your character ever uttering a word.

9. Draw a clear line between what is normal for this person and what isn’t.

If you’ve depicted a character as a heartless bastard throughout the first half of the novel and they suddenly decide to rescue the damsel in distress, their actions mean nothing but confusion for your reader unless you have shown why and how that change happened. If we do something that’s startlingly out of character, something has happened to us to cause change (and change is what a story is all about). We have fallen in love or we are afraid, the over-arching idea is that we have felt something in response to a situation that overwhelms us to a point where we bypass the majority of the links between internal reaction and behaviour. Our personalities become insignificant in the face of what we’re feeling.

Our actions in these moments depict who we really are, when reality smacks us right in the face and strips out our preconceptions about ourselves and society. When your character does something out of the ordinary, you’re showing your reader that something has stirred them that potently; and if you’ve written it right, they’ll know why, because it’ll have happened right before the action or you’ll have depicted their deepening feeling for the situation and their developing distraction from their own personality and typical behaviours in favour of their internal response.

10. Trust in the mystery (and your reader).

Your job as a writer isn’t to tell your reader every thought in Mary’s head. Your job is to leave enough clues for your reader to pick up on along the way, and if you’ve managed all of the above, that’s plenty for them to be working with. We think in story. Our minds constantly try to link things together in order for us to understand what happens next and what that means. A reader doesn’t need to be consciously thinking about this, they’ll do it subconsciously and their minds will conjure their own understanding of the content (and that’s the beauty of books, we can create it our way, in our minds, and be surprised by what we find there).

If you understand how your character responds to things, you understand their actions. You know what they’d do and what they wouldn’t (even if you’re probably going to make them do it anyway). That’s enough. I don’t know what my fiancée is thinking, because I’m not in her head; but by the way she behaves, I understand what she’s thinking, because her reactions are consistent. My image of her is built out of her behaviour towards me and the world, not a constant verbal expression of what she’s thinking at every moment of the day.

In short, know your characters. Make their actions consistent through that understanding. Set boundaries as to what might change them or encourage them to be inconsistent for once. Break the boundaries. Let the character change as a result and apply that change to their new behavioural formula. Address the next inconsistency with the modified behavioural formula; and voila! You’ll be showing your readers what a character is feeling, how they’re changing and what that change means for them without them ever opening their gob to tell people how it is.

I feel like I’ve rambled a lot, but I hope that helps you a little. Let me know if I wandered off the point too much and I’ll try to revise it.

Thanks for the ask!

- LSG

1 day ago on July 22nd | J | 36 notes

peppapigvevo:

poissoncrater:

personasummoner:

casualcissexism:

s-squishysquibbles:

how to design a family where each member looks unique yet still similar enough to be related

image

how to not

image

and if anyone wants to complain because “ITS A DIFFERENT KIND OF ANIMATION!!!”

image

image

image

don’t wanna talk pixar?image

image

image

image 

Ok but these three all look the same so what now

they are. triplets. they are. identical.

IM DYING AT THE TRIPLETS FROM BRAVE

1 day ago on July 22nd | J | 151,991 notes

snkgifs:

SNKGIFS Resources II PSD for Shingeki no Kyojin
↳ To thank you guys for your continued support, we will release a few PS resources.
↳ This is the PSD that I use for most of my SnK gifsets.
↳ Very simple and easy to adjust. 
↳ It was made specifically for SnK & works for every scene. 
↳ Please like or reblog when using.
↳ Do NOT repost or claim as your own.
↳ Don’t forget to tag your edits under our edit tag: snkgraphic
↳ Download here
↳ Hover over this text to get the password.
↳ Feedback will be much appreciated.
↳ Enjoy! ヾ(●⌒∇⌒●)ノ 

1 day ago on July 22nd | J | 204 notes
1 day ago on July 22nd | J | 856 notes