I’m White. I Know That. I Don’t Pretend I’m Not. But Gods Do I Hate That Teacher Right Now. She’s

The Best Thing About Being Bi

Is that you can sing virtually any love song and not have to change the pronouns. 

I’m looking for a fic I read awhile ago. Harry Potter, it’s about Regulus Black. It’s on Ao3. He survives the cave. Maybe there was something about the state preserving him. Time travel maybe. Can’t remember much.

yup can anyone help me find this fic? thanks

Not reply what they were asking, but Turn. Not only is it the Drarry fic, but it’s sort of like that.  https://archiveofourown.org/works/879852/chapters/1692695  I love the narcissistic snake trope. 

your blog really is a godsend! i’m looking for a fic where harry was under a curse (?) and basically it was an alternate universe where neville was the chosen one and he and draco were friends. it was basically harry’s entire life up to having kids and then he woke up from the curse and wasn’t with draco. i’m pretty sure they also went ice skating at some point after harry woke up from the curse. sorry it’s not much! thank you, have a great day :)

I’ve seen this similar theme before? My terrible memory is blank so I hope my lovely followers can help you :)

Apps For Writers I Wish I Had

So, as a writer who’s more lazy than my cats, I spend many a sleepless night thinking up apps for me to use to make the process much easier. These are a few of those. 

One: A app where you can enter a name and click ‘search’ and it will tell you if it’s okay to use in a project. You can specify wether it’s a person name, an establishment name, a place name, etc. to refine your search.  A possible name would be ‘Name Check’ or some variant.  Two: a face claim app. You can specify the basics of your character and it will pull up pictures/face claims matching the description. Eg. ‘hazel eyes’ ‘black hair’ ‘male’ ‘freckles’ and so on getting more and more specific. 

Three: an app for job research. You type in the job you have for your character and it pulls up real life accounts of people with that job. It would explain what the basics are, day to day routine, schooling necessary, hazards, time, etc. Note that this only applies to real life jobs, not fantasy

Four: a music app. You give the browser the themes, feelings, etc. of your project and it pulls up music that fits that. Also can define by genre. Also applicable for characters. 

Five: kind of goes along with face claim. A scene reference app. You give the feeling, genre, what you know about it, etc. and it pulls up pictures that match that for you to reference. To see it in front of you. 

Six: This one is sort of like three. Need to write a scene you’ve never experienced? This gives you kind of like a guideline Do’s and Don’ts, if you will. Someone who’s experienced it explains(to the best of their abilities) what they were feeling. You have to know your character well enough to change those feelings to fit your character.  Not for fantasy.   Seven: Character name checking. It’s a fucking pain to have to figure out if this awesome name is available to use in a book or anything that’s going to be written by you. With this, all you have to do is type in the name and if it turns green, it’s safe to use. 

Nooo! Many of the links I need are gone. 

the suffering never ends

Start writing, no matter what. The water does not flow until the faucet is turned on.

Louis L’Amour (via wordsnstuff)

Yes. This awesome advice. But you need to actually know what the fuck is going on. No matter if you’re a plotter or a panster, you need to know WHAT THE FUCK IS GOING ON. 

You know what’s fucked up to me? That I feel the need—now want, but in the beginning it was a feeling that it was my onus to fight. I grew up too fast, faced and burdened by the cruelties of the world. As a kid, I never wanted anything more than simplicity. Now? I feel it’s my duty—a chore, it seems at times—to worry myself to insanity over people I don’t know. I turn on the news and you know what I see? Chaos. Not controlled chaos. No. Pure, unrelenting, pain-fuelled chaos. My aspirations are now to go to law school instead of become a teacher or something simple that I’d enjoy. Not because of the money, no that’s not why I want to be a lawyer, but because I feel I owe it to the people who take the hate and violence I’m too scared to admit I should be shouldering too. These people came out and, even though there was the chance—almost guarantee—that they’d face violence, prejudice, hate, and be stripped of basic human rights. I should still be able to be a kid. Not because of my age or immaturity. But because I should be able to enjoy life; not fear it.

YOU KNOW WHAT BOTHERS ME

when fantasy books describe the cloth of Quant Farmpeople’s clothing as “homespun” or “rough homespun”

“homespun” as opposed to what??? EVERYTHING WAS SPUN AT HOME

they didn’t have fucking spinning factories, your pseudo-medieval farmwife is lucky if she has a fucking spinning wheel, otherwise she’s spinning every single thread her family wears on a drop spindle NO ONE ELSE WAS DOING THE SPINNING unless you go out of your way to establish a certain baseline of industrialization in your fake medieval fantasy land.

and “rough”??? lol just because it’s farm clothes? bitch cloth was valuable as fuck because of the labor involved ain’t no self-respecting woman gonna waste fiber and ALL THAT FUCKING TIME spinning shitty yarn to weave into shitty cloth she’s gonna make GOOD QUALITY SHIT for her family, and considering that women were doing fiber prep/spinning/weaving for like 80% of their waking time up until very recently in world history, literally every woman has the skills necessary to produce some TERRIFYINGLY GOOD QUALITY THREADS

come to think of it i’ve never read a fantasy novel that talks about textile production at all??? like it’s even worse than the “where are all the farms” problem like where are people getting the cloth if no one’s doing the spinning and weaving??? kmart???

#actionwritingreferenceone

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences.Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.

-Michi

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