ms2 spoilers but the scene where oz tells akira about arthur's prophecy and says like "please do not let him turn into stone... he has not yet lived 20 years" or something along those lines. and like. wow. it's just so profound and 'desperate' coming from him.
'desperate' in a way like, considering the way oz has lived his life. he doesn't form bonds or relationships or fails to sustain these bonds; it was always others reaching out to him and not the other way around,,,, then arthur comes into his life and he started finding himself reaching out to take care of arthur and reaching out to others to ask for help on how to take care of arthur LIKE. YOU GUYS GET WHAT I MEANNNN
i just finished watching the newest mahoani ep and the end gave me Food For Thought. because arthur was so distressed about the fact that he has yet to repay oz's kindness to him back in the north, but oz is just glad to see him again, taller, older, and ALIVE. i think the arthur prophecy reveal in ms2 was definitely one of my favorite ms2 moments because you could clearly read into the desperation in oz's lines. his affection for arthur ran deeper than his blood and veins to the point that he was summoned as a central wizard instead of a northern wizard; that's how deep he cares for arthur, deep enough for his pure, full northern roots to get mixed with the central ideals
Today, let's discuss lunar myths, beliefs, and practices from the Philippines. 🌙✨️
As humans, we are all drawn to the beauty of the moon. Every culture has practices and stories associated with this celestial object that illuminates the dark night sky.
Are there any other lunar beliefs and practices you know of in the Philippines?
Carrying a bottle of painkillers for them
Making them laugh when they're upset
Bringing them a drink they didn't ask for
Kissing their forehead
Running your fingers through hair
Buying them something they never would have asked for
Making them their favorite meal after a long day
Knowing their schedule as well as your own
Listening to them rant
Taking interest in their hobbies
Letting them nap with their head in your lap
Doing their hair for them
Telling them to stop working so hard
Listening to their favorite music
Sitting with them after a bad day
Comforting them after a nightmare
Walking in step with them even when you don't have to
Letting them cry on your shoulder
Having their favorite snack in your bag
Squeezing them as tight as you can
Helping them move house
Buttoning up their coat for them when you don't have to
Bringing them medicine when they're sick, even though you know they won't take it
Communicating wordlessly across the room
Sharing a plate of food
Helping them build their confidence before an important meeting
Making sure they're safe on their way home
Helping them calm down
Remembering their favorite things
Rubbing their feet for them
Pulling over to comfort them
Having food ready for them when they come home
Turning off the lights when they have a migraine
Making sure they get sleep
Driving them to work just so you can have a few more minutes together
Doing their makeup for them
Buying them a piece of jewelry that reminds you of them
Dancing with them in the living room
Doing their chores for them
Holding hands when you cross the road.
Okay, it's finally time to edit. You've got all your materials sorted, it's time to dive right in. You want to start with the big edits first, aka the plot pass.
Now listen. You're going to want to linger and fix those little bits of grammar or dialogue, and I know it's so hard not to, but letting yourself get off-track might mean wasting hours on a scene you realize later you have to delete. Fix a few spelling errors, leave a note, and stay plot-focused.
In the plot pass, you're asking yourself some basic questions:
Do events follow a clear order? - When you're getting everything down on the page for the first time, scenes might get jumbled up or events might not have clear causes. Maybe you have a car crashing into the cafe pages before, but in a writing haze, you wrote your main characters having a casual conversation moments later. If the bad guy beats your heroes to treasure, is it clear how they got there? (Not everyone can be Yzma.)
Do circumstances feel contrived? If there are any problems that can be solved by your characters sitting down and talking to each other, it may be better to lean into their motivation for not speaking to each other, rather than coming up with bad romcom scenarios. If the plot can be resolved by the mcguffin the grandma had the whole time, it might be better to make finding that mcguffin part of the plot instead.
It doesn't have to be perfect, and you don't have to reinvent the wheel. If someone gets bitten by a werewolf, it's perfectly fine to have them turn into one at the worst possible moment. When it comes to contrived, you're looking for problems that seem easy to solve and look for more interesting ways to complicate them.
Are your character motivations consistent to the characters throughout the story? - They can change throughout the story, but character motivations do need to be linked to the actions they take. An out-of-nowhere betrayal is way more satisfying if you lay the groundwork for it ahead of time.
Take a moment to list out the motivations of the characters in a scene you're not quite sure of can help you figure how to fix it. Having an outline helps with this a lot!
Are you following an "if... then" format? - My brain doesn't work like this when I'm writing, because as a writer you know how A got to Z, and it seems (in your head) obvious how it happened. This is where my scene card outline come in handy, because I can look at my overview of what should happen and why, and then compare it to what actually happens in the scene. I've discovered so many threads I forgot to connect that way, like why a character had a certain device (I forgot to have him pick it up two scenes earlier), or adding a few simmering dialogue bits that make the big fight pay off much better.
Can you fix the "Because the Plot Demands It" scenes? - Look, sometimes your character needs to be in that haunted house to see that damn ghost, but your character isn't the type to set foot in such a place. It's really easy, especially in the first draft, to contrive a way in there (she took a wrong turn on her way to grandma's!), but retooling these scenes to connect them to the characters motivations and needs is the way to go. The main character doesn't want to go into that obviously cursed place, but her best friend hasn't shown up for school in three days and now she's crying for help from the second floor window. Your character's strong desire to be there for her friend is a much better way to get her into that house.
This is not always easy - it took me six fricken drafts to realize a critical part of a character's motivation was because his father blamed him for his mother's death - but it is going to be worth putting in the work to hammer down.
Do you have a solid timeline? - This might not seem as important, but it's super easy to accidentally fit two weeks worth of activities in three days. Make sure you have that on reference, even if you don't mention it in the book. Also make sure to gauge your distances if your characters are on a trip, because if you do accidentally say it takes two hours to drive from Seattle to Spokane instead of five, someone will dive down your throat for it. Not me. Just someone.
Okay, maybe me. Slow down, you maniacs.
Next post we'll dive into the structure pass. See you then!
"Why don't you ever listen to me?"
"I fucked up."
"They told me you left."
"I'm sorry I'm not who you thought I was."
"Where did you go?"
"Don't touch me."
"They're lying to you."
"Are you hurt?"
"I don't know where we are."
"Why are you still here?"
"Don't listen to them."
"Look at me."
"Why would you say that?"
"I'm not going to hurt you."
"You heard that?"
"I didn't mean it."
"This can only end one way."
"You look like hell." "I feel like it."
"You don't remember me?"
"I don't know who you are anymore."
"This isn't what it looks like."
"Do you trust me?" "I don't know."
"Just a little longer."
"Swear it to me."
"This isn't right."
"I don't know how much longer I can do this."
"I can't protect you."
"I can't believe I didn't see that coming."
"I'm sorry, I'm so sorry."
"You can't tell anyone."
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Tony and his PPs (forgot to post this one too)
"doomed yaoi" this, "doomed yuri" that. what about DOOMED SIBLINGS
2ha censored CN version volume 5 print going on sale 18 May | Huaizui momento booklet art by artist 墙头儿儿
CHU WANNING LOTUS LEAF PAD HAT BABY
still one of my top 5 kagehina set moments. Kageyama not quite hesitating but mulling over the idea of trying out their new quick until Hinata quells him with single look and you can see the way his brain quiets and he kind of just sets in a trance, following Hinata's lead. The way Furudate conveys silence and noise here is sooo good, like it's real quiet when we're in Kageyama's internal narration, quieter when they complete the quick and then erupts into sound after
For Valentines, Yachi made all the other first years tomo-choco (friend chocolate) !! It was well-received :,,) Tobio is going to put off eating his so he can continue staring at it. Yachi-san made this for him… friends chocolate… because they are friends…
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