Sly4 AU Where Penelope Really Was Hypnotized And Bentley Doesn't Lose Her.

Humanized Bentley/Penelope fluff (in green!)

I imagine that the scene on the lower part of the drawing happened a LOT between these two.

So, since Murray calls Penelope "Sis", Does that technically make her and Jing sisters?

I'm not planning on shipping Murray and Jing.

It's not off the table... I just haven't planned anything for them yet.

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are you ever concerned about the fact that nobody else wears pants in the gang but you

It got a little easier after we defeated Dr M and it was just Bentley and me.

Besides, Panda King wore pants! And even Guru wore pants… sort of…

((awkward timing for a nosebleed there, Bentley!))

Shining Friendship

“The peacemaker among monsters.”

Ask me anything relating to my Thieves In Time rewrite, and I'll be happy to answer.

Reblog if you'll PUBLICLY answer anything in your ask right now.

Im game

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Yes, Thieves In Time Redux is still in the works.

Yes, it is incredibly challenging to write.

No, I'm not looking forward to writing the villains' dialogue. Or the ancestors. The worst part is improvising their existing lines from the vanilla game. And giving them new lines.

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Don’t touch da babies.

heimkoheimkofan replied to your post “would anyone be interested if i fixed sly thieves in time or”

Go ahead and tell your ideas, i’m honestly curious.

BUCKLE UP IT’S GONNA BE LONG 

and premise: i’m still using the time travel plot, because i DO have an original story for sly but i legit just want to fix thieves in time, not make a completely different story

to fix it properly the series should’ve ended with sly 3, but lets pretend we can go on

also important: while i’m referring at the main bad guy as le paradox, the main bad guy ISN’T the le paradox of TiT. he’s a stupid character with a stupid name and an even more stupid motivation to be the bad guy, i’m simply using his name as nameclaim for lack of other names.

VARIOUS CHANGES:

the gang doesn’t travel in time because le paradox is specifically attacking the clan; le paradox is stealing stuff that eventually would end up in the cooper vault without even knowing it, and coincidentally deleting SOME parts of the thievious racconus. le paradox themself isn’t even aware the cooper gang is fighting their team off until the medieval england level and isn’t doing anything about them for the time being

no sly doesn’t “misses thieving uwu”, he gets back in the gang because of the whole “hey the pages are missing”  and “penelope disappeared”. carmelita catches him and instead of being sassy and being like “woopsies lol” ofc he’s sarcastic at first but immediatly realizes he fucked up.

carmelita herself is part of the gang from japan, but she actually acts like part of the gang just at the very end of the level, where she actually talks it out with sly. their situation is still a little worrisome at the beginning, but first of all we don’t have carmelita getting kidnapped (NEVER.) nor her threatening him over and over. they very slowly understand to find a way to get over the whole “yea i was faking amnesia” thing

the time machine works differently. you gotta write the very precise date and place to travel!!! questions “shouldn’t we go back when neyla paralyzed bentley then?” or “shouldn’t we directly stop clockwerk then?” happen over and over and they’re quite the big plot point. they’re doing what’s right, not what’s good for them.

sly doesn’t go around saying he’s one of the cooper, once again because of time paradox stuff, but tries to find excuses about being a big fan or something like that. the ancestors don’t know he’s a cooper but his name becomes important for them (other than for slytunkhamen ofc) and is a name used a lot after that time

…also im gonna say it murray’s gay and has a crush for someone they meet during their travels. that’s it. it’s canon now no longer a shitty joke

LEVELS ANCESTORS AND BOSSES:

feudal japan, still w rioichi except that he didn’t invent sushi because it’s stupid and he isn’t a stereotype. el jefe can stay

the wild west is the only good level except for the whole “carmelita gets kidnapped” level and of course her stupid ass flirting with tennessee. everything else is perfect. tennessee is perfect. toothpick is perfect. i really like this level and it’s exactly the same except for that one level and the finale of course

in a better world bob nor grizz exist. the third level is the caribbean during the 1800, and the ancestor is henriette “one eye” cooper because i love her big time. the gang makes lot of jokes about “oh my god we’re with pirates again” and she’s the only one of the ancestors who lowkey flirts with carmelita. dimitri is having the time of his life and throws parties on the ship. idk who the bad guy is so don’t ask :(

ill talk about the medieval england and the black knight later but know that ¾ of it is good and will stay. from penelope’s backstab onwards however it changes a LOT.

arabia can stay but it’s during the 40 thieves golden era, making salim a Big Boss  instead of whatever the hell that was. no bellydance minigame. mrs decibel is a victim of circumstances and eventually helps the gang. i need to change her a lil but ill think about it

instead of paris, the final level would be ancient egypt. again i’m gonna talk about it later :3c

VERY BIG CHANGES I’M GONNA PUT UNDER READ MORE BECAUSE IT’S LONG AND I’M GONNA TALK ABOUT THE WHOLE PENELOPE BULLSHIT AND THE BIG TWIST IN EGYPT HELL YEAH

Keep reading

Some Editorial Vocabulary

definitions of terms during the writing, editing and publishing process

Acknowledgements: Text in which the author thanks those who’ve supported them.

Action beat: Short description that comes before, between or just after dialogue.

Adjective: A word that describes a noun.

Adverb: A word that describes a verb.

Adverbial phrase: A group of words that describe a verb.

Afterword: A concluding section, often reflecting on the book’s creation or providing additional context.

Anaphora: The deliberate repetition of words or phrases at the beginning of successive clauses for artistic effect.

Antagonist: An adversary. The character who creates obstacles and challenges for the protagonist, or behaves in a hostile fashion towards the protagonist.

Anti-protagonist: A protagonist whose own actions create opposition and conflict, often within themselves or against their own goals.

Apostrophe: A punctuation mark used to indicate possession, omission and, occasionally, a plural.

Appendix: Space in a book for material that doesn’t fit comfortably in the main text.

Asyndeton: Literary device through which a sentence’s structure follows the following pattern: A, B, C.

B-C

Back matter: Also end matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Beta reader: Test-reader who provides feedback on book.

Bibliography: List of all works cited in book, and any other work of interest to the reader.

Chapter drop: The space above and below the chapter title.

Character arc: Narrative that shows how a character changes and develops.

Characterization: The process of revealing a character's personality, traits and motives through actions and dialogue.

Colon: Punctuation mark that introduces additional/qualifying information about the clause it follows.

Comma splice: Two independent clauses joined by a comma rather than a conjunction or an alternative punctuation mark.

Conjunction: A word that connects clauses or sentences (e.g. ‘and’, ‘but’, ‘if’, ‘then’)

Copyediting: A review of grammar, punctuation, and spelling, ensuring consistency and accuracy in the manuscript's language.

Critique: Also manuscript evaluation. Report analysing a book’s strengths and weaknesses.

D

Denouement: The final part of the book in which all the plot strands are brought together and resolved.

Deuteragonist: A sidekick or confidante character who has the most influence on the protagonist, often helping them solve problems and overcome obstacles. Can be critical to driving the plot.

Developmental editing: Also structural editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Dialogue tag: Also speech tag. Words that indicate which character is speaking (e.g. John said).

Dialogue: The lines characters speak in a book.

Diversity reader: Also sensitivity reader. Test-reader who checks for misrepresentation in books.

Double-page spread: Also DPS. The view of a printed book or PDF when opened so that the left- and right-hand pages are both visible.

Drama: The conflicts, emotional intensity, and impactful events that drive the plot and engage readers emotionally. The focus is on character relationships, motivations, and the consequences of their actions.

Dropped capital: Decorative first letter of the first word on the first line in a chapter. Larger than the rest of the text and drops down two lines or more.

E-F

Ellipsis: Punctuation mark that indicates a trailing-off or a pause.

End matter: Also back matter. Elements reserved for the back of a book, including appendix, glossary, endnotes, bibliography and index.

Endnote: Additional useful information at the end of a chapter or book.

Filter word: Verb that tells rather than shows (e.g. ‘noticed’, ‘seemed’, ‘spotted’, ‘saw’).

Folio: Somewhat old-fashioned term for page number. Also used to refer to a page.

Footnote: Additional useful information at the bottom of a page.

Foreword: A recommendation of the work written by someone other than the author.

Fourth wall: In books, the conceptual space between the characters and the readers.

Free indirect speech: Also free indirect style and free indirect discourse. Third-person narrative that holds the essence of first person thought or dialogue.

Front matter: Also prelims. Includes part title and title pages, foreword, preface and acknowledgements.

Full point: Period or full stop.

Full stop: Period or full point.

G-L

Glossary: Alphabetical list of important terms with explanations or definitions.

Habitual past tense: Uses ‘would’ or ‘used to’ with a verb to indicate events that happened routinely in a time past.

Half-title page: The first page of a book with any text on it; in a printed book, always a right-hand page. Contains only the main title of the book.

Head-hopping: Jumping from one character’s thoughts and internal experiences to another’s. Indicates viewpoint has been dropped.

Imprint: Publisher’s name.

Independent clause: A group of words that contains a subject and a predicate.

Index: Alphabetical list of all topics, themes, key terms and cited author names covered in the book, and the corresponding page numbers.

Information dump: Also word dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Line editing: Also stylistic editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

M-O

Maid-and-butler dialogue: Dialogue in which one character tells another something they already know so the reader can access backstory.

Manuscript evaluation: Also critique. Report analysing a book’s strengths and weaknesses.

Narrative arc: Also story arc. The structure and shape of a story.

Narrative authenticity: The believability and truthfulness of a story so that the characters and events feel real within the framework of the novel’s world.

Narrative distance: Also psychic distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Narrative: Story. The part of the book that’s narrated, excluding the dialogue.

Narrative style: The author's unique manner of storytelling, encompassing language, tone, viewpoint and other structural choices.

Narrative voice: The style, tone, and personality through which a narrator or character tells a story to readers.

Numerals, Arabic: 1, 2, 3 etc.

Numerals, Roman: i, ii, iii etc.

Omniscient: All-knowing. Refers to a viewpoint style in fiction writing.

Overwriting: Using too many words on the page. Often characterized by repetition and redundancy.

P

Page proofs: A file that’s reached a stage in the publishing process where the text and images of a manuscript have been laid out in their final format.

Pantser: A writer who doesn’t outline or plan story structure, but flies by the seat of their pants.

Period: Full stop or full point.

Perspective character: Also viewpoint character. The character through whose eyes the story is primarily told. The narrative lens through which readers experience events, thoughts, and emotions within the story.

Plot: The sequence of events in a novel.

Point of view: Also viewpoint and POV. Describes whose head we’re in when we read a book, or whose perspective we experience the story from.

Polysyndeton: Literary device through which a sentence’s structure follows the following pattern: A and B and C.

Predicate: The part of a sentence that contains a verb and that tells us something about what the subject’s doing or what they are.

Preface: An explanation of the purpose, scope and content of a book, and written by the author.

Prelims: Also front matter. Includes part title and title pages, foreword, preface and acknowledgements.

Pronoun: A word that replaces a noun (e.g. I, you, he, she, we, me, it, this, that, them those, myself, who, whom). Pronouns can act and be acted upon like any noun.

Proofreading: The final pre-publication quality-control stage of editing where any final literal errors and layout problems are flagged up. Comes after developmental editing, stylistic line editing and copyediting.

Proper noun: A named person, place or organization. Always takes an initial capital letter.

Protagonist: The leading character in a novel, often facing central conflicts and driving action.

Psychic distance: Also narrative distance. How close the reader feels to a character’s thoughts, emotions and experiences within a story.

Purple prose: Overblown, poorly structured writing with strings of extraneous and often multisyllabic adjectives and adverbs.

Q-R

Quotation mark: Also speech mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Recto: The right-hand page of a book.

References: List of all the works cited in your book.

Roman typeface: Not italic.

Running head: Text that runs across the top of a page (e.g. title of the book, chapter title, author’s name).

S

Scene: a distinct segment or building block where specific actions and events unfold in a setting.

Scene technique: The use of dialogue, action, setting, and tension to craft compelling moments in the story.

Semi-colon: A punctuation mark that indicates a stronger pause than a comma between two main clauses.

Sensitivity reader: Also diversity reader. Test-reader who checks for misrepresentation in books.

Speech mark: Also quotation mark. Punctuation that indicates the spoken word. Singles or doubles are acceptable.

Speech tag: Also dialogue tag. Words that indicate which character is speaking (e.g. John said).

Story arc: Also narrative arc. The structure and shape of a story.

Structural editing: Also developmental editing. The improvement of a manuscript's structure, content, and overall narrative, focusing on big-picture elements. Attends to plot, characterisation, narration and pacing.

Style sheet: In which an author or editor records stylistic and language preferences, and tracks who’s who, what’s where, and when X, Y and Z happens.

Stylistic editing: Also line editing. The refining of a manuscript's language, focusing on consistency, clarity, flow and style at sentence level.

Subject: The thing in a sentence that’s doing or being something.

Subplot: A secondary storyline that supports and enhances the main plot of a narrative.

Suspense: The tension, uncertainty and anticipation created by withholding information, raising stakes or placing characters in imminent danger. Readers are kept guessing or forced to ask questions.

Syndeton: Literary device through which a sentence’s structure follows the following pattern: A, B and C (or A, B, and C).

T

Talking-heads syndrome: Dialogue that isn’t grounded in the environment or the characters’ responses to that environment.

Tense: The form a verb takes to indicate when an action happened in relation to the telling of it.

Tension: The emotional strain or suspense created by unresolved conflicts, stakes or uncertainties that keep readers engaged.

Tertiary character: A functional character who gives the story realism and depth, but doesn’t significantly impact on or influence the plot or the development of the other characters.

Theme: The novel’s central idea or message about life, society, or human nature.

Title page: Includes full title (and subtitle if there is one), author’s name, publisher’s name, logo, volume number, and edition.

Transgressor: A character who commits morally, socially, or legally questionable acts.

Tritagonist: Third most important character, who often provide regular emotional or physical support, but don’t determine how the story develops.

U-W

Unreliable dialogue: Dialogue that doesn’t match a character’s true voice, mood or intent.

Unreliable narrator: A character whose telling of the story cannot be taken at face value. They may be naïve, confused, or deliberately manipulative.

Verb, intransitive: A verb that doesn’t have a direct object (e.g. ‘I giggled’).

Verb, transitive: A verb that has a direct object (e.g. ‘wrote’ in ‘I wrote a book’).

Verb: A word that describes doing. Can refer to a physical action (e.g. to dig), a mental action (e.g. to wonder) or a state of being (e.g. to be).

Verso: The left-hand page of a book.

Viewpoint: Also point of view or POV. Describes whose head we’re in when we read a book.

Viewpoint character: Also perspective character. The character through whose eyes the story is primarily told, and the narrative lens through which readers experience events, thoughts, and emotions within the story.

Vocative: The form of address for a character directly referred to in dialogue.

Word dump: Also information dump. Information that’s necessary to the story but isn’t artfully delivered, or weaved creatively into the narrative and dialogue.

Source

bring back tumblr ask culture let me. bother you with questions and statements