Grits My Teeth. Why Do People Always Assume I Want To Fuck A Character When I Post About Them Enthusiastically

you know what trope drives me absolutely feral? Repetition. Just :

"Hey, hey, it's okay"

"Shh, you're safe, you're safe, it's alright "

"Look at me. Hey, look at me"

"Stay with me. Come on, just stay with me"

"It's over. It's over now."

"I'm sorry, I'm so sorry"

"I'm here. I'm right here"

evil is a relay sport when the one who’s burned turns to pass the torch

Do you guys remember this?

Has this been done yet

If not, it’s done now

Finally, the meme meme meme…

You just found out you’re a superhuman. You have everything that comes with that, super strength, speed, and the ability to not need to eat or sleep. This is good until your friends start realizing you haven’t eaten in a while, causing them to have a surprise intervention.

Controlling Your Pacing

                Pacing is one of my favourite things to pay attention to when reading or writing something. The pacing of a scene is literally how ‘fast’ or ‘slow’ a scene appears to be moving. Action scenes that spring the story from one place to another tend to go faster than introspective scenes or scenes that explore character dynamics.

                All of this is created through putting space and words between elements of the scene. What I mean by that is that readers interpret a passage of time between ‘things’ (actions, dialogue, gestures, etc.) on the page, and pacing is controlling that interpretation.

                For example,

“Georgia sat on the couch, “wow it sure is hot in here,” she said. “It sure is,” Henry agreed, sitting next to her.”

                This sentence is just about the actions with some breaking dialogue, but it goes pretty quickly through what’s happening.

                Whereas, if we were to intentionally pace this scene, it may look like this:

“Georgia swiped at her brow, wandering over to sink into the couch. “It sure is hot in here,” she said, peering up at Henry through the wisps of her bangs. He nodded weakly, his entire body sagging from the heat. Crossing the room to collapse next to her, he added dryly, “it sure is.”

                It’s not perfect, but you can get a sense of the time between things happening. The added detail between the two characters talking conveys maybe a minute between sentences, which might be accurate for two people dogged down by a heat wave.

                To speed things up, we want less space between elements:

“Adam slammed open the door with his shoulder, letting it bounce off the concrete wall behind him. “Everyone out!” He shouted. A crack in the roof snapped above them.”

                The added (or subtracted) elements of a scene that control your pacing is the sights/sounds/feelings/smells/maybe tastes of a place. When we’re anxiously rushing to get out of the house we may not acknowledge that the kitchen smells like the bread our roommate baked that morning, or that there are smudges on the window from when the dog climbed up on the couch. However, when we have a second to contemplate, we’re going to notice these things, and it would be appropriate to write them in.

                Another important element to controlling pacing is your character’s thoughts or acknowledgement of feelings.

                For example:

“Adam slammed open the door with his shoulder, it bounced off the concrete wall behind him. He winced, his mother’s high voice ringing in his head, chiding him for damaging the walls even though he knew the building was coming down on top of them. How long would he live with her constantly in his mind? He tried to wave away the memory. “Everyone out!” He shouted.”

                That slows down the scene quite a bit, yeah? And maybe that’s what you wanted in that moment. Play around with the details and pacing in your scenes, you might be surprised how much can change.

                Good luck!

The Barbie movie isn't about girl power. It's not about how women can do everything they set their mind to. It's about how sometimes women are tired and average and that has to be okay too, because you don't have to do everything to be worth anything. (And that this is also true of men.)

"Still...I am sorry you were born, child. I have brought you a hero's fate, and a hero's fate is never happy. It is never anything but tragic."

GOD I WAS ALWAYS GOING TO LOVE PJO

My mom didn't like that they represented men as fools in Barbie but then I told her, "Barbieland is a representation of the real world but in reverse, where the Barbies are men and the Kens are women. And if you think about it, Barbieland is made from the 'female gaze' (Barbies/men), and just like in many situations in real life the products made from the male gaze -like movies- represent women as fools and nothing more than an object, an accessory of man."

Was scrolling through AO3 and found this gem

Enemy to parent is a trope we have to popularise lmao

op: "i really don't mind-" zeta: "Do Not enable him"

sort of a sequel to this? a lot of people really wanted op to get a hug and i support that. so does prima. zeta isn't really against it, he just wishes prima would at least try to stick to the schedule for primus' sake-

haunted au