letswritefuriously

[letswritefuriously]

The Rise of Skywalker (spoilers)

Consider;

So lets go from where Ben started to die

1. Rey starts to revive him the same way he did for her

2. He tries to stop her

3. Cool action scene where they struggle their way back to the top

4. They collapse at the top and you get a cool ‘oh get medical help scene’ (because those are always so great)

5. We have that nice 'yay we survived thing’ that they actually had at the end

6. Ben walks in and everybody freaks out/claims he should be executed bc of his war crimes

7. We have a HTTYD3-esque ending in which Ben is exiled for his crimes, but he and Rey still see each other often

8. Also Finn and Poe finally get together in the ending, and Finn tells Poe whatever it is that he wanted to tell Rey when they were falling into the sand

Rank on a scale of 1-10 how likely you would be to watch it, and whether you liked it more or less than the actual movie

[letswritefuriously]

My crappy week;

-My friends left at the end of school without saying goodbye

-I have no way to contact my friends for the next six weeks

-They’re hanging out without me

-My friend that is moving schools didn’t give me her email address before she left so I may never see her again

-I have to withdraw from the production I tried so hard to get into after finally making it in

-I got a shitty mark in Drama, the one subject I care about and desperately want to be good at

-Not only was it shitty, but I only improved by 1% over the year

-My Mum wouldn’t let me have a break and now I have like five million jobs to do and I am sO gODdAMn tIrEd

-Also I got called ‘a whinger’ because I told my Mum that I was tired

Yeah I feel fantastic about all of this

[letswritefuriously]

Update on my life;

So basically, I’ve been pretty proud of myself for managing not to cry all those times I told people which role I got casted into in my production. But today I messed up and cried while talking to my drama teacher, and i couldn’t figue out why.

And then it hit me; my teacher was the only one who didn’t say ‘oh well, at least you’re in it’

[letswritefuriously]

@nintendonianrose

[Drawing of a cat writing. There’s a cup of coffee on the table. There’s a caption that says “I know I can do this or at least I’m deciding I can do this. I’m deciding that if I feel like I’m not good enough, I’ll do what it takes to get better. I’m deciding that if I need help, I’ll ask. I’m deciding to advocate for myself, to work for what I want, and to take care of myself as I pursue my goals. I can do this. I’m going to make sure I can do this.”]

[letswritefuriously]

Good news: I made it into the theatre production!

Bad News: I only made it in because of pity points, I have like one line and I have half a minute of stage time.

I’ve been crying for a while.

[letswritefuriously]

I’d join but I don’t know any games. So I’ll just boost!

Welcome everyone! The Game Corner is all about games and tv shows and basically, just have fun! Make friends

@galarianwinchester @axels-eternal-flame @copperplatescript @commoner64

[letswritefuriously]

A Flirting Guide For Writers (And Real World Usage)

I reblogged a post a day or so ago, and the result (which made me sad) was mostly people saying that they feel they cannot flirt (and therefore cannot write it effectively). 

So I thought I’d share my own, admittedly limited, knowledge (under the guise of writing advice) so that you can all write kick-ass romance and show your feelings like the boss-ass-bitches you are! 

The Basics; Eye-Contact, Personal Space, Body Language

The thing about flirting is that most of it is non-verbal, and the world is split between those writers who find this part the easiest, and those who find it the most incomprehensible. 

The problem is that it’s all dependent on a fine, mostly unspoken, line which makes the interaction creepy if crossed. When writing a character who is trying to flirt with someone, or when trying to flirt with someone yourself, you need to keep three main things in mind; personal space, body language, and potential restriction. This is especially important for men. The problem is that this is mostly instinctual, and so it can be hard to write if you haven’t had time to develop the right skills yourself. 

Personal space

When trying to show that your character is flirting you need to make a note of them moving into the other person’s personal space but not too much. Consider this; someone leaning into your space just a little to speak to you versus someone being practically nose to nose with you. One catches your attention, the other is uncomfortable at best and intimidating at worst. The idea is to lean in enough to show interest and create a sense of intimacy, without becoming overbearing or threatening. As a rule, I find that I begin to feel uncomfortable if a man I’m not sure of gets closer than the distance it would take to perform a ballroom Waltz. 

To get an idea of how that looks, hold up your hand at arms length as if pushing someone away or pressing against a wall. Now slowly bend your elbow until the point sits just under your breast or pectoral muscle. 

That’s the maximum personal space invasion I allow from people I don’t know well. In my experience, this is common to many women, though others prefer more space. Likewise, in my experience, men I have met seemed perfectly comfortable with me being closer than even that, but I am small, relatively unthreatening, and we have to allow for the fact that we were in the position of viewing each other as romantic interests. Men may prefer more space from other men, or from individuals that they do not see in a romantic light already. This changes from person to person, and noting your characters preference is a good way to show what kind of person they are.

Eye-Contact 

Another fundamental which relies on instinct subtlety; conventional wisdom says that you should make eye-contact in order to show interest. Actual wisdom will also tell you that too much becomes intense and a little creepy. If your character holds someone’s eye for too long its becomes fixative rather than flirtatious; it becomes staring. Depending on your character and their interest this can either read as obsessive, creepy, or aggressive. 

Flirtatious eye contact can take a few forms; 

1 - the “getting caught” method where a person looks at someone and quickly looks away again. When caught have your character (or yourself) look away quickly and then back, hold eye contact for a few moments and then acknowledge the other person. A smile, wink, or nod will suffice for this. 

2 - the “lash” method where someone, usually a woman, catches their crushes eye, looks down, and then back up from under the lashes. Also very effective when done by men with big eyelashes. 

3 - the “full cheese” method by which someone winks, grins, or wiggles their eyebrows. This is effective when used sparingly. 

If your character also touches the person they are flirting with lightly, this will build tension. The touch should be gentle, but obviously deliberate. Avoid possessive gestures like gripping or pulling, however. 

Body Language

When flirting, the body language of both people is important; your character should watch their crush for signs of interest and/or discomfort. 

Positive signs; leaning in, touching, playing with hair, smiling, licking or biting lips, tilting their head slightly, mirroring. 

Negative signs; leaning away, crossing arms, pursing lips, refusing to make eye-contact, raising their shoulders, crossing their legs away from the other person, frowning, clenching jaw, balling fists. 

This body language can apply to both characters in the scene. 

Advanced Techniques; Verbal Cues, Suggestions, And Other Senses

This is the shit I thrive on, as a writer you will probably feel the same way; I notice the sounds, smells, and textures of another person as well as what they say (in fact, when you read my work you’ll notice that the smell of any romantic lead is noted upon more than once). 

Verbal Cues

This is the thing that most people focus upon when it comes to discussions or attempts at flirtation. The verbal sparring that comes with flirting is what really gets our stomachs churning and our hearts pulsing… but why are some people so naturally good at it, while others are… less so? 

And why does some of the most vapid and run-of-the-mill stuff seem to work between the right people? 

Well, the sad news for your unlovely characters is that physical attraction makes us more likely to respond to even the most poorly constructed of verbal flirtation. Then again, beauty is in the eye of the beholder so even the least pretty of characters could find themselves flirting up a storm with the right person. 

Verbal cues include; 

- Gentle teasing 

- Compliments

- Inside jokes

- Using someone’s name (yes, really)

- Asking questions and responding in a thoughtful way

- Sexual innuendo (when used tastefully and sparingly)

Suggestion

This is the easiest to miss or overshoot because it’s a combination of everything else we’ve already covered. For example, your character saying to a friend, 

“I’m just going to hop into the shower, talk soon.” 

Is not a suggestive statement. Now imagine your character flirting with someone on the phone before sighing and saying, 

“I’m going to take a shower… I’ll speak to you soon, ok?”

The difference is subtle but important; the second suggests that they don’t want to stop talking to the other person, that they definitely want to speak to them again as soon as possible, and subtly encourages the other person to consider them in the shower. You see? 

Easy to miss, easy to fudge. Suggestion is hard to pull off, and hard to write, but think of it this way - suggestion;

1) Encourages the other person to think of you/your character in an intimate way

2) Implies enjoyment in and desire for their presence

3) Is open-ended and encourages reciprocation

The Other Senses

This is not so much flirting, but the act of making your character/yourself as appealing as possible to another. Personal hygiene, a good fashion sense, and good manners are a part of this.

But - 

When writing about this you should not discuss it directly unless your character is making a conscious choice. Instead, focus on the character that yours is focussed upon. 

- How do they smell?

- What are the textures of their clothes?

- What manners do they affect?

- Does their voice have a texture?

- Do they touch your character a lot? 

- Do they note upon your characters smell or noticeably try to take in their smell? 

- Do they react noticeably to your character’s voice or mannerisms?

This is just a basic guide, of course, but if you get this down you’re in a good position to build romantic tension in every walk of life!

If you found this post useful and you want to help keep me writing, you can support me through Kofi!

[letswritefuriously]

A++ GIF usage! I’ve definitely done this with you before @ajbrooks-writes​!

(Speaking of which did I mention that I legit only just realise we’re mutuals? It makes me v happy!)

Reblogging writing advice from mutuals and having to make sure they didn't reblog from you.

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New tag game: Your OCs when they’re drunk. Tag as many people (or more) as you have OCs.

Drunk Alicia: Flirts a bit too hard

Drunk Ethan: Why do I exist, I hate my life, it’s terrible-

Drunk Elvera: Doesn’t happen, she can drink anyone under the table

Drunk Jack: Literally bounces off the walls, giggles, tries to hang from the fan

Drunk Ari: Only talks in meme references that nobody understands, drinks olive juice while crying, turns into a crow and goes around on the fan, glues lettuce to themselves with peanut butter, falls down fireman’s poles-

Tagging: @ajbrooks-writes, @dove-actually, @tabbykatwrites, @thepanickingwriter, @awilliamswrites and anyone else who wants to do it!

[letswritefuriously]

Ari Lachlan has a planned 260 vine references to make throughout the TV series Idun. There will be approximately forty episodes of Idun. On average, that’s six and a half vine references per episode-

[letswritefuriously]

Me, a few months ago: Hey can we carpool to get to the theatre production

Person: Seems like a good idea, let’s talk more after auditions!

Me: *wants to talk more so I’m certain, but is too nervous to go against this*

Me, now: Hey auditions are over can we carpool

Person: My car is full, maybe if you’d arranged this before auditions-

Me:

[letswritefuriously]

Good news: I made it into the theatre production I wanted to get into!

Bad news: My Mum refuses to drive me there, and the people I arranged to car pool with have told me they have different arrangements, and they’re lecturing me about how I should’ve thought about this before I applied. I just feel so miserable, and I can’t stop crying. It’ll be really bad to back out now for organisational purposes, and I don’t want to because I put all this effort into getting in, and I don’t want t not be in now.

[letswritefuriously]

Reblog this so I can send you WIP/OC asks? If you want, include whether you'd like a worldbuilding, plot, or character ask!

[letswritefuriously]

Update

Just so y’all know

There are like 3 fires within 20km of my house (so yeah that’s scary) and the wind is blowing them closer so like I may have to evacuate soon. So no posts - not that there would be any anyway.

[letswritefuriously]

Introducing Ari Lachlan; master of excuses

We are back to the older version of ALICIA and ETHAN; hands on their knees, panting. ARI comes up beside them.

ARI: Come on; we can’t stay here. That was just the cavalry to root us out; next they’ll be sending in the people.

ETHAN: Will they be able to open the door?

There is a pause while ARI chucks a bitchface at ETHAN.

ARI: Yes, Ethan, that was implied.

ALICIA: What... what was that thing?

ARI grimaces, and looks across at ETHAN. ETHAN simply looks confused.

ETHAN: What was what thing? And besides; what do you mean ‘cavalry’?

ARI: I... I mean that armed fucking bomb squad they just sent in, did you not see them?

ETHAN: ...No? I mean... maybe they were upstairs, it would explain why you went up there, to fight them, I guess.

ARI: Obviously.

ETHAN: But you asked if I saw them, and I never went upstairs.

ARI: No I didn’t, I never said that... Well I didn’t know you didn’t go upstairs!

ALICIA: There were no soldiers.

ARI: Yes there were, and even if there were, there will be-

ALICIA: I saw a giant blob of black stuff that was attacking that dude, Noah.

ETHAN looks concerned, and ARI quickly moulds her face into the same expression.

ALICIA (Cont’d): Don’t look at me like that, you must have seen it too! It was filling up the whole room!

ETHAN: Alicia... are you feeling alright?

ALICIA: No! I just got attacked by a giant slime monster, of course I’m not feeling alright! (She sees his disbelieving expression, and turns to ARI). Don’t pretend you have no idea what’s going on! Those were some ridiculous excuses.

ARI (innocently): Excuses? What are you talking about?

ALICIA: Armed bomb squad? That Ethan never saw either? And it was because they were upstairs, but also because you thought Ethan did go upstairs? Even though you told him to run?

ARI (trying not to laugh): How is that unrealistic? Look, Alicia, I only just met you, but... you sort of seem to have a... hallucination problem. No offence.

ALICIA: How am I supposed to be not offended by that? I. am. Not. Hallucinating!

ETHAN: Um... didn’t you say that more people were coming, Ari?

ARI: Yes. Whether you hallucinated or not, people are coming, we have to go. Come on.

@dcdarrells, @juls-writes, @cookiecutterwrites, @thewriteblrarchives, @tabbykatwrites, @farrradays, @zburatorii, @ofinkblotsandscript, @awilliamswrites,

[letswritefuriously]

Another update; we’re all banned from having fried eggs. Go figure.

I am so done right now. I can’t even cook an egg without getting yelled at. I only realised that I was allowed to have two eggs after I started frying the first, why was it necessary to yell at me for not doing them together? Why is it necessary to yell at me for forgetting to put oil on top of the egg? Like, do you have to eat this egg? No! I’m eating it, so if it’s messed up, I’m the only one who has to deal with that!

[letswritefuriously]

Oh and update my brother accidentally put too much oil in when he was frying his egg, and now he has to feed it to the dogs.

I am so done right now. I can’t even cook an egg without getting yelled at. I only realised that I was allowed to have two eggs after I started frying the first, why was it necessary to yell at me for not doing them together? Why is it necessary to yell at me for forgetting to put oil on top of the egg? Like, do you have to eat this egg? No! I’m eating it, so if it’s messed up, I’m the only one who has to deal with that!