#and the screenwriter

[deniselavestal]

''what if my writing isn't good eno--'' what if it's a reflection of your soul. what if it has a place in this world. what if you write it anyway

[notherpuppet]

Someone asked if I was adding more to "Buckshot"

...and then I accidentally posted it before I was done answering LOL. Anyway, here was the answer:

I have some ideas that I just haven't fleshed out yet. But I really like that AU and I want to return to it.

As for the Buckshot specific "chapter"...I do have some 'deleted scenes' that I just didn't feel like drawing (laziness) but hmm maybe i'll get the motivation to sketch them out eventually.

Some deleted scenes:

Scene 1.5 [Lucifer looks at Alastor's wounds as he's changing his bandages and clothes. Alastor's covered in severe scars exhibiting many different kinds of injuries.] Lucifer: "So many scars...I wonder what he's been through..." [Lucifer glances at Alastor's face, which somehow still has a faint, but visible smile.] Lucifer (incredulous and annoyed): "Yet he always keeps that smile on his face..." CUT TO FLASHBACK MONTAGE: Lucifer, Alastor, and Charlie playing in the park, eating dinner altogether, and singing backup for Charlie while Alastor plays the piano. [Lucifer smiles softly and turns up the corners of Alastor's sleeping smile.] Charlie: "I thought Al needed to sleep!" >:-0 [Lucifer draws his hands back suddenly, embarrassed.] Lucifer: "Where did you--" [Charlie climbs onto Alastor's rest bed. She haphazardly reaches for Alastor's face.] Charlie: "My turn or it's not fair!" >:-D Lucifer: "Charlie, no!" --- Scene 4.5 (happens at the dinner party, in Lucifer's room, after Alastor bleeds through his shirt) [Lucifer quickly changed into a red tuxedo. Alastor is lagging, due to his pain and need to clean his wound with a soft cloth.] Lucifer: "Let me help you--" Alastor: "I can handle this." Lucifer: "Would you stop being so stubborn? You're drugged up, drunk, and moving slow as hell. You want to arouse more suspicion or do you wanna get this over with?" [Alastor rolls his eyes and rudely tosses the cloth at Lucifer's face. Lucifer's quick reflexes catch the cloth effortlessly.] Lucifer: "That's what I thought." [Lucifer begins to clean Al's wound. Alastor has a pained expression. He winces and grabs Lucifer's wrist forcefully.] Alastor: "You're being a brute." [Alastor guides Lucifer's hand gently and drops his hand once Lucifer adapts. Lucifer helps bandage Alastor back up and get dressed. They're now both in new tuxedos, sans bow ties. Before Lucifer can grab his bowtie, Alastor snatches it.] Alastor: "Allow me." Lucifer: "I can tie my own bow tie." Alastor: "Did you not say we were in a hurry? I think we both know it will go faster if I just tie it." [Lucifer rolls his eyes but resigns. Alastor ties the bowtie swiftly and perfectly.] Lucifer: "Ugh, how do you do this so easily? Aren't you high?" Alastor: "As a kite." [There is a beat and they both share a laugh. Suddenly they hear a distant voice yelling:] Adam (distant): "So much for a quickie!" Alastor: "We should go."

[writingwithfolklore]

If it doesn’t impact the rest of the story, you didn’t raise the stakes

              I recently went back to a chapter at the midpoint of my novel and changed a huge detail of it because I thought it didn’t raise the stakes enough as it was. Because of this change, I had to go through every single scene and chapter beyond that point and edit it to fit in and make sense. It was annoying, but that’s how I knew I achieved what I wanted to.

              Raised stakes change everything about a story.

              If your characters can continue on as they were, then you didn’t really raise the stakes at all. This heightened pressure or danger has to be heightened enough that their lives as they know them are different now.

              Consider this: at the midpoint, you introduce a mutated form of a monster your characters have been facing that’s more deadly and intelligent than its predecessor. It’s a super scary scene, but after that, your characters go back to their safe house to talk over how best to kill it.

              Suddenly, this new monster doesn’t feel as much of a threat. It’s just another element of the same threat they’ve already been facing.

              To properly use this element as a way to raise the stakes, it should take away something the characters rely on—safety, allies, powers, etc. Something they can’t get back, and don’t get back for the rest of the story. They now have to adapt to new circumstances, and things will never be as easy for them again.

              So maybe instead, they flee to their safe house only to discover that it’s no longer safe—the monster is smart enough to get through their hidden entrance and corner them. Now they’re stuck out in the open, taking turns keeping watch and slowly deteriorating to sleeplessness and stress.

              That’s a delicious steak.

[bitchcakegreen]

Thank you Nicola Coughlan for that scene. To finally see someone with the same body type as me in a scene of love like that, was moving and important. Bridgerton

[s-soulwriter]

How do we write characters authentically?

Hello, my dear writer! I assume we've all wondered at the beginning of our writing journey, "How do I find my own writing style? How do I stand out, and how do I make my characters sound authentic?" This post is dedicated precisely to the latter question. How do we write characters authentically?

Observe Different Personalities: Observe people of different age groups, from various cultural backgrounds, and with diverse life experiences. Pay attention to their language, gestures, and behaviors to develop a broad understanding of human diversity.

Take Time for Character Development: Invest time in developing your characters, including their background, motivations, goals, strengths, and weaknesses. The better you know your characters, the more authentically you can portray them.

Utilize Realistic Settings: Place your characters in realistic environments and situations that are recognizable to your readers. Describe the details of their surroundings, such as landscapes, buildings, clothing, and everyday items, to create a vibrant backdrop for your story.

Be Open to Change and Development: Allow your characters room for growth and change. People evolve over time based on their experiences and decisions. Permit your characters to learn from their mistakes, gain new insights, and undergo development.

Everyday SituationsAn additional tip is to place your character in various small situations, even if they are a fantasy figure. For instance, have your character order coffee. What happens if they encounter a ghost? What are their feelings about Christmas? Accompany them while shopping. How do they react when meeting their greatest hero? Describe everyday scenarios that aren't part of your official story but are meant for you to better understand your character.

[scriptwriters-network]

Don’t say you don’t have enough time. You have exactly the same number of hours per day that were given to Helen Keller, Pasteur, Michelangelo, Mother Teresa, Leonardo Da Vinci, Thomas Jefferson, and Albert Einstein.

H. Jackson Brown Jr.

[mysharona1987]

[girl-bateman]

I guess that this is as good of a time as any to remind people that WRITERS MAKE THE STORY!!!! I cannot count how many times I see posts praising tv directors for things that are simply not their doing. That iconic line of dialogue? Yeah a screenwriter wrote that. The characters you love? Screenwriter. The places, the plot lines, the developments? Writers.

A show CANNOT happen without a script because a script is necessary for EVERYONE to do their job right. It dictates what set to look for/create, the filming schedule, the casting calls, the costumes and so on. It's not just words on a paper, its the backbone for all of production and it deserves to get recognised as the integral part of tv and film as it is.

[bodhrancomedy]

I really think they should let me write Doctor Who because I bet I could knock out a banger anti-eugenics bottle episode.

[cloudselkie]

Back in 2007, I WAS one of those people who had trash takes about the writer's strike and it essentially killed my favorite show at the time (Heroes - it was never as good after). I was so mad at the time. I was also 18 and came from a sheltered, conservative household and thought they were just being greedy.

Don't be 18 year old me.

You're going to have shows that suffer. You're going to lose shows. But TV shows are not as important as people making a living wage and having safe working conditions. Don't have trash takes like I did in 2007. If you love your shows, support the writers. And if shows end or get bad after this, remember, it's not their fault. It's capitalism and greedy networks that kill art, not the artists.

Things you CAN do during the writer's strike:

- Voice your support for the striking screenwriters on social media

- Don't watch the junk filler (*cough*REALITY SHOWS*cough*) networks will throw in the timeslots of shows affected by the strike

- Cancel streaming subscriptions until the strike ends.

No boycott has been sanctioned by WGA at this time. This is called a wildcat boycott and can damage the residuals writers are currently receiving. This was bad information on my part and I apologize. I have a very large follower base and it is my responsibility to make sure correct information is presented. Thank you to @whyismangososour for holding me accountable.

- Educate friends and family who are upset about the strike (and why it isn't just the writers "being greedy" or whatever other nonsense they come up with)

[deniselavestal]

Your writing deserves love, kudos, recognition, and it is totally VALID to want those things, but a lack of it does not diminish nor determine your worth as a writer.

I know it's frustrating, but your stories are worth telling regardless. (+ sometimes a story pops off months after it was first published).

[forsapphics]

ANGELINA JOLIE

W Magazine

[writingwithfolklore]

5 Tips for Creating Intimidating Antagonists

Antagonists, whether people, the world, an object, or something else are integral to giving your story stakes and enough conflict to challenge your character enough to change them. Today I’m just going to focus on people antagonists because they are the easiest to do this with!

1. Your antagonist is still a character

While sure, antagonists exist in the story to combat your MC and make their lives and quest difficult, they are still characters in the story—they are still people in the world.

Antagonists lacking in this humanity may land flat or uninteresting, and it’s more likely they’ll fall into trope territory.

You should treat your antagonists like any other character. They should have goals, objectives, flaws, backstories, etc. (check out my character creation stuff here). They may even go through their own character arc, even if that doesn’t necessarily lead them to the ‘good’ side.

Really effective antagonists are human enough for us to see ourselves in them—in another universe, we could even be them.

2. They’re… antagonistic

There’s two types of antagonist. Type A and Type B. Type A antagonist’s have a goal that is opposite the MC’s. Type B’s goal is the same as the MC’s, but their objectives contradict each other.

For example, in Type A, your MC wants to win the contest, your antagonist wants them to lose.

In Type B, your MC wants to win the contest, and your antagonist wants to win the same contest. They can’t both win, so the way they get to their goal goes against each other.

A is where you get your Draco Malfoy’s, other school bullies, or President Snow’s (they don’t necessarily want what the MC does, they just don’t want them to have it.)

B is where you get the other Hunger Games contestants, or any adventure movie where the villain wants the secret treasure that the MCs are also hunting down. They want the same thing.

3. They have well-formed motivations

While we as the writers know that your antagonist was conceptualized to get in the way of the MC, they don’t know that. To them, they exist separate from the MC, and have their own reasons for doing what they do.

In Type A antagonists, whatever the MC wants would be bad for them in some way—so they can’t let them have it. For example, your MC wants to destroy Amazon, Jeff Bezos wants them not to do that. Why not? He wants to continue making money. To him, the MC getting what they want would take away something he has.

Other motivations could be: MC’s success would take away an opportunity they want, lose them power or fame or money or love, it could reveal something harmful about them—harming their reputation. It could even, in some cases, cause them physical harm.

This doesn’t necessarily have to be true, but the antagonist has to believe it’s true. Such as, if MC wins the competition, my wife will leave me for them. Maybe she absolutely wouldn’t, but your antagonist isn’t going to take that chance anyway.

In Type B antagonists, they want the same thing as the MC. In this case, their motivations could be literally anything. They want to win the competition to have enough money to save their family farm, or to prove to their family that they can succeed at something, or to bring them fame so that they won’t die a ‘nobody’.

They have a motivation separate from the MC, but that pesky protagonist keeps getting in their way.

4. They have power over the MC

Antagonists that aren’t able to combat the MC very well aren’t very interesting. Their job is to set the MC back, so they should be able to impact their journey and lives. They need some sort of advantage, privilege, or power over the MC.

President Snow has armies and the force of his system to squash Katniss. She’s able to survive through political tension and her own army of rebels, but he looms an incredibly formidable foe.

Your antagonist may be more wealthy, powerful, influential, intelligent, or skilled. They may have more people on their side. They are superior in some way to the protagonist.

5. And sometimes they win

Leading from the last point, your antagonists need wins. They need to get their way sometimes, which means your protagonist has to lose. You can do a bit of a trade off that allows your protagonist to lose enough to make a formidable foe out of their antagonist, but still allows them some progress using Fortunately, Unfortunately.

It goes like… Fortunately, MC gets accepted into the competition. Unfortunately, the antagonist convinces the rest of the competitors to hate them. Fortunately, they make one friend. Unfortunately, their first entry into the competition gets sabotaged. Fortunately, they make it through the first round anyway, etc. etc.

An antagonist that doesn’t do any antagonizing isn’t very interesting, and is completely pointless in their purpose to heighten stakes and create conflict for your protagonist to overcome. We’ll probably be talking about antagonists more soon!

Anything I missed?

[bitchcakegreen]

I’m not at all ashamed for laughing at this.

[frances-and-the-moon]

I hope there is another homoerotic antagonism show coming soon because The Worst Of Evil destroyed me, The Devil Judge broke me bc they parted ways, Beyond Evil made me sad bc they parted ways, The Merciless killed me, D.P. also made me sad, can I please for the love of God have a show where the two main characters stay together until the end or do I have to learn Korean move to South Korea and become a screenwriter myself

[outtheoiseaux]

I think post-canon Dirk would be impossible to locate at any given time.

That story about the 8 euro cafe breakfast is true, by the way. Paris breakfasts are strange and full of carbs