#books in films

[phantomladyoverparis]

Si le vent te fait peur (1960), dir. Emile Degelin

[watch-whatyouread]

Saltburn (2023), dir. Emerald Fennell

Book: Harry Potter and the Deathly Hallows (2007), J. K. Rowling

[storms-are-evil]

Claire reading The Teachings of Don Juan by Carlos Castaneda, Six Feet Under, S01,E06, "Brotherhood".

[going2hell4everythingbutbeingbi]

I firmly believe that some stories can never be translated into a different medium and that's okay

[reallybadblackoutpoems]

imagination (1963) - harold ordway rugg

"chekhovs cat / schrödingers razor / occams gun"

[superectojazzmage]

Deadpool and Wolverine is the single best portrayal of Wolverine in live action so far because it's the only one that really understands how best to depict him; a grouchy trainwreck of an extremely divorced dad who loves his dysfunctional shitshow of a family but also can't fucking stand them and is THIS close to driving the station wagon off a cliff during the drive to Sunday church with everyone inside in a fit of alcohol-fueled manic depression.

[jadesenigma]

Portra 800

Strand Book Store, NYC

[phantomladyoverparis]

Si le vent te fait peur (1960), dir. Emile Degelin

[jordanbolton]

To The Cashier Who Asked How I Am Today -��Jordan Bolton

My first book ‘Blue Sky Through the Window of a Moving Car’ is now available to pre-order! Get it here - https://smarturl.it/BlueSky

[ravenpureforever]

Watching the Red White and Royal Blue movie and god it is just so refreshing to have two adult men fall in love and have the stereotypically fairy tale romantic affair like a politically charged hallmark movie

Like absolutely nothing against teen queer coming of age stories, I adore them and they’re so important but it’s just so nice to have adults falling in love, adults with plans and motivations but still figuring things out a little, real actual adults with hobbies and passions and accomplishments, getting to just be queer and in love and they are the main characters within their own lives

And they’re in a rom-com, a full on rom-com with the cheesiness and the drama and the sweet, fluffy romance where everything is resolved in the end and it’s queer. It never shies away from the queerness, they make out, they have sex, they gaze lovingly into each other’s eyes, they make silly jokes and get to adore each other

It’s so refreshing, it’s so nice to have this type of story, this story for the adult queers, a comfort film like to Mamma Mia, that’s full of heart and enjoyment and fun, with queerness at the forefront

[insummerigrieve]

Behind Convent Walls (1978), Walerian Borowczyk

[the-watcher-in-the-sky]

[reallybadblackoutpoems]

animal farm (1945) - george orwell

"womp womp"

[joytri]

Neil said, "I was good. I was really good."

[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.