#creative hacks

[thatsbelievable]

[brandwizz]

Brand building exercise is as important as your product. Marketing and creative design effort that make your brand building efforts more precise and increase buyers trust that lead to improved traffic and better conversion. Explore 5 hacks of marketing and creative design that helps in Brand building.

[angrilydancing]

here's a tip if you struggle with being too scared to write bc you want it to be perfect and you don't know where to start: try opening a new document, copy paste what you have so far, and start writing from there. it takes SO MUCH pressure off knowing it's just a separate doc where you can experiment and do whatever you want, trust me but also just write what you love, even if it turns out "bad." write that scene you daydream about or want to read, even if it comes later in the story or you're not going to share it with anyone. let yourself have fun with it

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[saint-moro]

hacks seasons one and two were like haha what if these two disparate people were creative soulmates??

hacks season three is like haha WHAT IF THEY'RE ACTUAL SOULMATES

[llamawrites]

Writing Hack

If you are you bad at writing descriptions, use a reference photo. It helps me visualize more if I have a picture of the setting or thing.

Also, If it works for an artist, then it works for a writer

[bibliophilesince2003]

Strong Female Characters

Too many times I pick up a new book to read, but I am immediately met with the female protagonist whose personality is "toughness" and/or "meanness." The equivalent is making a "bad boy" character and calling it a personality. Male or female author, anyone could fall victim to this trap.

Skills and tropes are not personality.

Sure, it's easy to mold a character to snap at everyone in an arrogant manner at every dialogue opportunity and call it a day, but the character remains shallow. Especially for your main character, you should have multiple "words" to describe them. This will bring ease to your writing, too.

For example, for one character of mine... I've put down 18 personality traits in her character chart, and I could likely put down more if given enough time.

When I'm met with a "tough" female protagonist, I'm always expecting more details. What sort of people or what kind of environment makes her stiffen, and - this is as equally as important - what sort of people or what kind of environment makes her relaxed? Being "tough" is more about mood than personality, because surroundings could easily change it.

Is she driven or shy? Is she humorous or serious? Is she observant or a free spirit? Is she clumsy or graceful? Is she friendly or cautious?

Notice how I said "or" and separated the two extremes. You cannot have clumsy and graceful... you must pick one side of the spectrum. A person will naturally lean one way or the other.

Some people make the mistake of choosing the other "extreme" to create weaknesses. "She's driven, but she's shy." Being shy is not a weakness... some people are naturally this way, and there are benefits to being shy.

Find weaknesses within the "extreme" you've chosen.

For example, if one is driven... the weakness is impulsiveness. She may get in trouble, or trouble will find her. Being over-zealous is fine... in doses. Let your character make those mistakes to better represent their personality.

If you're struggling, observe the people in your life. Personality will shine through how a person acts, treats others, talks, etc.

Here's what I do... write down multiple personality traits, decide how extroverted/introverted he/she is, and settle on a single word that wraps up his/her whole character, or most of it, to help refer to something simple during the writing process.

And no, that "single word" better not be a skill or trope.

I want complicated female protagonists again, ones that are more than just mood swings or their environment.

[veryrealauthorthings]

[bookshelf-in-progress]

My most annoying writing habits:

Thinking that every new idea needs a new story to feature it, instead of folding several ideas into one more detailed story

Wanting to write a story with more detailed characters and worldbuilding than usual, and trying to build a new story that lets me do that, instead of, you know, fleshing out the characters and world for story ideas I already have.

[dollsome-does-tumblr]

so far hacks s3 is reminding me aggressively of when we were watching ofmd in the 1.07-1.08 era as it aired and my mom was like “ha ha, it’s like they’re in a romance!” and i was like “mom they ARE in a romance” and obviously that worked out beautifully ofmd-wise but i truly dk what they are asking of me re: hacks

[thejournallo]

Life hack: Write

Writing can literally be your saver when it comes to everything. 

I had a bad day, and I have no one to vent it to; Write it.  I hate this person, and I don't really like how they act; Write it. I feel loved and confident; Write it.  want to be a better version of yourself; Write it.

We are literally people capable of endless imaginations; writing about our feelings, thoughts, and projects makes it real, makes it true, and helps us visualize and get into detail. 

We have to write everything down to be able to actually process it most of the time.  When we feel bad or good, our body and mind need to process it in many different ways, and most of the time, writing is a great way to let go and feel it at the same time.

[wyvernquill]

Today I offer you the following headcanon/scenario: Hob dislikes Shakespeare and criticises him, but not because he's jealous of Dream walking off with him in 1589... no, it's because he genuinely thinks the man was a talentless hack.

Let me elaborate.

Hob does like Shakespeare's plays, and grudgingly admits they're the work of a "half-decent playwright", judging from the 1789 scene. He does appreciate the craftsmanship.

The only trouble: Hob is of the opinion that it's not technically Will's work at all. It's His Stranger who had... well, some hand, at least, in the creation of those masterpieces, and Hob hates that Shakespeare gets the sole credit.

(Now, to be clear, I do think that all Dream did was lend Shakespeare support and inspiration and the power to put his own dreams and imaginations into words. It's absolutely still William Shakespeare's work at the core, and Dream's involvement is hardly much more than in any other story ever written - but Hob doesn't know exactly how this works, does he?)

Imagine his frustration. Imagine people praising Shakespeare as a genius in front of him, and Hob bursting to say "actually, he was total shite until he sold his soul or something to the maybe-devil in exchange for talent". He thinks he's the only human in the world who knows The Truth About Will Shaxberd, and it drives him mad that any attempt to explain it would make him sound like some conspiracy nut.

It's the sort of thing that could drive a man to irrationally hate a playwright and his ill-gotten gains, it really could.

(Which is highly hypocritical of him, seeing as he himself enjoys the boon of that very same maybe-devil - well, his sister’s, actually, not that Hob knows that - but it's aBOUT THE PRINCIPLE OF THE THING-)

And that's how Hob ends up as his university's #1 Shakespeare Hater.

.

And perhaps, Dream eventually explains to him who he is and how his boons work, and Hob suddenly realises he has to revise his entire spiteful opinion of William Shakespeare, who may have had a certain spark of talent of his own, after all...

And then, groping desperately for some reason to cling on to his increasingly irrational dislike of the man, Hob recalls how Will stole his date back in 1589, and breathes a sigh of relief at the realisation that he can carry on hating Shakespeare just as much as before, only now for a different reason.

(Not that saying "I hate Shakespeare because he stole my boyfriend" will make him sound any less like a nutter than insisting his talent came from magical intervention... but, well, it's a step in the right direction, isn’t it.)

[sincerely-sofie]

Hey! Just wanted to say thanks for making a story so well written I feel like I get second-hand depression every time I read the last two chapters. :)

I think I had more of a thing I was trying to do when I thought I should make an ask, so uh... any advice for a very average artist/writer who struggles with finding motivation for writing?

As payment, I offer you this picture of a dog.

Thanks so much for your kind words! I'm real insecure about my writing and it's clarity, so to hear that it's emotionally powerful means a lot to me, hehe :>

Ooooh man. Do I EVER have advice for artist/writer combo creators who struggle to find motivation for writing. C’mere buddy. Lean in reeeaaal close. Your fellow average artist/writer is gonna tell you a secret. Come on. Even closer. You ready? Okay.

The world has conned you into thinking motivation is necessary to write, or even do anything in general. It's a scam. Motivation is nice, but it's just the icing on the cake. You need a cake in the first place to even enjoy it.

(If you're interested, I’ve written about making your own motivation in the past. Intrinsically created motivation is a lot healthier of a sort of motivation to seek out than extrinsically located motivation, which is the motivation I’m mostly referring to in this post. I figure I’d link to it in case you’re having trouble getting enough oomph to want to even consider writing in the first place, as the rest of this post assumes you’re fairly comfortable with the writing process, but have trouble getting it done.)

Before I wrote The Present is a Gift, I had never truly finished a writing project— I had co-written the script for a video game that never got made and wrote the first short story in an anthology I started and never concluded. Other than that, I had nothing but a massive field of stories that I'd endlessly flit back and forth between, adding to each project I landed on for a time, but never lingering long enough to actually see anything to completion. I loved all of my projects and wanted to do them justice by finishing them, but I never was able to do anything close to that. There were multiple reasons for my struggle to do substantial work on my projects— but the greatest reason was by far my refusal to use anything but motivation as a reason to work on projects. I’d wait for myself to feel motivated to write anything. And I would only be motivated so frequently.

I attribute my newfound ability to break from my pattern of abandoning and rescuing projects over and over to one thing— I set up a writing routine.

I chose a time that worked best for me every weekday to pour myself a massive mug of my favorite edible battery acid (tropical punch Tampico, for anyone curious) sit down at my computer, put on my headphones, turn on one of those multi-hour-long pomodoro timer youtube videos that have pretty music in the background, and write. This was also in combination with an attempt to win at NaNoWriMo, a writing challenge where you try to write 50k words in November, which gave me a daily word count target to try and reach or exceed. NaNoWriMo’s deadline was also helpful— and so was a promise I made to myself to not work on projects other than TPiaG before it was completed— but the real reason I actually managed to write TPiaG was because every weekday I’d do my writing routine.

I was not motivated whatsoever at the start. I was anxious, intimidated, and very reluctant to write. But I committed to writing TPiaG to completion, no matter how I felt about it, because a lot of people wanted to read the story, and I didn’t want to let them down. Not the healthiest driving thought process, I will readily say, but it got me to sit in my chair at first. As time went on and I shook off the rust and reluctance, I wouldn’t feel as anxious about writing. I didn’t feel intimidated. I would wake up and think to myself “OH BOY, IT’S WRITING TIME!” and leap out of bed to start my routine. Motivation only came after I had already been writing every weekday for about three weeks. And the motivation stayed for as long as I kept up with my writing routine.

Don’t get me wrong— motivation is important. But waiting until you’re motivated to do something is a very unsteady way to go about life, and in my experience when that thought process is applied to writing, it means you’ll never finish anything and never be satisfied with your work. There’s a quote that I love that says “the motivation comes after you show up.” And it’s absolutely true.

Motivation loves momentum. You can set bait for it by writing consistently for a while, whereupon it will make its way into your brain and make itself at home for as long as you keep up the momentum you’ve gotten. If you just wait for motivation to stumble into you, you might get lucky, but only that— lucky. You won’t have gained any skills in cultivating your own motivation, and when that lucky motivation fizzles out, you’ll be left waiting for the possibility of another brief flash of motivation to take its place before you’re ready to write again.

[evillex11]

I like this part cuz the before n after is so satisfying 😞

[thatsbelievable]

[blackrosesandwhump]

Rose's Writing Tips #3: Word Lists

Another hack I use to get the words flowing is word lists.

It sounds simple, and it is, but it works, and I always end up writing something, even if it's short.

Here are the two steps:

Make a list of words off the top of your head. One trick I like to use is to start with a word and change one letter for each subsequent word. Example: hollow/follow/fallow/wallow/willow/pillow, etc.

Pick at least three words and write as much as you like (but at least a sentence) about each of them. You can also combine words into a prompt.

I just did this yesterday and ended up writing much more than I expected, which led to three new drafts of flash fiction that I intend to polish up.

Happy writing!