#type: scene help

[everlythequestionabletomboy]

Can you do the Whitney crossdressing scene?

And by crossdressing scene I mean the one where he forces PC into panties

I'm honestly still finding this one, but posting it if anyone else has the screenshots of the scene.

I probably should update my version bc I still have 4.2.3 LMAO

[zelphin124]

COMMISSIONS OPEN

Hey everyone! I'm opening my writing commissions for the first time! Here is my page for more information about what I do:

https://docs.google.com/document/d/12Q9CUXTiSalRaQE0bx4dEUWyMqmq0zn5DyGQb1-L1A0/edit?usp=sharing

Please take a look!

[frownyalfred]

Tips for writing those gala scenes, from someone who goes to them occasionally:

Generally you unbutton and re-button a suit coat when you sit down and stand up.

You’re supposed to hold wine or champagne glasses by the stem to avoid warming up the liquid inside. A character out of their depth might hold the glass around the sides instead.

When rich/important people forget your name and they’re drunk, they usually just tell you that they don’t remember or completely skip over any opportunity to use your name so they don’t look silly.

A good way to indicate you don’t want to shake someone’s hand at an event is to hold a drink in your right hand (and if you’re a woman, a purse in the other so you definitely can’t shift the glass to another hand and then shake)

Americans who still kiss cheeks as a welcome generally don’t press lips to cheeks, it’s more of a touch of cheek to cheek or even a hover (these days, mostly to avoid smudging a woman’s makeup)

The distinctions between dress codes (black tie, cocktail, etc) are very intricate but obvious to those who know how to look. If you wear a short skirt to a black tie event for example, people would clock that instantly even if the dress itself was very formal. Same thing goes for certain articles of men’s clothing.

Open bars / cash bars at events usually carry limited options. They’re meant to serve lots of people very quickly, so nobody is getting a cosmo or a Manhattan etc.

Members of the press generally aren’t allowed to freely circulate at nicer galas/events without a very good reason. When they do, they need to identify themselves before talking with someone.

[that1bunnylady]

THANKS I NEEDED THIS

Let's talk about transitions.

Transitioning between fast-paced and slow-paced scenes is essential for maintaining the flow of your narrative and keeping readers engaged throughout your story, allowing for moments of reflection, introspection, and character development.

Here are some strategies to smoothly transition between different pacing levels:

Use scene endings and beginnings: End a fast-paced scene with a cliffhanger or revelation that propels the story forward, then transition to a slower-paced scene that allows characters (and readers) to process the events. On the flip side, begin a slow-paced scene with a hook or question that intrigues readers and draws them deeper into the story.

Bridge paragraphs: Include bridge paragraphs between scenes to provide a smooth transition. These paragraphs can briefly summarize the previous scene's events, set the scene for the upcoming events, or transition between different settings, characters, or points of view.

Change in tone or focus: Shift the tone or focus of the narrative to signal a change in pacing. For example, transition from a tense action scene to a quieter moment of reflection by shifting the narrative focus from external events to internal thoughts and emotions.

Utilise pacing within scenes: Even within a single scene, you can vary the pacing to create transitions. Start with a fast-paced opening to grab the reader's attention, then gradually slow down the pacing as you delve deeper into character interactions, dialogue, or introspection. Conversely, speed up the pacing to inject energy and excitement into slower scenes.

Symbolic transitions: Use symbolic elements within the narrative to signal transitions between pacing levels. For example, transition from a fast-paced scene set during a stormy night to a slow-paced scene set in the calm aftermath of the storm, mirroring the shift in pacing.

Foreshadowing: Use subtle foreshadowing in fast-paced scenes to hint at upcoming events or conflicts that will be explored in slower-paced scenes. This creates anticipation and helps to smoothly transition between different pacing levels by maintaining continuity in the narrative arc.

Character reactions: Show how characters react to the events of fast-paced scenes in the subsequent slower-paced scenes. Use their thoughts, emotions, and actions to provide insight into the impact of these events on the story and its characters, helping to bridge the transition between pacing levels.

See my post on pacing for more! ❤

[clarisimart]

be careful what you wish for, Fordsy

commission info here

[ringosmistress]

[luna-azzurra]

How to Write a Death Scene

So, you want to write a death scene that hits your readers hard, right? Something that sticks with them, makes them feel something real?

First, give the death meaning. You can’t just toss in a death for the shock factor and call it a day. Even if it’s sudden or unexpected, the death has to matter to the story. Think about how it changes things for the characters who survive. Does it mess with their relationships? Their goals? Make sure this moment sends ripples through the rest of your plot. It’s gotta affect everything that happens after, like an emotional earthquake.

Then, think about timing. You don’t want to drop a death scene at the wrong moment and ruin the vibe. If it’s part of a big heroic moment or a heartbreaking loss in the middle of the story, it should feel earned. The timing of the death decides how your readers will react, whether they feel relief, gut-wrenching sorrow, or are totally blindsided. The right moment makes all the difference.

Next up, focus on the characters’ emotions. Here’s the thing, it's not always the actual death that makes a reader cry, it's how everyone feels about it. How do the characters react? Is the person dying scared, or are they at peace? Are the people around them in shock, angry, or just completely destroyed? You need to dive deep into these emotions, because that’s where your reader connects.

Make sure to use sensory details to pull readers into the scene. What does it feel like? The sound of their breathing, the stillness when they’re gone, the way everything feels heavy and wrong. Little details make the death feel real and personal, like the reader is right there with the characters, feeling the weight of the moment.

If your character has the chance, give them some final words or actions. What they say or do in those last seconds can really hit hard. Maybe they share a piece of advice, ask for forgiveness, or try to comfort the people around them. Even a simple gesture, a smile, a touch, a last look can leave a lasting impression. This is your last chance to show who this character was, so make it count.

Finally, don’t just stop when the character dies. The aftermath is just as important. How do the survivors deal with it? Does your main character fall apart, or do they find a new sense of purpose? Are there regrets? Peace? Whatever happens next should be shaped by the death, like a shadow that never quite goes away. Let your characters carry that weight as they move forward.

[astorkes]

well, her guard needs work

[gldnstrngs]

my vibe would be bradley james in the merlin behind the scenes photos

[silentheiss]

SQQ: Disciple Shen Yuan is weak, useless and is in no way related to this master

SQQ: *catches 14yo SY cursing and kicking cowering SQH behind the woodshed*

SQQ: This master has never been more proud and also, he birthed A-Yuan out of his own body

[tesb]

Captain Rex and Ahsoka Tano in Ahsoka: Shadow Warrior (2023)

[seventeendeer]

ppl are too quick to point to laios' disability as the reason his friends think he's a freak sometimes. so many instances of laios getting yelled at are, in my eyes, a case of "this guy had to emotionally mature very early in order to be there for his little sister" combined with "much older friends who never had to learn to manage their own emotions to the same degree"

a lot of the time he's right about needing to be more direct/deal with things in a way that may seem scary/needing to put your gut reaction aside. he tries not to make his friends uncomfortable and he puts up with a lot because he's trying to keep the peace, but he also pushes the others out of their comfort zones purposefully to try to get them to think more constructively. everyone else in the party is prone to acting on their gut instincts and avoiding uncomfortable situations even when facing them head-on is very much necessary. part of what makes laios such a great leader is the fact that he knows from experience how to put his own feelings aside to help someone else grow.

yes, he does make a lot of social blunders by accident and he does struggle to connect with others, but not all of his positive influence on others is accidental or "despite" making people uncomfortable. a lot of the time, I think it's clear he knows exactly what he's doing and he's trying to help the people around him process emotions in a healthy way as they all go through some truly harrowing shit. all the main characters support each other as well as they can with their unique emotional skillsets. laios' skillset just happens to be "gently talk child into eating her vegetables"

[galaghiel]

Both Jack and Maddie stared at him, speechless. Silence blanketed the lab, everything but Danny’s strangled crying, his hand pressed over the muzzle as if to hide it. No- to hold it still, to still the dozen wicked barbs that were digging into his tongue, probably ripping it with each sob.

a little sketch of @liketolaugh-writes amazing one-shot fanfic that you can read here

[writers-potion]

Structuring Your Fight Scene

adapted from <Writer's Craft> by Rayne Hall

Suspense

Show your characters gearing up, readying themselves.

The pace is slow, the suspense is high (use suspense techniques)

Provide information about terrain, numbers, equipment, weapons, weather.

May have dialogue as the opponents taunt each other, hurl accusations, or make one final effort to avoid the slaughter.

Don't start too early - we don't need to see the hero getting out of bed, taking a shower and having tea.

2. Start

Fighters get into fight stance: knees slightly bent, one leg forward, abdominal muscles tensing, body turned diagonally, weapons at the ready.

Each side will usually try to be the first to strike, as this will give them advantage.

The movements in this section need to be specific and technically correct.

3. Action

This section may be quick or prolonged. If prolonged, no blow-by-blow descriptions are needed.

Focus on the overall direction of the fight

Make use of the location to make characters jump, leap, duck, hide, fall, etc.

Mention sounds of weapons

4. Surprise

Something unexpected happens: building catches fire, a downpour, relief force arrives, staircase collapses, bullet smashes into the only lightbulb and everything goes dark, hero losses his weapon, etc.

Add excitement, raise the stakes.

5. Climax

Both sides are tired and wounded

The hero is close to giving up, but is revived with passion

Move to the terrain's most dangerous spot: narrow swining rope-bridge, a roof-edge, sinking ship, etc.

Don't rush the climax! Hold the tension

6. Aftermath

The fight is over: bes buddies lying dead, bandaging, reverberating pain, etc.

Use sense of sight and smell

The hero may experience nausea, shaking, tearfulness or get sexually horny

Fight scene length

Historical/adventure/fantasy: 700-1000w

Romance: 400-700w

[deception-united]

Let's talk about fight scenes.

Writing fight scenes requires a delicate balance of action, emotion, and detail to keep readers engaged and immersed in the moment.

Here are some tips to craft compelling fight scenes:

Know your characters: Understand their fighting styles, strengths, and weaknesses—are they offensive, or defensive? Spontaneous, or strategic? Trigger-happy, or reluctant? Their personalities and motivations will influence their actions and decisions during the fight.

Create tension: Build tension leading up to the fight to increase the stakes and make the action more gripping. Foreshadowing, verbal sparring, or physical intimidation can all contribute to a sense of anticipation.

Use sensory details: Engage the reader's senses by describing the sights, sounds, smells, and physical sensations of the fight. This helps to create a vivid and immersive experience—but make sure not to overdo it. Too much detail can distract from the adrenaline of the fight.

Maintain clarity: Ensure that the action is easy to follow by using clear and concise language. Avoid overly complicated sentences or excessive description that could confuse readers.

Focus on emotions: Show the emotional impact of the fight on your characters. Describe their fear, anger, determination, or adrenaline rush to make the scene more compelling and relatable.

Include strategic elements: Incorporate tactics, strategy, and improvisation into the fight to make it more dynamic and realistic. Think about how your characters use their surroundings, weapons, or special abilities to gain an advantage.

Balance dialogue and action: Intersperse dialogue with action to break up the fight scene and provide insight into the characters' thoughts and intentions. Dialogue can also reveal or support the characters' personalities and motivations.

Keep it concise: While it's important to provide enough detail to immerse readers in the action, avoid unnecessary padding or overly long fight scenes. Keep the pacing brisk to maintain momentum and keep readers hooked.

Show the consequences: Illustrate the aftermath of the fight, including injuries, emotional trauma, or changes in relationships between characters. This adds depth to the scene and helps to drive the story forward.

Hope this helped ❤

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[shatshay]

wanna buy some addys

this is the best ending