#writers analysis

[diaryofateenageslayer]

I was rewatching my Buffy DVDs and found the JW commentary. Even though his views on women/feminism tainted this show, he does explain his directing decisions.

If you don't believe the Spuffy fans, at least believe the writers and actors who created their story!

It's the "wait...Bangel was a big deal?" for me.

JW actually admits that Angel reappearing in the last episode and the Bangel kiss was, in fact, "fan service."

Emphasis on the VOCAL MINORITY that leads to the fan service. Something iconic enough (The Bangel kiss) to "give people hope( 😂) that Buffy and Angel might one day work out" - purple

I don't know what was going through that brain of his, but Parker was NOT "the most important relationship of her life." Like sir, where did that come from? - green

The chemistry between both David/Sarah and James/Sarah is insane. However, I like how both relationships have their own distinct chemistry. - yellow

Spike is more on Buffy's level. he understands her, both physically and emotionally, something Angel struggles with. - orange

The relationship is more nuanced, we witnessed the development, and we watched it build from the ground up. We can point out pivotal moments in the relationship. Spike has more dynamic, he's not just "the tall, dark and handsome vampire" that seduces Buffy.

Buffy tells Spike things she wouldn't tell anybody else.

"These two" (Sarah/Buffy & James/Spike), yes, I agree 🤗- blue

Angel is described as an object of desire. Buffy falls in love because of his looks. If Angel wasn't attractive, would she have fallen for him? It's his body that "becomes the object of her gaze."

He really has his looks to offer. "He's tall, dark, and handsome" so he must be a love interest. "Otherwise what else would his purpose be?"

The analysis states that Angel functions as Buffy's "homme fatal," (An ultimately seductive and dangerous man; a womanizer) which gives a nod to Liam's character, his human self.

Joss explains the comparisons between souled and soulless Spike and his behavior/change. Soulless Spike didn't recognize boundaries.

JW still highlights that Spike needs development before he and Buffy become "lovers" again.

The writer of the character and the story states that this man can be redeemed.

[luna-azzurra]

List of 40 character flaws

Stubbornness, Unyielding in one's own views, even when wrong.

Impatience, Difficulty waiting for long-term results.

Self-doubt, Constant uncertainty despite evident abilities.

Quick temper, Excessive reactions to provocations.

Selfishness, Prioritizing one's own needs over others'.

Arrogance, Overestimating one's own abilities.

Trust issues, Difficulty trusting others.

Perfectionism, Setting unreachable high standards.

Fear of change, Avoiding changes.

Haunted by the past, Old mistakes or traumas influencing the present.

Jealousy, Envious of others' successes.

Laziness, Hesitant to exert effort.

Vindictiveness, Strong desire for revenge.

Prejudice, Unfair biases against others.

Shyness, Excessive timidity.

Indecisiveness, Difficulty making decisions.

Vulnerability, Overly sensitive to criticism.

Greed, Strong desire for more (money, power, etc.).

Dishonesty, Tendency to distort the truth.

Recklessness, Ignoring the consequences of one's actions.

Cynicism, Negative attitude and distrust.

Cowardice, Lack of courage in critical moments.

Hotheadedness, Quick, often thoughtless reactions.

Contentiousness, Tendency to provoke conflicts.

Forgetfulness, Difficulty remembering important details.

Kleptomania, Compulsion to steal things.

Hypochondria, Excessive concern about one's health.

Pessimism, Expecting the worst in every situation.

Narcissism, Excessive self-love.

Control freak, Inability to let go or trust others.

Tactlessness, Inability to address sensitive topics sensitively.

Hopelessness, Feeling that nothing will get better.

Dogmatism, Rigidity in one's own beliefs.

Unreliability, Inability to keep promises.

Closed-offness, Difficulty expressing emotions.

Impulsiveness, Acting without thinking.

Wounded pride, Overly sensitive to criticism of oneself.

Isolation, Tendency to withdraw from others.

[whendidmythoughtsgocrazy]

Therefore, do not hesitate to make a mistake and continue searching until you find the right person.

k.b. // human design analysis

[imbecominggayer]

Writing Advice: Noticing Bigotry In Your Writing

Tw for mentions of bigotry and discrimination, obvi

Look Up Common Stereotypes For Your Characters

Seriously, this is the best thing you can do in order to incorperate these stereotypes into a full-formed identity. I'm not saying that you can't write a "sassy black girl" or a "happy disabled person".

It's just that if you have any hope of writing these stereotypes into actual 3-dimensional characters, you need to know what you are working with. Look up "Common {Minority} Stereotypes" or "{Minority} Myths"

It's genuinely not that hard to see whether or not your character is a stereotype! Send an ask to @cripplecharacters if you are having trouble with your disablity representation.

Send a submittion to the thousands of Tumblr accounts whose entire schtick is giving you advice!

Let me tell you:

" The Worst Decision You Can Make Is A Subconscious One"

If you go into writing a minority character the way you do with all your characters aka fantasizing and just going straight for it, there is a chance you might undercut your story with bigotry!

Because everyone has bias. That's not a moral failing on your part but it is something you need to consciously fight against in order to write characters who can stand on their own and not be supported by internalized bigotry.

Which leads me to my second and last question.

2. Why Is Your Character Like This?

Investigate why you made the decisions you have made. To help with that, here is a little questionaire!

When I imagine a cruel person what assumptions do I make about their appearance and psyche?

Based on my previous characters, do I have a tendency to lean into a particular archetype when writing my minority characters?

Is there any narrative reason such as plot, themes, and other important devices that would justify my character's personality?

Why did I decide this character would be this particular minority?

How do I view this character in terms of their minority status? Is it condescending? Is it hateful?

What associations do I naturally have between a minority status and social status, personality, and importance?

Would I have treated and viewed this character the same way if their minority status was completely washed away?

Are my minority characters generally relegated to the side lines and only exist to help non-minority characters in their lives?

Is the level of detail, psychological complexity, story, likeability, relatability, and compellingness of minority characters on the same level as non-minority characters?

Do my stories contain symbolism which portrays cruel bigotry-motivated practices as positive or useful?

Do my stories sympathize with bigotry-infused individuals while not extending that sympathy to those who are oppressed by that bigotry?

Have I ever critically looked at my writing and what it says about my worldview on others?

If you are now considering that you have biased belief systems, that's good! Again, it's much better to be aware and fixing your problems instead of not being aware of them.

I hope my little questionaire made you think about your writing in a new way! ;)

Feel free to add your own important "check yourself" questions!

[cracklinhaze]

wendy and dipper's dynamic is so important to me.

i know she's often categorized as just his crush, but i truly think she's the first REAL friend dipper's ever had outside of mabel. we know he struggles to make friends back home and tries really hard to be mature.

we also know wendy tries to be mature for her age, too. she's the youngest of her friend group and tries really hard to put on a whole cool, chill exterior: but she's just as stressed and anxious under the surface.

the whole "you were a freak" scene during the mystery shack party is further evidence of this.

dipper lets her be a kid again. WHICH SHE STILL IS. she's only fifteen, even though from dipper's perspective that's impossible cool and adult. she's not even old enough to drive. she still has nightmares about her mother dying. she's the only girl left in her family at home. dipper gives her a chance to not be so grown-up for once.

in almost every instance we see them hanging out, they're genuinely having a good time: building golf cart ramps, making up security camera games to pass the time at work, playing video games. friendship comes VERY easy for them. when dipper isn't freaking out about how to talk to her, they get along very well and seem to enjoy the same activities.

they keep each other's secrets. she often corrects robbie when he takes a jab at dipper and invites him to parties. she tries to make him look cool in front of her friends after what he did in the convenience store.

she gives him her hat. she takes his.

i've seen some folks say that it wasn't fair that mabel got close friends over the summer, and dipper didn't get any. to me, that's missing the obvious: he got wendy. they're best friends.

i think it's so important that it's NOT a one-sided dynamic. sure, he liked her -- of course he liked her. who wouldn't??? but he DOESN'T go the route of bill and gideon; he accepts the friendship, treasures it.

that's so fucking good.

[going2hell4everythingbutbeingbi]

yall gotta learn to separate "this character deserved better" (as in "this character has an intentionally tragic story that is supposed to feel bad") and "this character deserved better" (as in "this character had so much potential and was failed by the writer")

[buggachat]

honestly just in general it's very exhausting to try to analyze media that is literally meant to be analyzed, only for the replies to be filled with people arguing not against your analysis, but against the premise that the media can be analyzed at all.

i don't even know what to say about it without starting to really betray my frustration, so i'll just settle with— just don't engage with analysis posts? I'm serious. if you're typing a response to a media analysis post, reread what you've written and ask yourself "is this comment/response against the very concept of analyzing the media at all?" and if the answer is yes then delete it all and go sit in the shame corner. throw your curtains away if you want to so bad and stop telling me that I'm not allowed to hum and haw at the fact mine are blue

[watermelonsloth]

I think the reason why Naruto fans get so passionate and upset about the series is because of how real it can be. Naruto isn’t about paragon heroes outdoing dastardly villains. It’s about human beings fighting tooth and nail to survive in a world surrounded by death. It’s about broken systems made and perpetuated by broken people.

The Hyuga clan isn’t just antagonistic or pretentious, they practice slavery.

The Uchiha clan weren’t just killed by some raging psychopath, they were systematically massacred.

Itachi isn’t just cruel to Sasuke because he’s a bad brother, he’s cruel because he’d been told time and time again that you can only survive by being cruel and he wants nothing more than for Sasuke to survive.

Nagato isn’t trying to take over the world just for the sake of power, he’s trying to take over the world because it beat him down to the point of believing that the only chance at peace there is is the world being forced into compliance through fear.

Iruka isn’t hard on Naruto just because he’s a strict teacher, he’s hard on Naruto because he knows from experience how unforgiving the world is towards orphans.

Kakashi isn’t just some silly and slightly lazy teacher, he’s a contract killer still grieving his loved ones and struggling to do better without knowing how he’s supposed to.

Sakura isn’t just a fangirl, she’s a normal girl in a very dangerous and abnormal world constantly being made to choose between what she’s supposed to do and what she feels.

Sasuke isn’t just some edgelord, he’s a survivor who lost everything then gets repeatedly told that he has to choose between keeping what he’s gained and doing better than his brother.

Naruto isn’t just trying to be the best Hokage there ever was, he’s trying to prove his worth to a society that abandoned him just for existing and, in a way, confirm his worth to himself.

The Naruto story is about humans trying to force themselves into the role of weapons because that’s what they were told they had to be. It’s a story where everyone is a perpetrator but no one is trying to do wrong. It’s a story where everyone is a victim but no one is a perfect victim.

The world and the characters aren’t simple and trying to simplify them only takes away from them. So of course we get passionate about showing off all the reasons why they shouldn’t be simplified and all of the ways they’re complicated. Of course we get upset when we see others simplifying them or selling certain aspects of their characters short. Of course we get upset when the series itself simplifies them. Of course we get upset when the series chooses to abandon them. Because it not only feels like the characters are giving up, it feels like the series is betraying anyone who chose to get invested in its complexities.

[cy-cyborg]

This is just a not-so friendly reminder to non-disabled people, especially authors, people in fandoms or in media analysis circles: Cripple/crippled is not just a fancy way of faying "badly injured". it's not an adjective you can just throw in to spice up your sentence because you used "injured" or "disabled" too many times in that paragraph, or because you feel like it gives your writing some extra "oomph".

Cripple is a slur.

A slur the physically disabled community has been asking people not to use for DECADES, since at least the 1970's (50 years). It's a slur with centuries of abuse behind it, centuries of being used to justify physically disabled people as less-than, centuries of demonisation, mistreatment, ostracization, and murder.

Some people within the physical disability community are reclaiming it, that's where movements like cripplepunk (also known as crip-punk or C-punk) come from. That's fine, I'm not talking about that. I love the cripplepunk movement and everything it stands for: being unapologetic about our disabilities and not changing ourselves for the comfort or convenience of able-bodied folks. But the people who use it in that context understand the history of the word, they know how it was used to hurt us, and they understand that not everyone in the physically disabled community is comfortable with the use of the word, especially those who were around when someone being labelled as "crippled" was seen as a valid reason to treat them as less than human. They understand the impact of the word.

But If you, as an able bodied person, casually uses "cripple" in your work, at best you are showing your disabled audience that you haven't been listening to us, at worst, you show you don't care about weather we feel safe in the spaces you have created.

And for able-bodied authors specifically, even if your character is physically disabled, I'd still recommend avoiding it unless you're prepared to do a LOT of sensitivity readings from multiple sensitivity readers. I've been physically disabled since I was 1 year old, I learned to walk for the first time in prosthetics and have been using a wheelchair since I was in school, I have no memory of life as an able-bodied person, and even I don't feel comfortable using the word cripple in my work.

It's a loaded word, with a lot of implications and a LOT of very dark, and for some people, very recent history. It's not a sentence enhancer to just throw in willy-nilly. Please.

[feelingthedisaster]

The King's Men's plot structure is genius.

TKM has been critized a lot for not following the conventional plot structure, because it doesnt end inmediatly at the resolution of the climax, like they taught us in class. But it actually has a reason behind it and it think that is what makes AFTG unique and Nora Sakavic an amazing writer. I'll explain.

So, we all know AFTG has a lot of chess metaphors, however i think it doesnt contain the metaphors, it is the metaphor. Each character represents a piece of the board (Riko king, Kevin queen, Neil pawn, Andrew knight, etc) and exy is the chess, but but but, a chess game not only involves the pieces, the game cannot exist without someone playing, the chess masters (which would be Kengo, Ichiriu, Nathan and all the mafia stuff).

So, AFTG is divided into two plots happening at the same time: what happens on the chess board (exy season) and what happens outside it (the mafia mess).

Of couse, the climax has to be about the outside out, because who cares which one of pieces move in which way if the players are pointing guns at eachother under the board? The guns are more more important. So who cares? The pieces on the board care, the ones that are being played with. And who is the narrator? The character that represents the pawn, the less important figure of the entire room.

Yeah, the 'outside of the board' plot is over half way into the book, but it doesnt matter because that happens outside the board, the chess game has not ended yet. The pawn cannot go back to rest in the box until the game is over, until the king dies. The book cannot be over until the chess game our protagonist is a piece of ends. The books have to end with the king's (Riko) death and that is exactly what happens.

If this isnt excellent writing and one of the best examples of know the rules so you can break them, i dont what is.

[ohithankyou]

there’s a chance that this is a widely held belief but in the case that it isn’t—hear me out. i don’t think buck realized that, during their breakup, tommy had told him he wants forever with him. that tommy didn’t breakup with him because he doesn’t want forever, he broke up with buck because he wants forever. he aches for forever. but his fear has led him to believe that forever isn’t his to have, regardless of his desires. tommy knows that (well. in complicated ways i would argue but i’ll come to this another time), we know that, but i don’t think this is something buck has fully realized. and this isn’t a dig at buck’s competence. not at all.

what buck was ready for that night was (what i’m assuming is) their weekly date-night out. they’d go out, watch a movie, get some dinner, come back to buck’s and spend the night together luxuriating in each other’s presence, as they often did. just a sweet night together that would be made, in buck’s mind, all the sweeter by asking tommy to move in with him and tommy accepting (because i do believe buck thought he’d say yes). and maybe he believed that their date-night out wouldn’t just be their usual date-night out, it would be a celebratory one marking an important milestone in their relationship.

and so, buck went from riding this high of asking tommy to move in with him, of leading this important next step in their relationship — likely believing that the conversation would end in them moving in together — to being told no and being broken up with instead. as in—he got hit and shot down twice. first, with tommy telling him that he couldn’t move in with him. and second, with tommy consequently breaking up with him. the latter (the breakup) being something he didn’t even process until the very end, when he asked tommy for clarification. and this lack of processing, in my opinion, was due to a combination of: buck’s own high expectations of tommy’s potential answer because he wasn’t privy to tommy’s fear (which could be its own discussion) and overall, the very abrupt nature of the breakup itself which carried a ton of emotional whiplash. but once buck did understand that he was broken up with, i think that’s all he was able process.

given all of this, i would care to bet he absolutely didn’t register what was, essentially, tommy’s declaration of love to him during that emotionally hectic moment. i also don’t think that it’s something he’s realized since then. again, not a dig at his competence, but more so the emotions surrounding being broken up with taking precedence in his mind. and this would ultimately explain in someway, why he’s trying not to give into his urges—into his desire to call tommy. and why he’s baking instead.

but also, we know that he wants to reach out and was going to do so when he caught tommy bubbling him (until he was interrupted). so i do trust that he knows tommy likes him, i don’t think he doubts that, but he’s hasn’t realized or processed the full extent of tommy’s feelings. and given that, i’d say that buck’s desire to text tommy (as far as the mid-season finale) is largely fuelled by his own feelings (which is a good thing and in my opinion, shows growth). as, buck knows what he wants and that’s tommy—now and in the future. maybe he’s not able to express it through words but at his core, he knows that everything he expressed to him that night, he did so because he meant it (and plans to mean it). so, if or when buck realizes tommy also wants forever but his fear is keeping him from taking that chance, i do believe buck would immediately reach out and challenge him.

[luna-azzurra]

Fun Ways for characters to be wrong #1

Making quick assumptions without all the facts

Mistaking symbols or signs for something else

Using flawed reasoning or faulty logic

Ignoring obvious clues or hints

Believing in superstitions or myths that aren't true

Being overly confident and proven wrong

Exaggerating their experiences or accomplishments

Remembering events inaccurately or mixing up details

Trusting unreliable sources or false information

Falling for pranks, deceptions, or illusions

Underestimating the abilities or intentions of others

Mispronouncing words and causing misunderstandings

Making wild predictions about the future that don't come true

[theunholyvirginemilyprentiss]

The BAU on a commercial flight:

EMILY: Stopped and searched at the security checkpoint because she forgot she was wearing an ankle holstered gun. Is the person who kicks your seat and hogs the armrest because gay people do not know how to sit on a chair properly.

JJ: Is the one having her armrest hogged by Emily. Opens a packet of peanuts and gives someone an allergic reaction. Should have stuck with Cheetos…

TARA: “It’s okay, I’m a doctor! Not a doctor of medicine, but I’m sure I can figure it out!”

PENELOPE: Watches movies on her tablet and eats M&M’s like the little iPad kid she is, eventually falling asleep on Morgan’s shoulder during ‘Legally Blonde’.

MORGAN: Shamelessly flirting with the flight attendants and trying to hide the fact that he is watching ‘Legally Blonde’ over Penelope’s shoulder—and loving it.

HOTCH: Reading FBI case files in his sunglasses, not noticing the kid who has been staring at him the whole time thinking ‘damn, James Bond be on this flight.’

SPENCER: Talking to that same kid and his mother, explaining aerodynamics and discussing plane crash statistics. The kid’s mother requests a seat change.

ELLE: Lets Spencer explain aerodynamics to her instead. She swaps her red jello for his orange jello from the airplane meal because red is his favourite.

Check out my Masterlist for more BAU scenarios

[rk-tmblr]

And I said “take my body, use it as you need”, because the only one I wanted to be buried with didn't have a grave, so why should I?

-Gojo Satoru/Geto Suguru

[calmlb]

hc that Dazai made a point of calling Chuuya small when they met because Dazai was used to being the small one.

like, finally there was someone shorter than him. because let’s be real, Dazai was barely taller than Chuuya in Fifteen.

i think people forget how small Dazai was too— not just in height, but also in weight. He was underweight in Dark Era, but in Fifteen & even at present he's barely within the healthy weight range for his height. he was constantly described as a twig in Fifteen, and almost every time he's introduced in the light novels he's called lanky, slender, etc.

[gingerhastoomanyobsessions]

the lords in black are so interesting to me because. they’re so us. we’re watching the citizens of hatchetfield suffer for our own entertainment just as much as they are. we’re their accomplices in all of it

pokotho made hatchetfield into a musical because musicals are entertaining. and we ate that shit up! it’s soooo fun watching a little man scramble as the world around him bursts into song. the musical genre is satirized because pokey knows how the genre conventions work just as well as we do. we like watching musicals so much that black friday and npmd are musicals, too, even though they don’t revolve around pokotho’s plans as much as tgwdlm. we want them to sing. pokotho does too.

bliklotep is the audience and the audience is bliklotep. trail to oregon calls the audience “the watcher with one thousand eyes” and that’s not all, in watcher world blinky seems to be able to see through the eyes of anyone and everyone who loves spectacle. he wants to see the characters go through angst because WE love angst. it’s fun to watch alice and bill express their buried frustrations. blinky wants it to end in bloodshed because he loves tragedy, and let’s face it, so do we. it’s like that one post about how hamlet is aware of the audience and is angry that we don’t do anything to intervene because we want to see how it plays out. personally, I think blinky could have stopped the woodwards if he really wanted (he’s an elder god, after all) but alice shooting him shifted the narrative so that the emotional payoff would be more fulfilling if they escaped. and blinky loves a good story.

t’noy karaxis has blorbos. we joke about it, but that’s really what it is, isn’t it? he’s the fan who watches the movie again and again and again and again to see his favorite character’s dramatic death scene. he’s the guy who writes and reads angst fics by the hundreds because he likes to see his faves cry. he’s the hatchetfield enjoyer who’s on the edge of their seat waiting to see how ted kicks the bucket this time. the bastard’s box is pretty much just an ao3 account filled with whump and hurt no comfort. he’s sadistic AND he genuinely adores ted, because we fans are often cruelest to the characters we love the most. he puts ted through character growth— the realization that his life went the way it did because of his own mistakes, his inability to be vulnerable with jenny before it was too late— and he does that by writing a 56-chapter angst fic that’s still updating to this day

nibblenephim is the fan who voraciously devours every scrap of content that a creator produces and demands more, more, more. let’s face it, the fandom will never let starkid rest until we see this story through to its end. and then someone will demand a sequel series. nibbly is hungry because we will never stop yearning for more stories. he’s simple because that desire itself is simple— as humans, we need creativity like we need air to breathe. nibbly wants more because we want more. and we will never be satiated.

wiggog y’rath is the ruler and the king because he’s the self-inserting writer. I think jon matteson plays paul *and* wiggly for a reason— wiggly is the only lord in black to be played by the same actor in every single show, and that actor also plays the protagonist of tgwdlm. wiggly wants to be the protagonist. he tries to force himself into the human world of hatchetfield because he wants to participate, dammit! he wants to be the bestest ruler that the earth has ever seen! everyone has to love him because he’s going to be their bestest fwiend! when he appears in human form he’s gonna be the prom king! he’s the ebony dark’ness dementia raven way of the hatchetfield multiverse. he wants every human character to bend to his whims and to love him and to put him at the tippy-top of planet earth because he’s the writer and the writer’s main character, you fuckheads, and he can make whatever story he wants, whether the other characters like it or not! if you’ve ever written a self-insert story? congratulations! you’ve been wiggog y’rath.

and the funny thing? I don’t think the lords know that they, too, are as fictional as anyone else in hatchetfield. maybe blinky knows— he sees through the audience’s eyes, after all— but I don’t think the others do. if they did, maybe they’d be a little less tyrannical. a little bit nicer.

but then the starkid writers wouldn’t have much of a story to tell, would they?