Hello everybody! I'm Tawny, and this is going to be a multi-fandom blog, from
cartoons like Lok to TV shows like BSG and GoT and Sherlock and classic novels like Anne of Green Gables and more, such as history!!! There's gonna be something here for everyone! ;)
Fandoms: Ice Age, Doctor Who, Community, Rise of the Guardians, TASM, Legend of Korra/Avatar the Last Airbender, Young Justice, How to Train Your Dragon, OUATIW, Casson Family series, Sherlock etc.
Also, whilst this is my personal/fandom blog, it functions as a writing blog of sorts since I reblog so many writing tips and helps.
I am also a Christian, so expect to see bible verse and discussions on the Christian life/life lived through a Christian lenses (which most of my meta comes from - especially for Ice Age)
I'd also like to say that I post a LOT of Ice Age posts on this blog (ranging from meta to fic to speculation to general discussion), and get a lot of Ice Age anons nowadays, so please be aware of that before you click the follow button!
Addendum: I also write A LOT (tis my favourite thing) so don't be afraid to send me a request :) However, please be patient with me since I often get many!
Ships: Manny/Diego (bromance/BrOTP), Doctor/River (Eleven/River) Jeff/Annie (OTP) (OTP), Amy/Rory (OTP) Manny/Ellie (OTP) Gwen Stacy/Peter Parker (OTP) Wally West/Artemis Crock (OTP) Korra/Tarrlok (OTP) Bolin/Korra (OTP) Katara/Aang (OTP) Queen Tara/Ronin (OTP) and others.
Don't be afraid to send me an ask if you want me to write a pairing!
With tough-love characters, it’s difficult for those at the receiving end of their treatment to see that their way of doing things might stem from affection. Here are some tips on how to show their more caring side:
We’re not all the type to openly show affection, but you’d be hard-pressed to find somebody incapable of showing any at all.
For some characters, it’s much more discreet. They may only give into their more affectionate side when they believe they’re alone or away from those who might judge them for their softer qualities.
Things like stroking a child’s hair once - and only when - its asleep, singing to a baby if they think they’re the only ones who can hear, petting or spoiling animals/pets in secret, or being unable to leave someone in need, no matter how much of a struggle it is for them to swallow their pride and show that glimmer of emotion that they perceive as weakness.
Taking the Fall
Some characters struggle under difficult circumstances for specific reasons and, as such, are unable to allow the main character to see anything but their cruelest side.
Or maybe they’re just unable to hide years of pain and hardship, and take it all out on the wrong people.
One thing is for sure though: your character can commit at least one totally unselfish act, proving that their heart was in the right place after all.
When you’ve been through a difficult situation, it can be hard to watch somebody else go through exactly the same thing. If they’re in a position to control it, your character might try to actively bend the fate of those they care about, to prevent them from making similar mistakes.
Of course, it all comes out one way or another, and we see all along that they were merely trying to help and weren’t controlling for the fun of it.
Your character holds a lot of responsibility and they may have had to learn the hard way that leadership is not always sunshine and rainbows. Sometimes you have to say no every once in a while and crack down on the discipline, or everything falls apart.
It doesn’t mean they’re always strict, however. Maybe on a rare occasion, your character loosens up and either explains (verbally, or through a gesture/flashback) their tough-love approach, or shows a side in secret to just one or two others, that they usually keep well under wraps.
For the record, it’s perfectly okay for your main character to misjudge another’s character only to later amend their view. It’s good character development for everything to unravel. If everything is clear from the beginning, then there’s not much for us to learn, so don’t be afraid to show your leader’s harsher side and share all of the good at a later date.
I hope this helps, Anon.
Latelycravingmore (via latelycravingmore)
While I do have a few essays and resources that would allow me to write something up on the theories of metaphors, I don’t find them that useful for application. So, instead, I am just going to describe a few processes that I do when I wish to add in some metaphors into my writing.
- Sort By Character - The very beginning of my ‘metaphor construction’ process starts when I have created my character, or sometimes even during the midst of. For the purposes of explaining this, I am going to use one of my characters, who is called Saramil, as an example. Saramil is a young, wealthy member of high aristocracy, who works as a pastoral poet and social commentator to escape facing the prospect of inheriting his family’s (fairly boring, or at least he’d say so) land investment business. This kind of character naturally lends itself to images of gold and jewels, as obvious symbols of wealth, but what else can be taken out of these images?
- Read Books With Similar Characters - While it seems to be every author’s goal to create a completely unique character, tropes and reoccurring patterns in literature are inescapable, but are necessary in the implementation of metaphors: established images make it more possible for readers to understand new creative metaphors, and are vital in forming conventional ones (an example of a conventional metaphor being “time is running out”). So, if you find a character in a book that is similar to yours in either goals or lifestyle, pay close attention to how the author describes them. Going back to the example of my character, a character that stuck with me was Daisy Buchanan from The Great Gatsby, and found the line “her hand was wet with glistening drops as I took it to help her from the car”. The idea of nature replicating a jewel had me come up with lines such as “dripping in cold gemstones” for my own descriptions.
- Research The Object - What I mean by this is actually look into what you want to make a comparison with. So, say I want to use jewels as a reoccurring symbol for Saramil, my next step is to research jewels. Questions should naturally arise from this process: What kind of jewel? What colours? Does it have any historical or cultural context behind its symbol? If you are able to with the particular image in mind, try and get a hold of the actual item and look at it for yourself. After rummaging through my mother’s jewellery box and scanning through the catalogues of auction houses, I decided to align Saramil with the symbol of an opal, since these are jewels that aren’t one colour, and change with the light and perspective, just as I want his character to reflect. This also aligns quite nicely with Shakespeare’s usage of the symbol: in Twelfth Night, Feste tells Count Orsino that “thy mind is a very opal”, to refer to his easily-changeable mind.
- Branch Out - Something I try to do with as many of my metaphors as possible is interconnect them. What I mean by this is, after I have my list of symbols for each character, I try to see what connects them together, with hopes that I can find something new. One example I have already included in this explanation: both raindrops and jewels are glistening, therefore the symbols can be simultaneously recognised by a reader. One of the most established focuses of symbolism in literature is that of light and dark. Light, as one of the first creations of God, is commonly linked to as goodness and purity, but it makes for a more intriguing read if one is to subvert established images like this. To do this, I linked the glittering light of reflections of gems with a gemstone’s physical coldness and lack of value to substance: gems are only worth their appearance, since they can be used for little else directly. With the wider imagery of “light” and “reflection” now attached to the character, lots of doors are opened for metaphorical possibility.
- Don’t Delete Any Metaphors You Make - This is really a comment on all writing or artwork produced, but if you come up with a metaphor, but decide that you don’t think it fits your character, don’t delete it! Make a document for them, or keep them in a scrapbook if you hand-write.
- If All Else Fails, Google - If you type in “[Insert Object Here] Symbolism” or “Symbols of [Insert Personality Trait Here]” into Google, you are bound to come up with results. Just be mindful of what you take as truthful in application of your character.
I hope that helps! I can’t say my writing ‘method’ is… Well, much of a method, but I tried to make the tips coherent. Happy writing!
history is so fucking interesting the world is so goddamn old there were fucking dinosaurs and ancient civilizations and shit and it never fails to blow my motherfucking mind
Unknown (via psych-facts)
From The Lion King to The Lord of the Rings, every great story features characters that experience sadness. Grief is a natural part of the human condition, and learning to write sadness believably is an integral part of developing a fleshed-out character. Like anger, which we discussed previously, sadness often falls prey to melodrama. A better understanding of sadness—its causes and symptoms—can help writers (like you) develop sadness in a character without resorting to unrealistic melodrama.
So, in today’s post, let’s talk about:
- What causes sadness
- Physical signs of sadness
- Internal sensations of sadness
- Mental responses to sadness
- Cues of long-term sadness
- Signs of suppressed sadness