tryin 2 figure out how arms work..
figure studies are actually the most boring thing but I really wanna get better at drawing boys
About back story: My characters tend to have a lot of it, and I understand that this is a good thing. But I also have trouble /pacing/ it throughout the story so that the reader doesn’t get overwhelmed. And it just feels like I’m doing this: IjustlovemycharactersomuchandIwanttotellyoueverythingaboutthemrightawaysothatyoulovethemtooooooooooo. And yeah, that’s annoying and the reader will probably get a headache. So, do you have any tips for pacing character back story?
When it comes to revealing backstories, I really think that less is more, and I’ll tell you why.
- Realism: Real people (and good characters) are complicated, multilayered, and have been living their own lives prior to when you met them. However, when you first meet someone, do they pour out their life story to you in a Scheherazade-like epic retelling? Not usually. Usually, you get to know them over time, and you learn new things when they come up in the time you spend together. In time, you may even know quite a lot about that person- but it takes time. Knowing about someone’s history, their childhood, and their current life is a mark of trust and a lot of time spent together. I can only claim to know a handful of people as well as you’d normally get to know the protagonist of a book.
In short- there’s a lot about characters and people that you don’t know. Trying to tell your audience ‘the whole story’ about someone will likely only cause you (and your reader) a headache. While they may learn a great deal about the character over the course of the narrative, they’ll learn it better in bits and pieces.
- Relevance to plot: While it’s good to throughly develop a character’s background for your own purposes, when you’re writing, ask yourself: Is this relevant to the story at hand, or would this be something that would be better placed in a prequel about that character (whether you intend to write one or not).
For example: If I’m telling you a story about how Pen and I got chased by a dog, it’s relevant that she’s scared of dogs after one treed her as a child, and would come up in the narrative naturally. It’s irrelevant that I had a bad experience with lemon popsicles as a child, and would feel out of place.
Additionally, your character will probably be developing and changing within the story- so the focus should be on how they’re becoming a different person than who they were in the times of their backstory. People evolve continually, so really, ‘backstory’ is kind of a broad term. Exceptions include purposefully static characters, characters who are caught in the past themselves, and the like.
- Finally, why it’s good to keep readers in the dark just a little bit: Now, I’m sure you’ve heard the phrase ‘show not tell’ approximately 10^23 times by now. But it applies here too! When possible, it really helps to try and demonstrate a character’s backstory, rather than tell it straight. Harking back to Pen and I’s hypothetical dog adventure- if she turns pale when we go by the dog park, the reader can infer that something happened in her past involving dogs. This in many ways is better than flat telling, because a block of telling backstory can be boring, but if you make it just enough of a puzzle, the reader will feel really clever for having figured out something about the character that wasn’t explicitly stated (and we want them to feel clever, it keeps them interesting). From there, you need to decide if the shown not told detail is a segue in to a written explanation, or a noodle incident. Segues are good if you need to do a lil bit of an infodump that’s relevant and important and all that to the plot. The trick is, keep the reader feeling clever. The ideal is that when you reveal that Pen has a crippling fear of dogs since she was five, the reader screams bloody murder about how they called it. When it comes to a noodle incident (a noodle incident being a past event that is frequently brought up, but not properly explained. ie, ‘Budapest’ in Avengers) the first rule is that is that you never explain the noodle incident. Instead,you let the readers draw their own conclusions or make their own theories, as they will almost invariably be disappointed with your answer. Decide which is better or more suited to your story.
some tips for you include:
- Reveal backstory in digestible lil bites
- Reveal those bites when they come up naturally
- Select which details are relevant to the story at hand, and which are irrelevant
- Try to ‘show not tell’ some parts of your character’s history
That’s it, hope it helps!
Showing, instead of telling, is an important part of keeping a story fresh and interesting. It helps make the story you’re telling jump off the page and the setting and characters more believable. So what is “show, don’t tell” and why is it important?
· Description is an important element when setting up a character, place, or situation. Rather than stating that a place is “serene” (Telling), show the reader. By showing you are describing the setting with language that will create a picture in the reader’s head. “Serene” doesn’t help the reader visualize the setting you are trying to create. A sentence like, “The snow floated in over the wall, light and carefree as it brushed by Sara’s red cheeks.” gives a much stronger visual image. (Sorry for the bad sentence! I hope you get my meaning.)
· The “show don’t tell” rule can be applied to more than description. It can also be used to help develop a character. For instance, if a character is angry or sad, don’t describe (tell) their emotional state as “angry” or “sad”. Show the reader what your character does when he or she is angry or sad. Do they slam their fist on something? Silently seethe? Do they sob loudly so everyone can hear them? Or do the tears fall, as if they don’t even notice? Showing these sorts of emotions not only makes reading more interesting for your audience, but also gives you the opportunity to fully develop your character.
· “Show don’t Tell” can also be used to establish conflict. Conflict is a very delicate thing to put in your writing. It should be done carefully and using the “show don’t tell” rule can help keep your conflict from being overdone. If two characters aren’t getting along, you’ll want to show us their interactions. Think about how the characters normally act with people they like and then think about how they would act around someone they don’t like. (Don’t forget to factor in why these two characters don’t like each other! This also affects how they act around one another.) Conflict doesn’t just mean two characters being angry with one another; it can also be a character upset with a situation. Using “show don’t tell” will help keep the conflict subtle and complex.
Showing instead of telling is a crucial part of building a tangible world for your reader. Use it to strengthen your writing and help your characters’ voices shout from the pages.
Anonymous asked: > I am having trouble with the way all my characters talk < I already have tips on accents, so that is not what I am looking for. But they basically all talk the same way in a not-so-constant manner and there is not deference in speech than voice.
For some writers, dialogue comes naturally. It’s a gift often taken for granted, and when you don’t have it, dialogue can be the hardest part about writing. There are a few things you can do, however, to develop your skill and allow your characters to speak in their own unique voices.
- Eavesdrop. Listen to everyone. Go out in public and write down snippets of conversation you hear. (Coffee shops are particularly useful in this respect, since it’s not uncommon to see people with notebooks or laptops.) Note speech patterns — does one person tend to speak in fragments? Is there a rhythm to their speech? Listen to two or more people having a conversation and note the differences in the way each person speaks. Listening to real people will allow you to better understand real dialogue.
- Know who your characters are. A nuclear physicist educated at MIT will probably speak differently than a high school cheerleader from Nebraska. What demographic do your characters fall into? How old are they? Where are they from? This isn’t just about accents — someone from Kentucky will use different language than a Bostonian. Are they educated? What are their occupations? Who are they speaking to? From the vocabulary to the tone to the actual content of the conversation, the way people speak to their parents is normally different than the way they speak to their friends which is different from the way they speak to their teachers or bosses or enemies or customers or strangers on the train and on and on. People, it turns out, are complicated, and their speech patterns should reflect that.
- Read it out loud. It always helps when you can hear your dialogue, rather than simply seeing it on a page. As you’re writing, say the dialogue out loud. If it doesn’t sound like your character, try something else. Contractions, slang, word omissions, and colloquialisms allow speech to sound more natural, and these distinctions separate diagonal from the surrounding prose.
- Note the style of your action. If your writing resembles Catcher in the Rye and your main character is a teenage boy, your dialogue is probably going to sound a lot like the action surrounding it. And that’s okay. If, however, your writing reminds you of James Joyce and you’re writing about a homeless man in Albuquerque, your character’s speech and your voice should be different.
Here are a couple exercises that you can do for practice:
- Write a short piece that is dialogue only without any indicators of who is speaking other than the dialogue itself. This will force you to look at the different ways your characters speak.
- Fanfiction. (Ignoring the stigma around it, it’s an invaluable tool to improving dialogue.) Take two characters that you’re familiar with and have them talk to each other. Can you hear their personality in their voices? It helps if the characters aren’t too similar, but still work well together. Think Spock and Kirk.
- Write down a real conversation you’ve had with someone. Once you have the dialogue established, add action and description. Pulling from reality can help you determine what sounds realistic.
And here are some more resources you might want to check out:
I hope this helps!
things which are not a source:
- your hard drive
- ‘not mine’
- any really ugly URL pasted on top of an otherwise high-quality fanart
- google image search
- any other search engine
things which are a source:
- the artist’s website
- the artist’s devart
- the artist’s tumblr
- the artist’s pixiv
- the artist’s tegaki
common traits of a source:
- it includes the artist’s name
- there are artist’s notes under the image
- more of their art can be found there
- it has a note which says whether or not you may repost their art
- all the images under that account were made by the same artist
ways to find a source, which take less time than posting that stolen art took, you asshat:
Romance is a popular genre, but it’s often handled quite badly. Relationships that would be unhealthy - even abusive - are frequently treated as normal, even desirable. So, here’s a list to help you avoid some common pitfalls.
Make sure the characters have something in common.
Infatuation (AKA “love at first sight”) is great for drawing people together, but it’s not what keeps them together - there will come a point when basking in each others’ beautiful presences just won’t be enough. Make sure your characters have some interests or goals they share - eg, Marie and Pierre Curie shared a passionate love of science and enjoyed working together.
…But don’t make their interests exactly alike.
Make sure your characters have some interests they don’t share, and indeed enjoy doing apart. Having lives that completely revolve around each other is rather unhealthy.
They should act comfortable around each other.
Unless they’re early in their relationship, they should not be afraid to just be themselves, nor worry too much whether they’re saying the “wrong” thing in front of the other. If your characters are practically at the altar, yet one of them is fretting over whether what xe said will go over badly, there’s something wrong.
They should not ignore friends from before.
Sure, new relationships will take up some time, but don’t have your characters completely or almost completely stop hanging out and doing things with old friends.
They should not feel particularly jealous or threatened when the other talks to or hangs around with someone else.
Anonymous whispered :
Hey Senpai! May I ask for a request? I am one of the huge fan of Marvel's Thor and Loki. And I want to build a deck that suits their character. But I'm a bit confused if I should put warrior type monsters in Thor's deck. Since he is god of thunder, I thought that I should only put thunder type monsters. And Loki, I think His deck should be aqua type. Please give me a suggestive recipe for these two characters! I beg you!! >.<
Actually 5D’s did it for you: there are two Synchro monsters that comes with their own supporting decks: Thor, Lord of the Aesir and Loki, Lord of the Aesir.
Both uses the Nordic archetype, and Thor uses the sub-type called “Nordic Beast” (Polar Star Beast in Japan) consisting of Beast-Type monsters. Loki, in other hand, uses the Nordic Alfar (Polar Star Spirit) which uses spellcasters.
Let us never forget this moment from the manga.
If I remember correctly, this is where Jonouchi gets promoted from “person of dubious origin” to “mediocre” (bonkotsu) in the Japanese version.