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every reread kills me a little bit more
reread and enjoy <3
đđŹđŞđ˘ đŻđŹđŹđŞđ° đŻđ˘đŞđ˘đŞđđ˘đŻ đąđĽđ˘ đđ˘đŹđđŠđ˘ đ´đĽđŹ đąđĽđŹđ˛đ¤đĽđą đąđŹđŹ đĽđđŻđĄ đŚđŤđ°đŚđĄđ˘ đąđĽđ˘đŞ.

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"Capitalism is temporary. Dykes are forever"
Seen in NYC
So my problem with most âget to know your characterâ questioneers is that theyâre full of questions that just arenât that important (what color eyes do they have) too hard to answer right away (what is their greatest fear) or are just impossible to answer (what is their favorite movie.)Â Like no one has one single favorite movie. And even if they do the answer changes.
If Iâm doing this exercise, I want 7-10 questions to get the character feeling real in my head. So I thought Iâd share the ones that get me (and my students) good results:Â
What is the characterâs go-to drink order? (this one gets into how do they like to be publicly perceived, because there is always some level of theatricality to ordering drinks at a bar/resturant)
What is their grooming routine? (how do they treat themselves in private)
What was their most expensive purchase/where does their disposable income go? (Gets you thinking about socio-economic class, values, and how they spend their leisure time)
Do they have any scars or tattoos? (good way to get into literal backstory)Â
What was the last time they cried, and under what circumstances? (Good way to get some *emotional* backstory in.)Â
Are they an oldest, middle, youngest or only child? (This one might be a me thing, because I LOVE writing/reading about family dynamics, but knowing what kinds of things were ânormalâ for them growing up is important.)
Describe the shoes theyâre wearing. (This is a big catch all, gets into money, taste, practicality, level of wear, level of repair, literally what kind of shoes they require to live their life.)
Describe the place where they sleep. (ie what does their safe space look like. How much (or how little) care / decoration / personal touch goes into it.)
What is their favorite holiday? (How do they relate to their culture/outside world. Also fun is least favorite holiday.)Â
What objects do they always carry around with them? (What do they need for their normal, day-to-day routine? What does ânormalâ even look like for them.)Â
Melville himself apparently thought of Moby-Dick as a man's book and wrote to one of his female friends, Sara Moorehead, to dissuade her from reading it for fear of offending her feminine sensibilities: "Dont you buy itâdont even read it, when it does come out, because it is by no means the sort of book for you. It is not a piece of fine, feminine, Spitalfield silkâbut is of the horrible texture of a fabric that should be woven of ship's cables and hausers.[2]" When Sophia Hawthorne wrote to Melville praising the book, his response was one of astonishment: "I have hunted up the finest Bath I could find, gilt-edged and stamped, whereon to inscribe my humble acknowledgment of your highly flattering letter of the 29th of Dec:âIt really amazed me that you should find any satisfaction in that book. It is true that some men have said they were pleased with it but you are the only womanâfor as a general thing, women have small taste for the sea.[3]" "Next time," Melville tells Sophia, he shall not send her a "bowl of salt water. . . . The next chalice I shall commend, will be a rural bowl of milk." He then inquires politely about the state of her "domestic affairs."[4] Melville's remarks to these women suggest that he was working under certain gender-determined notions of genre.
Content warning: This book contains the horrible texture of a fabric that should be woven of ship's cables and hausers.
I don't think it's just something period-typical because it implies it now isn't, gender-determined notions of genre are still a thing around the world.
I do feel that in Moorehead's place, I'd have gone WELL NOW I'M GONNA. It's funny to me that in general the boys in my American Literature class would comment things like how it's mostly boring (you don't get it) or about how this is about the national identity of a young country, meanwhile girls would pipe in about multiple facets.
Amerilit girlies: I have so much to say about Moby Dick!
Herman: absolutely flabbergasted
This is money cat. He only appears every 1,383,986,917,198,001 posts. If you repost this in 30 seconds he will bring u good wealth and fortune.

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Reblog In 5 seconds for good luck
âthis worked last night lets go for round two
I really need some good luck rn
Harley Quinn & poison ivy
Please like or reblog if you save <3
Story Structures for your Next WIP
hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.
everything in life has structure and storytelling is no different, so letâs dive right in :)
First off letâs just review what a story structure is :
a story is the backbone of the story, the skeleton if you will. It hold the entire story together.
the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.
1. Freytag's Pyramid
this first story structure i will be talking about was named after 19th century German novelist and playwright.
it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.
Freytag's Pyramid structure consists of:
Introduction: the status quo has been established and an inciting incident occurs.
Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,
Climax: the protagonist can no longer go back, the point of no return if you will.
Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...
Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.
this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.
2. The Hero's Journey
the hero's journey is a very well known and popular form of storytelling.
it is very popular in modern stories such as Star Wars, and movies in the MCU.
although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:
The Ordinary World: The hero's everyday routine and life is established.
The Call of Adventure: the inciting incident.
Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.
Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.
Crossing the First Threshold: first steps out of the comfort zone are taken.
Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.
Approach to the Inmost Cave: hero approaches goal.
The Ordeal: the hero faces their biggest challenge.
Reward (Seizing the Sword): the hero manages to get ahold of what they were after.
The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.
Resurrection: a final challenge, testing them on everything they've learned.
Return with the Elixir: after succeeding they return to their old life.
the hero's journey can be applied to any genre of fiction.
3. Three Act Structure:
this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.
Act 1: Setup:
exposition: the status quo or the ordinary life is established.
inciting incident: an event sets the whole story into motion.
plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.
Act 2: Confrontation:
rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.
midpoint: an event that derails the protagonists mission.
plot point two: the hero is tested and fails, and begins to doubt themselves.
Act 3: Resolution:
pre-climax: the hero must chose between acting or failing.
climax: they fights against the antagonist or danger one last time, but will they succeed?
Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.
4. Dan Harmon's Story Circle
it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.
the benefit of Harmon's approach is that is focuses on the main character's arc.
it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.
the character is in their comfort zone: also known as the status quo or ordinary life.
they want something: this is a longing and it can be brought forth by an inciting incident.
the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.
adapt to it: of course there are challenges, there is struggle and begin to succeed.
they get what they want: often a false victory.
a heavy price is paid: a realization of what they wanted isn't what they needed.
back to the good old ways: they return to their familiar situation yet with a new truth.
having changed: was it for the better or worse?
i might actually make a operate post going more in depth about dan harmon's story circle.
5. Fichtean Curve:
the fichtean curve places the main character in a series of obstacles in order to achieve their goal.
this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.
The Rising Action
the story must start with an inciting indecent.
then a series of crisis arise.
there are often four crises.
2. The Climax:
3. Falling Action
this type of story telling structure goes very well with flash-back structured story as well as in theatre.
6. Save the Cat Beat Sheet:
this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.
Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)
Opening Image [1]: The first shot of the film. If youâre starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
Set-up [1-10]. Establishing the âordinary worldâ of your protagonist. What does he want? What is he missing out on?
Theme Stated [5]. During the setup, hint at what your story is really about â the truth that your protagonist will discover by the end.
Catalyst [12]. The inciting incident!
Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.
Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.
B Story [30]. A subplot kicks in. Often romantic in nature, the protagonistâs subplot should serve to highlight the theme.
The Promise of the Premise [30-55]. Often called the âfun and gamesâ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, weâd see the detective in action. If you promised a goofy story of people falling in love, letâs go on some charmingly awkward dates.
Midpoint [55]. A plot twist occurs that ups the stakes and makes the heroâs goal harder to achieve â or makes them focus on a new, more important goal.
Bad Guys Close In [55-75]. The tension ratchets up. The heroâs obstacles become greater, his plan falls apart, and he is on the back foot.
All is Lost [75]. The hero hits rock bottom. He loses everything heâs gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some ânew informationâ that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
Break into Three [85]. Armed with this new information, our protagonist decides to try once more!
Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
Final Image [110]. A final moment or scene that crystallizes how the character has changed. Itâs a reflection, in some way, of the opening image.
(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)
7. Seven Point Story Structure:
this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.
this structure is about dramatic changes from beginning to end
The Hook. Draw readers in by explaining the protagonistâs current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether itâs a person, an idea, an inciting incident, or something else â there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things canât be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A âTurning Pointâ wherein the main character changes from a passive force to an active force in the story. Whatever the narrativeâs main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist â things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that theyâve actually had the key to solving the conflict the whole time.
Resolution. The storyâs primary conflict is resolved â and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
(all information regarding the seven point story structure was copy and pasted directly from reedsy!)
i decided to fit all of them in one post instead of making it a two part post.
i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!
if you find this useful feel free to reblog on instagram and tag me at perpetualstories
Follow my tumblr and instagram for more writing and grammar tips and more!
god please can someone help me find the gif of the white $20-banana looking-lady from like, an 80s show it looks like, sheâs stumbling around in a downtown area looking disoriented and keeps seeing gay signs like âLEBANESEâ and âCURRY PUFFSâ please i need it
a legendary bit lmao
This is Kath having a freak out after her fiancĂŠ Kel comes out as bi. Good news is she gets over herself.
I love that Kath & Kim had not only a canonically bi male main character who is in a happy, het, monogamous relationship.
Bi men in all kinds of relationships need more rep but this is important because so many people think bi guys are just scared to be gay or something or that if bi people are in het relationships they are automatically straight.
hey uhhh but fr the concept of fallen angels existing but risen demons being an impossibility is kind of a great summary of sin in christianity
Ok but seriously, the entire point of the Bible is that anything can be forgiven and everyone can be and should be loved, and the fact that society and the church donât get it is infuriating.
i donât think iâve ever thought about these things in comparison to each other before, but this feels like an embodiment of whatever that concept is of âfollowing the law but not the spirit,â a criticism often used against the Pharisees
someone who actually has a working knowledge of christianity or catholicism feel free to reblog or comment âcause my brain is shutting down and i need a nap but i love your comments, you two
exactly!!!!
Iâm op and I spent the first 20 years of my life as deep in evangelical christianity as possible (went to a christian school from ages 5-18, as well as church 2-3 times a week and bible study at home), and I can confirm that, at least in protestantism, it is claimed that the entire point of christianity is redemption, itâs allowing the sacrifice of christ to âwash awayâ your sins and being âborn againâ.
but then!!! you have this whole concept of âoh yeah except these guys, what they did was unforgivable,â not to mention that, at least as I was taught, angels lost their right to free will after the rebellion in genesis and became worship slaves. it doesnât make any sense!!! for god to allow humans the chance at redemption, but fallen angels and lucifer are not given the opportunity, goes explicitly against the idea of a fair, just, or loving god. itâs a massive, massive hole in the idea of christianity as a redemption-based faith.
This is basically the entire point of Dogma. Still one of my favourite movies.

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honest to god canât stop thinking about this song about jeff bezos by philip labes (link takes you to his spotify). itâs such a good example of politically driven folk music.
Lyrics:
Jeff found a genie in a bottle Who said, âI can give you anything you askâ âYou can have your wishes three And a million more for free Itâs unlimited, just set me to the task.â
Well, Jeff thought a while, Said, âI want houses, âI want boats, I want fancy modern art, I want tickets to the Met, I want my own private jet, And a rocket into space just for a start.â
Well, the genie waved her arms and made it happen His every wish bolted from the blue And folks all over town grew enamored, gathered âround To admire the man whose wishes had come true
They said, âLetâs hear it for the man who has everything! By good fortune heâs been set so far apart.â âYeah, letâs hear it for Jeff who has everything! âCause his wishes are only at the start.â
Well, Jeff heard their shouts and he grew worried He said, âEverybodyâs getting in my way.â The genie smiled as before, âYouâve got a million wishes more. You can even give a bunch of them away.â
Well, Jeff got confused and sorta quiet âTil he finally said, âI have just one wish more.â âI am satisfied, so I wish that you would die So you cannot grant wishes anymore.â
Well, the genieâs eyes got big and sad and shiny âTil she finally said, âYour wish is my command.â And with an effervescent sigh, she disappeared before his eyes And no wishes were ever granted there again
So, letâs hear it for the man who has everything! By good fortune he has set so far apart Yeah, letâs hear it for Jeff, whoâs got everything! Every single fucking thing except a heart
This is Money Marge. Reblog for a miracle of finances to come to you
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