gray writes

• laugh at their own jokes

• don’t finish/say complete sentences

• interrupt a line of thought with a sudden new one

• say ‘uh’ between words when unsure

• accidentally blend multiple words together, and may start the sentence over again

• repeat filler words such as ‘like’ ‘literally’ ‘really’ ‘anyways’ and ‘i think’

• begin and/or end sentences with phrases such as ‘eh’ and ‘you know’, and may make those phrases into question form to get another’s input

• repeat words/phrases when in an excited state

• words fizzle out upon realizing no one is listening

• repeat themselves when others don’t understand what they’re saying, as well as to get their point across

How bodies decompose

Wilderness survival skills

Mob mentality

Other cultures

What it takes for a human to die in a given situation

Common tropes in your genre

words: 2,503

pairing: lance/keith

a/n: @lixiaoran and anon requested a klance first kiss fic and boy howdy did i lose control over this. not proofread and written Very Fast.

It happens at 2 am, like all regrettable-but-painfully-sincere things do, even in Altean time. 

Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll. 

Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast. 

Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention. 

Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them. 

Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently. 

ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face. 

Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.

Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone. 

A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way. 

ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters.  (CLICK ME)

If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability. 

People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot. 

Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME) 

If you want a more in-depth medical chart, try this one. (CLICK ME)

The question I get the most is how I write characters that feel like real people. 

Generally when I’m designing a human being, I deconstruct them into 7 major categories:

1. Primary Drive 2. Fear: Major and Secondary 3. Physical Desires 4. Style of self expression 5. How they express affection 6. What controls them (what they are weak for) 7. What part of them will change.

1. Primary Drive: This is generally related to the plot. What are their plot related goals? How are they pulling the plot forward? how do they make decisions? What do they think they’re doing and how do they justify doing it. 2. Fear: First, what is their deep fear? Abandonment? being consumed by power? etc. Second: tiny fears. Spiders. someone licking their neck. Small things that bother them. At least 4. 3. Physical desires. How they feel about touch. What is their perceived sexual/romantic orientation. Do their physical desires match up with their psychological desires.

4. Style of self expression: How they talk. Are they shy? Do they like to joke around and if so, how? Are they anxious or confident internally and how do they express that externally. What do words mean to them? More or less than actions? Does their socioeconomic background affect the way they present themselves socially?  5. How they express affection: Do they express affection through actions or words. Is expressing affection easy for them or not. How quickly do they open up to someone they like. Does their affection match up with their physical desires. how does the way they show their friends that they love them differ from how they show a potential love interest that they love them. is affection something they struggle with?

6. What controls them (what they are weak for): what are they almost entirely helpless against. What is something that influences them regardless of their own moral code. What– if driven to the end of the wire— would they reject sacrificing. What/who would they cut off their own finger for.  What would they kill for, if pushed. What makes them want to curl up and never go outside again from pain. What makes them sink to their knees from weakness or relief. What would make them weep tears of joy regardless where they were and who they were in front of. 

7. WHAT PART OF THEM WILL CHANGE: people develop over time. At least two of the above six categories will be altered by the storyline–either to an extreme or whittled down to nothing. When a person experiences trauma, their primary fear may change, or how they express affection may change, etc. By the time your book is over, they should have developed. And its important to decide which parts of them will be the ones that slowly get altered so you can work on monitoring it as you write. making it congruent with the plot instead of just a reaction to the plot. 

That’s it.

But most of all, you have to treat this like you’re developing a human being. Not a “character” a living breathing person. When you talk, you use their voice. If you want them to say something and it doesn’t seem like (based on the seven characteristics above) that they would say it, what would they say instead?

If they must do something that’s forced by the plot, that they wouldn’t do based on their seven options, they can still do the thing, but how would they feel internally about doing it?

How do their seven characteristics meet/ meld with someone else’s seven and how will they change each other?

Once you can come up with all the answers to all of these questions, you begin to know your character like you’d know one of your friends. When you can place them in any AU and know how they would react.

oh my gosh i might just go down the list but for now here’s #1. i hope this suffices for domesticity…. i got a bit carried away. 

–

Natsume pushes the front door open with more force than strictly necessary and tosses the shopping bag onto the counter without even looking in his rush. When he reaches the bedroom door, he has to remind himself to calm down and enter quietly, but it’s hard when he’s so anxious. It takes more self control than he wants to admit to open the door slowly and poke his head in.

“Kaname?”

In the sliver of light that cuts across the dark room, he sees Tanuma shift under the heavy quilt and a mop of dark, messy hair emerges from under it. Two midnight eyes blink at him sleepily. “Hey.” 

superblys:

jamessblond:

As someone who writes fics with action sequences and the use of guns, I thought maybe it would be helpful to pass some things on. Even though I’ve done lots of research and talked with family members (I live in WI which is a big hunting state and we have lots of guns), I still catch myself making mistakes with specific terms and their usage. Reading more James Bond fics lately, I catch others making mistakes also. So here is a little guide to help writers. 

A ‘clip’ is something that stores multiple rounds of ammunition. It is not what you would insert into a handgun to load it. Clips make loading into a magazine easier because they simply store the rounds. It helps with organization. 

A magazine is what feeds the ammunition into the barrel. Magazines vary in capacity. They, unlike clips, are spring-loaded, which helps the ammunition move in the gun. So, when you want a character to reload, they would use a pre-loaded magazine, NOT a clip. 

A silencer is really a suppressor. ‘Silencer’ is a word that’s used in media to refer to a suppressor that doesn’t exist in real life. Guns that are suppressed will still be loud and have a sound. This is because compressed air will still leak out of the end of the barrel, you can’t silence a bullet moving extremely fast through the air, and you can’t silence the mechanical parts on a gun. There will be a noise, but it just won’t be as loud or more importantly, alert people in a nearby area that a gun was just fired. SO suppressor is a much more accurate term technically speaking. 

There are different kinds of suppressors. One important kind suppresses the muzzle flash. It’s likely a sniper would use this more than they would want to use a sound suppressor, as the muzzle flash more easily enables you to be spotted when you don’t want to be. These are simply referred to as flash suppressors. 

After a handgun runs out of ammunition, the slide will lock back into place and you will know that it is out. There is no ‘click’ signifying an empty weapon that is so dramatized in movies and tv. A more likely scenario that would prevent a gun from firing would be a jam. Or programming the gun to recognize certain palm prints. 

A great place for writers, in particular fanfic writers, who want information on guns is imfdb. You can find out what guns are used in movies and shows, and what guns characters use. You can also just search for guns. 

If you want to get really specific, check out YouTube. There are users who will post reviews of guns on there, which can be really helpful if you want to see how a particular gun looks or how to shoot it. 

So yeah! Here are just a few basic tips if you want to write a fic where a character uses guns. 

I see you’ve got terminology down, now let’s go for a little technicality. 

Firstly, let me explain the “kick” of a gun. A “kick” is the feeling of the round leaving the barrel of the gun.  Every gun has one, the impact of the “kick” depends on the caliber, make and type of gun.

Another way to describe a kick is the feeling of the gun exploding in your hand.  Of course, the gun doesn’t literally explode, but it is a great burst of power that only lasts a second.

For example: A .45 mm hand gun with have a bigger “kick” than a .22 mm hand gun.  If someone is a first time shooter and does not know what to expect, they would most likely drop the gun after firing it once due to the shock of the force being released in their hands.

Sniper Rifles are incredibly accurate and mainly used for long distance hits.  They are also ridiculously heavy, as most rifles are, therefore, be prepared for a gigantic “kick”.

Sniper Rifles are special because they are so powerful (they need to be in order to have the same impact a .45mm would 10 feet away compared to the shell half a mile away), thus a stand is required to use it.

No matter what you will always need a firm holding to place the rifle (besides your grip) in order to prevent the gun from falling over after it is discharged and injury to your person. There are ridiculously powerful guns.

General rule of thumb is that you place the butt of the rifle next to your shoulder, just below your clavicle.  I’m not very good at describing this position, so I suggest looking it up.  DO NOT place it anywhere in the armpit area, dislocation is likely to occur.  Depending on how prepare you are and the type of rifle being used (excluding snipers), bruising might occur.

You will be standing if you use a normal rifle, so make sure you are steady and prepared for the “kick” that follows after.

If you are using a sniper rifle, you will be on the ground or leaning against something.  Some people have special rests for their snipers specifically to fire the gun from any spot.  Point is: do not stand alone while firing this.  You will get hurt.

Other helpful tips:

Earplugs or Ear Protectors are your friends.

Safety glasses are also your friend to avoid shells from flying into your face.

Keep the safety on until you are ready to fire the gun.

If you are NOT currently firing the gun, whether it is loaded or unloaded, and it is in your hand, ALWAYS hold it with two hands and point it at the ground at your feet. DO NOT get distracted.

NEVER joke around with someone by pointing the gun at them.  EVEN IF YOU ARE ABSOLUTELY POSITIVE THAT THE GUN IS TOTALLY UNLOADED, MAGAZINE OUT OF PLACE, DO NOT RISK IT.  It is not funny.  Even if the gun is on safety, do NOT do it.  You could accidently switch off the safety or the gun could misfire despite the safety.

Lastly TWO HANDS.  One on the side near the trigger and the other underneath.  This is not the movies, do not attempt to fire a gun with one hand.  Not only will your aim be incredibly off if you are inexperienced but you will also endanger yourself as well as others if you lose control of it.

Guns can be scary and if you ever feel nervous or uncomfortable about firing one, do not do it. 

A few things I have to add to this:

The caliber of a round is usually measured in either millimeters or in hundredths of an inch. One “unit” of caliber, I guess, is one one-hundredth of an inch. For example, a 45-caliber round has a .45 inch diameter (which is why it’s called a .45).  DO NOT CONFUSE THIS WITH MILLIMETERS. .45 mm is NOT 45-caliber.

Common cartridges measured in millimeters with their respective calibers:

Rifles:

5.56mm = ~.223 caliber

7.62mm = ~.300 caliber

12.7mm = ~.500 caliber

Handguns:

5.64mm = .22 caliber*

9mm* = .354 caliber

10.16mm = .40 caliber*

11.43mm = .45 caliber*

(*the measurement you’re more likely to see for each cartridge.)

In the case of rifles, cartridges meant for civilian use are usually designated as .223, .300, .308, etc. Designations such as 5.56mm, 7.62mm, etc. are usually indicative of military-grade ammunition. This is not always true, but usually that’s how it is.

Military-grade bullets are held to higher standards and typically cause more stress on the internal mechanism, and the guns they’re meant for are built to handle that. They can also handle civilian ammunition. It doesn’t work the other way around, however. Do not attempt to use military-grade ammunition in a civilian-model firearm that hasn’t been modified to handle it.

A few different kinds of cartridges:

- Full metal jacket, which gives increased penetration capabilities but doesn’t do much in the ways of expansion. Risky to use in situations with a lot of innocents around, as often they can over-penetrate and go on to hurt someone behind the target.

- Hollow-points, which expand like crazy when they hit something, causing massive internal damage to their target. Outlawed in warfare under the Hague Convention of 1899, but can be used by civilians.

- Soft-points, which serve as a happy medium between the penetration capabilities of full metal jacket rounds and the expansion of hollow-point rounds.

- Shot, usually rat-shot or snake-shot, which can be fit in bullets and used to kill small vermin at close range without doing a whole lot of damage to the surrounding area.

YOO 

–

Tadashi’s coronation was beautiful. Hiro watched from the side and clapped politely with everyone else, but he was beaming with pride for his brother. He’d always known Tadashi would make a great king. 

The party wasn’t all that great. It was fun at the beginning, but the crowded banquet hall quickly got to be too warm and part of him wanted to retreat from the mass of finely dressed guests. It was worth staying, though, when Cass took his hand and told him to stand beside his brother as they announced the king and the prince.

“Are you sure?” He suddenly felt timid. “I don’t think I’m supposed to–” Cass gave him a firm shove and a sharp glare to keep him in place. “Oh–okay.”

The crowd applauded, and he felt out of place. When he glanced at Tadashi, all he saw was his brother’s profile, calm and collected and regal–everything it was supposed to be. He tried not to stare, really, but he didn’t get to see that face very often. When Tadashi’s eyes flitted over to him, he cleared his throat awkwardly and ran a hand over the back of his neck.

Then Tadashi was smiling at him, leaning forward a bit as if to catch his eye. “Hi.”

Hiro only blinked back. 

“You look nice.” Tadashi’s voice was deep and warm. The cape was draped perfectly around his shoulders and his crown sat at just the right angle on his head and Hiro felt that familiar intimidation flare up again. 

Who was he compared to this perfect picture of a prince? No, not even a prince anymore—Tadashi was a king now. A king who was apparently too good to pay his little brother any mind.

Still, Hiro found himself saying, “Thanks. S-so do you.”

“Nice party, huh?” Tadashi went on to say, something akin to wonder in his eyes when he looked out on the sea of people.

“Yeah, I guess.” He didn’t think it was all that great. He was much more interested in the mystery standing next to him. “Are you staying the whole time?”

Tadashi looked surprised at that question. “Yes, of course. It would be rude not to.”

Hiro nodded and chewed his lip. He had to say it now–they probably wouldn’t get another moment alone that night. “So–are things gonna be different now? That you’re king.”

His brother tilted his head to the side. “Different, how?”

“Are we–” Hiro looked back down at his feet, tugging at his pant leg. “Am I gonna be able to see you more?”

Tadashi’s warm smile faded into a frown, and Hiro’s heart sank to his feet. “Hiro…I can’t. I’m sorry.”

His hands balled into fists. “You can’t or you won’t?”

“Hiro, don’t do this–”

“Excuse me.”

And with that, he stepped off the platform and melted into the crowd. Tadashi’s rejections always hurt so much, but he never wanted his brother to see it. He never wanted Tadashi to know how much he looked up to him, and how badly it crushed him every time he was brushed off.

Baymax activates immediately when Tadashi rushes in a bleeding, wailing Hiro. Tadashi had kind of been hoping he wouldn’t need to use the robot at home, but at the same time the scientist inside him is curious to see how his project will treat someone as small as Hiro (the injury isn’t too bad, so that’s not really what he’s concerned with).

The small boy’s crying is quelled a bit just by the appearance of the big white robot. He blinks large brown eyes, and a few fat tears roll down his cheeks. Tadashi places a solid, reassuring hand on the boy’s back and says, “Baymax is going to fix your boo-boo. You remember Baymax, right?”

Hiro nods, a series of hiccup-y sobs shaking his tiny frame. 

Tadashi sits back and watches as Baymax conducts his scan and announces the obvious scrape and bruising on Hiro’s chin. “Recommended treatment: application of a topical antibiotic and a bandage.” He proceeds to apply both, and Hiro thankfully doesn’t start screaming again when puffy vinyl fingers gently touch his wound. 

“You have been a good boy,” Baymax says when he finishes the treatment. “Have a lollipop.”

Hiro’s face lights up when the robot produces a bright red sucker. His little fingers reach for it immediately and hand the candy to Tadashi to unwrap. 

Tadashi smiles warmly, a bit of pride swelling in his chest for both his invention working the way he intended and for his brother being so brave. When he hands the sucker back to Hiro, the boy pops it in his mouth and practically throws himself at Baymax. His arms barely reach the bottom of the robot’s body, but he hugs it as best he can.