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@starry-nightengale
turnabout corner!

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Anastasia (1997) dir. Don Bluth & Gary Goldman
big fan of when voice actors have the free will to just say whatever they want in character voice and use it frequently so the fanbase get all these inexplicable clips of their favorite characters quoting memes. more voice actors should do this forever and ever.
I will never shy away from the word goon. goon is the only way to describe a particular type of henchman, lackey, or thug. look at these guys. they're goons.
Real thing that changed how i write: I started asking "what does this character think is wrong with them" and separately "what is actually wrong with them." Those two things are almost never the same. She thinks she's too much. She's actually terrified of being too little. He thinks he's bad at commitment. He's actually just never met someone he trusted enough. The gap between their diagnosis of themselves and the real thing, that's your character arc right there. you don't have to explain it. just write both.

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I need my weird alone time or I will explode
I misread this as 'I need my weird al time' and honestly both are true
"it's not that deep" START DIGGING!!
DIG
DIG
DIG
DIG
OOPS TOO DEEP
CLIMB
CLIMB
CLIMB
CLIMB
CLIMB
CLIMB
i think i found my new favorite artist on twitter
(source)
đ me
being offered ai at every turn

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What Iâd give for one of the Cinderella remakes to go into how when youâre in an isolated and abusive situation, sometimes you need to be saved and youâre not weak if you canât escape by yourself
Iâve never been a fan of bad faith reinterpretations of fairy tales, especially ones which flatten the originals into âprincesses is saved by a prince and nothing elseâ, to then go #girlboss. The princess can save herself because sheâs a strong female character! (Implying if youâre in a bad situation, itâs because youâre not strong enough to get out)
Also the concept of the Prince over the course of like⌠a couple hours hanging out with Cinderella going from âHaha nice I really like youâ to âoh fuck i can tell from context clues alone that your home situation is FUCKED UPâ  itâs good shit  âI have just met you but ON GOD Iâm gonna get you out of there beautiful mystery womanâ  cinderella makes desperately yelling into the night âhow can I find you again!??!â when sheâs taking off that much more poignant really
#okay this is genius#I love this#love at first sight is a tough sell#but âI just met you but you are so clearly in desperate need of help that I am already planning where to hide the bodiesâ#is a trope I absolutely love#going from hello to ride or die in a matter of hours#isnât a âyouâre hotâ thing#itâs a âmy fellow human is trapped and suffering and every instinct I have is screaming its need to helpâ thing
honestly one of the strangest and worst takes i have heard in a long time.
I wish people actually looked up what grooming actually is, because it's not "when you read something horny before your 18th birthday".
Grooming involves someone deliberately trying to gain a minor's trust and open them up for sexual abuse. The intent is important here, because a lot of the actions that can constitute grooming are superficially completely benign.
For example, being kind, listening to a child when they talk about their problems or giving them gifts can be grooming if the person doing it intends to abuse the child, but otherwise it is just being a decent person.
You can't be "groomed" by an inanimate object like a book because books do not have minds. They can't abuse you. They can't even want to abuse you.
I feel like a better rule than âShow, donât tellâ is âExpress, donât stateâ
Because a lot of people interpret âshow donât tellâ as âuse visuals instead of dialogâ or âplay out scenes instead of referencing/describing themâ which is an arbitrary rule that doesnât communicate well what the issue is.
What I mean by âExpress, donât stateâ is that the facts of your story should be conveyed through the storyâs elements instead of stated in the story.
If a character is depressed or guilt ridden, it should be expressed through their attitude, their actions, their decisions, their reactions, etc. instead of stating âthis character is depressedâ. Whether itâs done through dialog or a visual of a rainy cloud doesnât matter, because itâs still conveyed directly to the audience instead of being evident in the text itself.
In fact, sometimes having a character describe a scene or a diagnosis or whatever using dialog can express a lot more than showing the scene itself.
This is the best way Iâve seen this described
Baby sphinx trying to be like mama and waylaying travelers, but all its riddles are completely non-sensical like the ones a 1st grader would tell
we all love dynamics that remind us of the moon and the sun but I am baffled by the lack of love for dynamics that are reminiscent of the moon and the EARTH.
I am so full of life but you are the reason my tides have a rhythm. you are the reason my oceans are brimming with life. you are the reason I can see the light in myself even when it all seems dark and you are the reason my orbit is stable and my seasons make sense. do you see it
Moon has scars from meteors that wouldâve otherwise hit us
AOAOIUUHHH. NOBODY TALK TO ME

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This isn't very hard when you know some of the most genius strategies in human history were incredibly stupid, circumstantial events that led to victory by sheer luck of that strategy working.
Case in point: Tsun Zu's rival defended a city with 10 men against Tsun's army of hundreds by disarming his own soldiers, dressing them in plain clothes, INVITING Tsun's army to come in, and it only worked because Tsun knew the guy was an ambush master and thought "if we attack the city he's inviting us into, we will die." and left without even trying ON THE BASIS OF HIS RIVAL'S REPUTATION AND NOTHING MORE
Another example: Tsun Zu, on being told his soliders were out of arrows during a battle against a city across a river from them, had his men craft scarecrows, put them on a boat, send it out on a line, leave it there for half an hour, then pull it back in and used the arrows the enemy had fired at the boat to restock their own ammunition. It only worked because it was foggy and the enemy couldn't tell the difference between the scarecrows and actual soldiers.
Stupid things like that work INCREDIBLY WELL if the circumstances favor them, so you really don't need to come up with some multi-layered, Shikamaru-esque strategy. You just need to come up with a strategy you like for the characters involved, then write the circumstances (weather, environment, individuals involved) to favor it enough that it works.