AU- Callisto Follows Siyeon To Korea

When your Character...

Gets into: A Fight ⚜ ...Another Fight ⚜ ...Yet Another Fight

Hates Someone ⚜ Kisses Someone ⚜ Falls in Love

Calls Someone they Love ⚜ Dies / Cheats Death ⚜ Drowns

is...

A Ballerina ⚜ A Child ⚜ Interacting with a Child ⚜ A Cheerleader

A Cowboy ⚜ A Genius ⚜ A Lawyer ⚜ A Pirate ⚜ A Spy

A Wheelchair User ⚜ A Zombie ⚜ Beautiful ⚜ Dangerous ⚜ Drunk

Funny ⚜ In a Coma ⚜ In a Secret Society ⚜ Injured ⚜ Shy

needs...

A Magical Item ⚜ An Aphrodisiac ⚜ A Fictional Poison

A Coping Strategy ⚜ A Drink ⚜ A Medicinal Herb ⚜ A Mentor

Money ⚜ A Persuasion Tactic ⚜ A Quirk ⚜ To be Killed Off

To Become Likable ⚜ To Clean a Wound ⚜ To Self-Reflect

To Find the Right Word, but Can't ⚜ To Say No ⚜ To Swear

loves...

Astronomy ⚜ Baking ⚜ Cooking ⚜ Cocktails ⚜ Food ⚜ Oils

Dancing ⚜ Fashion ⚜ Gems ⚜ Herbal Remedies ⚜ Honey

Mushrooms ⚜ Mythology ⚜ Numbers ⚜ Perfumes

Roses ⚜ Sweets ⚜ To Argue ⚜ To Insult ⚜ To Kiss

To Make False Claims ⚜ Wine ⚜ Wine-Tasting ⚜ Yoga

has/experiences...

Allergies ⚜ Amnesia ⚜ Bereavement ⚜ Bites & Stings

Bruises ⚜ Caffeine ⚜ CO Poisoning ⚜ Color Blindness

Facial Hair ⚜ Fainting ⚜ Fevers ⚜ Food Allergies

Food Poisoning ⚜ Fractures ⚜ Frostbite ⚜ Hypothermia

Injuries ⚜ Jet Lag ⚜ Kidnapping ⚜ Manipulation ⚜ Mutism

Pain ⚜ Paranoia ⚜ Poisoning ⚜ More Pain & Violence

Scars ⚜ Trauma ⚜ Viruses ⚜ Wounds

[these are just quick references. more research may be needed to write your story...]

Writing Resources PDFs

No because- it’s them.

— How they kiss you [ Part 1 ]

Character(s): KRS Cale Henituse, Choi Han, Callisto Regulus

TW: None

Notes: Gender neutral MC || It's way too early for me to be thinking about this it's 1pm but I woke up like 2 hours ago so it's fine for me to say it's early but here we are

KRS Cale

Honestly, 99% of the time, his kisses are quite soft and lazy but not really short. He likes to take his time kissing you and doesn't really like feeling like he needs to rush with you so he's not too forceful

It's not a brush of the lips but you're not going to be kissed breathless unless you're the one that decides to go that far but that's up to you

When he kisses you, he prefers it to last and will want to hold you to keep you in place so he can kiss you but probably won't unless he's feeling really clingy or has really missed your affection

He's not the one to initiate kisses because he knows just how vulnerable he feels when he kisses you because he has never felt so warm and comfortable before and is still unused to it and maybe never will be 100% used to it but he's going to be the one to keep kissing you

Sometimes there are paused between when you kiss each other again where the two of you kind of both have your eyes closed and he'll kiss your forehead and mumble something that you never quite catch before he kisses you again, soft and slow like always

His kisses are warm and familiar, like a hot drink on a cold day while you're bundled up in blankets because he's so gentle and slow with you and it really does make you feel like you're on a cloud

Choi Han

He's a little confused but he's got the spirit

His kisses start off quite clumsy but really soft, just pecks at the beginning. He's never really kissed anyone before so you have to cut him some slack but he's trying

He spends a lot of the time kissing you trying to find out what you like and don't like but his kisses come to be quite quick and playful most of the time

Lips quickly pressed together with the ghosting of his tongue over your lips before he's pulling away again and then coming in to kiss you once more

He's a little shy with that kind of affection so you'll have to be the one taking the lead most of the time

He's so gentle when he kisses you whether it be when he quickly pressed his lips to yours of his own initiation or when you have to bring him in for a slower kiss and his breath kind of catches in his throat before he hesitantly puts his hands on your waist

Even when you initiate the kisses, they still end up kind of short to start with. It's like there's a build up where he becomes a little more confident

His lips are still so sweetly soft against yours but he's holding you a little closer and his hands are caressing your cheeks, mindlessly tracing your features as he kind of gets lost in the feeling of your lips on his

Callisto

Aha, gentle who? Oh no, honey, not him

Callisto tries to be gentle and manages for a couple seconds, lips soft and barely there against yours at times when he just needs your warmth for a moment, before he completely loses himself in his feelings for you

His kisses are passionate and sensual because he feels so deeply for you and his words often aren't enough to portray it because he still sometimes struggles with voicing his love for you so he does what he does best and talks through his actions

There's a a sureness in his actions that reflects his strategic planning for dire situations and he knows exactly what he's doing, exactly what to do to have you coming back to him and leave you breathless because he wants to know that you won't leave

He's teasing with nips at your bottom lip and the brush of his tongue and it has you letting out a little huff as he pulls away and you just know that once you open your eyes he's going to have that same smug smirk that he always does as he looks over your face, eyes trained on your lips

It's almost desperate at times when he kisses you, the feeling of your lips on his and the sight of then slightly swollen because of him reassuring him as much as the hand that he always uses to keep a hold on your hips that you're his

Do not repost or claim. Only reblog 💗

just take me to a walkable city with good and clean public transportation and multiple parks and i'll be happy forever

Me cause if i plan the whole story I’ll overthink about the tiniest details😔

"Can't wait to see where you take this story" well I can't wait to see where this story takes me either

Scene & Summary: Mastering When to Use Which

Writers regularly need both scene and summary to tell a great story, but sometimes it can be difficult to discern when to use which, for best effect. Occasionally when editing another’s work, I find the writer made what really should have been summaries into scenes, and what really should have been scenes, into summaries.

This can weaken any story. Just imagine what The Hunger Games would have been like if Suzanne Collins summarized the high points of the Games—the cornucopia battle, the tracker jackers, or the mutts at the end. Then consider how slow and boring the story would be if she wrote a scene for every time Katniss went to bed or woke up and ate breakfast while in the Capitol. A high-stakes, fast-paced story would have turned into a drag—and would have been rejected before Effie could say “Primrose Everdeen.”

Writers run into this problem for several reasons:

They can’t yet tell the difference between scene and summary

They can’t yet discern what the story’s major turning points are

They feel too intimidated to write what needs to happen in a scene

They don’t know how to write a strong scene

They don’t know how to write a strong summary

Hi all, September C. Fawkes ( @septembercfawkes​ ) here for this week’s article. And I will be addressing each of these.

What’s the Difference Between Scene and Summary?

How can you know when to use which when you don’t really know what each is?

Here are the key features of scenes and summaries to help you develop a better eye for them.

Scene:

A scene will happen in real time. The audience will “watch” the characters move across the setting, interact, and speak, as if it is all taking place in the real world.

The characters will be acting within a specific location. They may be sitting at a kitchen table, or on an airplane, or venturing into a forest. Often (though not always) when a scene ends and a new scene begins, the location will have changed. (Alternatively, the story may have jumped forward or backward in time.)

Scenes are “shown” more than “told” to the audience. This means what happens is dramatized. We don’t tell the audience “Matt was angry for the whole dinner.” We show he’s angry through his behavior. He may make a passive-aggressive comment, complain his meat is undercooked, or, if he’s really angry, throw his drink at his girlfriend.

Scenes will be mostly concrete. Because a scene is dramatized, it will more likely appeal to our senses and the physical world and experience.

Summary:

A summary happens over condensed time, not real time. A sentence may span a day, a week, a month, a year. Summaries may talk about recurring events over a period of time, within one paragraph. They may relay past—or even future—events within a brief moment.

The characters or locations may change swiftly, or in some cases, may not even be present. The text may guide the reader through different places, people, or time frames with ease.

Summaries use more “telling” than “showing.” This is because what is happening isn’t in real time. This gives summary a stronger, guiding, narrative hand. Rather than experiencing the passage like the character, it’s more like the audience is being guided by a storyteller.

Because summaries use more telling and can move swiftly from one thing to another, they will be more abstract. They will convey ideas and concepts, rather than recreate specific experiences.

To illustrate the differences, check out these two examples from Ender’s Game.

Scene Example:

(Note: Because scenes often take place over pages, this is just part of a scene.)

Anderson palmed the locks that kept students out of the officers’ quarters; finally they came to where Graff had taken root on a swivel chair bolted to the steel floor. His belly spilled over both armrests now, even when he sat upright… . Time and tension were not being kind to the administrator of the Battle School.

“Seven days since your first battle, Ender,” said Graff.

Ender did not reply.

“And you’ve won seven battles, once a day.”

Ender nodded.

“Your scores are unusually high, too.”

Ender blinked.

“To what, commander, do you attribute your remarkable success?”

“You gave me an army that does whatever I can think for it to do.”

Summary Example:

Ender put them through the obstacle course twice, then split them into rotations on the tramp, the mat, and the bench… . He didn’t need to worry about exhaustion. They were in good shape, light and agile, and above all excited about the battle to come. A few of them spontaneously began to wrestle—the gym, instead of being tedious, was suddenly fun… . At 0640 he had them dress out. He talked to the toon leaders and their seconds while they dressed. At 0650 he made them all lie down on the mats and relax. Then, at 0656, he ordered them up and they jogged along the corridor to the battleroom.

Worth noting is that it is possible to mix scene and summary. For example, you may have a bit of summary within a scene that briefly provides background information. Or, you may write a long passage of summary that has short moments of dramatization. No need to get too strict on keeping summary out of scene or vice versa—but it is important to know the difference between them.

What Should be Scene and What Should be Summary?

A good rule of thumb is, the more important the moment, the more likely it needs to be rendered as a scene.

What Should be Scene

Scenes take place in real time, concretely, which means they are almost always more impactful than summary. Scenes immerse the audience powerfully into the story. We want to dramatize the most important parts for best effect.

If you are familiar with story structure, you can use it as a guide. Major turning points should almost unequivocally be scenes:

The inciting incident should be a scene.

The climax should be a scene.

The midpoint should be a scene.

And the high points in each act should be a scene.

And the pinch points should be scenes.

Anything the story has been building and building and building up to, should probably be a scene.

If you are working with multiple plotlines, all of the major events of the primary plotline should probably be a scene. The less important the plotline, the more you can get away with summarizing important events or even having those events happen “off page.”

Another rule of thumb is that if the moment significantly progresses the character arc, plot, or theme, it needs to be a scene.

Finally, most genres will have what professional editor Shawn Coyne (creator of The Story Grid) calls “obligatory scenes.” These are scenes that the audience expects to see in the story when they pick up the book. For example, in a murder mystery, we expect to have a scene where the body is discovered. In a romance, we expect to have a first kiss scene.

What Should be Summary

On the other side of the spectrum, we have summary. Not everything that happens in a story needs to be dramatized in a full-blown scene. The narrative would become long, flat, and boring.

Use summary when the audience needs to know the fact that something happened, but it’s not important for them to experience it.

For example, we may need to know the fact that Henry slept terribly last night because it will affect his test-taking skills in the next scene, but we don’t really need to share his experience of that. It may not be interesting enough to make into a scene, and if we try, it’d likely be dull. How much conflict can you really get out of that scenario?

Summary is also useful when you need to cover a broad length of time in a short amount of space, or when you need to talk about recurring events. If your characters have to go by sea to a new land, and the plot isn’t really about the boat ride, then you’ll be better off summarizing the voyage. And similarly—rather than rendering the fact that Macy is late to work every day, scene after scene, it will probably be more efficient to summarize that, since it’s a recurring issue.

Additionally, summary can work well to transition from one scene to another—particularly when something noteworthy happened between those scenes, but isn’t worth dramatizing.

Finally, summary can be important in providing the reader with context. It may be used to set up a situation or provide background information so the audience can follow what is happening in a plot accurately. For example, summary may be used to briefly explain an ongoing feud between two families, so that the reader will understand why Yolanda and her siblings are sabotaging the Greens’ block party.

Keep reading

The Double 墨雨云间 (2024) Dir. Bai Yun Mo, Lu Hao Ji Ji, Ma Shi Ge – Ep. 5-40

i miss vatanim sensin everyday ever since i watched it. i don't think a show has ever caused me so much impact. i love them so much.

i went into it almost completely blind (i had seen one tik tok edit of leon), 60+, 2 hour long episodes later it became one of my (if not the most) favourite shows ever.

sometimes i'll watch some scenes on youtube because i miss watching it so much.

but i can't rewatch it, i have no time, hoe do you rewatch a show that has 2 hours + long episodes.

so frustrating.

anyways, if you haven't already, and you love classical romances, go watch it, it's perfection. it's classical, tragic romance, and history based.

i knew nothing of ottoman empire and turkey x greece conflicts before this show, and it interested me so much i researched a lot of it afterwards.

honestly vatanim sensin was a life changing experience for me, not even kidding.

Writing Notes: Antihero

An antihero - a central character who lacks the characteristics an audience associates with a conventional hero.

They are ambiguous protagonists—complex characters who have a dark side.

Despite a flawed exterior, a history of bad decisions, and even a questionable moral code, an antihero is ultimately guided by good intentions.

Tips for Writing an Antihero

Despite their flaws, antiheroes are realistic characters that readers can relate to. Here are four tips for creating a great antihero for your story:

Create a main character who is complex. Think of how you would write a traditional hero. Create your antihero by giving them the opposite attributes. If a hero is an idealist, your antihero is a cynic. Make them mysterious so their character is revealed bit by bit. A great antihero has flaws just like a real person. But despite an antihero’s weaknesses, their good side is illuminated as the story progresses. These contrasting qualities make an antihero more complex and interesting.

Give your antihero internal conflict. Every great antihero has an internal struggle driving their actions. Before you begin writing, sit down and flesh out the character. What event is the source of their internal struggle that informs their behavior in the story? As you write, slowly reveal your antihero’s backstory to let readers know what makes them tick.

Don’t confuse your antihero with the antagonist. For the antiheroes with misguided morals, the ends justify the means. They can explain away the bad things they do if the result is ultimately good and they emerge a hero. When writing an antihero, you can bring them to the edge of evil, but they’re never as evil as the true villain of your story. Unlike an antagonist, an antihero ultimately believes they are acting for a noble cause. Some characters, like the DC Comics character Harley Quinn, alternate between being an antihero and an antagonist, depending on the context.

Use supporting characters. In the TV show The Sopranos, antihero Tony Soprano had his therapist, who showed Tony’s vulnerability and made the audience have a soft spot for a guy who ordered a hit as easily as he ate a bowl of pasta. Create a side character who can illuminate your antihero’s redeeming qualities. The best antiheroes are the ones readers can’t believe they’re rooting for.

Types of Antiheroes

Think about the rough-around-the-edges antihero Han Solo compared to the traditionally heroic Luke Skywalker. Antiheroes go against the grain and are often social outcasts who operate by their own rules. Here are different antihero archetypes found in fiction:

The pragmatic rebel: The pragmatic antihero is a realist. They might associate with both good guys and bad guys and take whatever action they deem necessary to accomplish their mission. Their morals are, for the most part, good, but they won’t hesitate to do what’s needed to be heroic—even if that means taking out a few bad guys. They won’t intentionally cross a line unless it’s for the greater good, and they may still follow the steps of the hero’s journey.

The unscrupulous antihero: This is the antihero whose morals fall into a grey zone. They have good intentions but are driven more out of self-interest rather than the greater good. They can be cynical and have a jaded view of the world. Their actions are often dictated by past traumas and inner conflict, revealed through their backstory. They don’t think twice about how they achieve their goal and who they need to push out of their way, and they sometimes even enjoy the dark side. Annaliese Keating, the antihero played by Viola Davis at the heart of the show How to Get Away With Murder, is cutthroat and morally compromised, but her motives begin to make sense as the audience gets a deeper look into her inner life.

A hero by any means necessary: The titular antihero protagonist of the television series Dexter (as well as the novel it’s based on, Darkly Dreaming Dexter by Jeff Lindsay), borders on being a villain. Antiheroes like Dexter Morgan justify their behavior because it results in something that benefits society, even though their actions are questionable—and sometimes even psychotic. For example, Dexter might have good intentions as a vigilante serial killer of other killers, but his deeds are those normally associated with an antagonist.

Example: Walter White

Walter White is the main character of the TV series Breaking Bad.

As a man dying of cancer, White begins to make and sell methamphetamine to save money to support his family after his death.

As the series progresses, Walter White’s character arc is dramatic as he moves through the ranks of antihero archetypes, crossing every moral line and almost assuming the role of villain.

Told from any other point of view, Walter White would be the antagonist of this series but instead he is an antihero.

Source ⚜ More: References ⚜ Writing Resources PDFs

Tips on Pacing

We, as creators, seek that hook that gets the readers invested and keeps them that way. Nothing does that better than tension. There are all kinds, but it often occurs between characters. The "do they like me" of romance, the interruptions of erotica, the intense adversary from an unknown opponent, or the whodunits of mystery; Tension comes in all shapes and sizes, but it boils down to one thing, leaving the readers holding their breath in anticipation of the next page.

A large part of the creative process is figuring out how to create that tension without leaving the readers wanting to quit out of frustration or confusion. I would like to say there is a correct way to pace things, but it depends entirely on the story and situation.

Action scenes, for example, move very quickly, whereas a scene with a lot of dialogue will move at a snail’s pace. A spicy scene will emulate real life, moving slowly at first and increase its pace. A dramatic scene can be either fast or slow, depending on what it contains.

There are the peaceful scenes that do not move the same as any other kind of scene, showing the contentment of characters, the sun setting, or moving from one place to another. In writing or showing these scenes in a comic, it will go very quickly but the reader will perceive them as slow.

Showing a car ride, or a cooking scene allows characters to reflect on what has been happening and offers character development, but it does not have that tension at all. Still, adding those scenes is like adding bread to your butter. Now, everyone has their own tastes, but I would find it very odd to find someone who would consume just butter, especially if it was unsalted. Adding those peaceful scenes makes the ones that aren’t, all the more impactful, to both your readers and your characters.

The calm before the storm does wonders in storytelling, but the one thing you want to avoid is spending too much time in that calm. An example of this would be The Hobbit. Now, I love The Hobbit. It’s a classic hero’s journey, with a deep world build and rich characters, but parts of it are unnecessarily wordy. There is a page that describes the moss on the trees in such detail that you can taste it, which shows Tolkien’s skills as a wordsmith, but it was ultimately padding.

waits for the rage. Padding; words that don’t move your plot forward and only add to your word/panel count. Padding or filler should not be confused with peaceful scenes. Peaceful scenes will add to your story, padding will not. The literary world has changed a lot since Tolkien wrote The Hobbit, and we can see that evident in modern literature by the fact that there would hardly be a mention of trees at all, let alone the moss that grows upon them.

The next subject of pacing is sentence variation and flow. Now, flow is a tricky subject, and is not often resolved during the initial draft. When I am editing, things will sometimes be in the wrong order and disrupt flow. When flow is off, tension wanes, and when tension wanes, readers will lose interest. There may be entire scenes that I think don’t work where they are, but rather than delete those scenes, I find a place where they fit better. Perhaps that place is earlier, perhaps it is later. If you thought that scene was necessary when you wrote it, perhaps there is a proper place for it.

In A Galactic Star, the episode titled Repercussions, was supposed to happen right before the climax. I moved it up to allow the reader to understand Chrome’s hesitations between him and Neon.

Even in comics, you aren’t going to necessarily catch things after you just completed them. Many indie creators will recommend a space between writing the initial draft and editing it. The amount of time varies per person, but it is suggested to at least give it a day. The reason is because of the completion high; You just created this thing and in your mind it is amazing and awesome, not seeing the mistakes that are there. I feel as though editing is like polishing a stone; Every stone, no matter how grey or plain in appearance, can be polished into a stunning masterpiece if given enough time.

The editing process has multiple phases, the first is checking for spelling and grammar mistakes, and the second is checking the sentence structure for flow. Example: The loud dog barked. Vs. The dog barked loudly. The first is grammatically correct but makes you pause to process, whereas the second will allow you to move on to the next sentence without that stop.

Flow is a key component in pacing, which is a key component in tension, which keeps your readers engaged. As a potential reader of your story, I hope this will help you to bring it to life.