The stream ends. Finally, after over 24 hours, the equipment is shut off. As the last of the goodbyes and well wishes die down, one would expect some celebration among the group.
But there is nothing.
They simply let their arms fall and stand there, emotions draining from their face. All of them, except for Jack.
The Irishman glares at the figure standing behind the cameras and the crew. His arms fold across his body, and though his body language appears confident and challenging, his eyes show fear.
“Alright Anti, I did what you wanted. Now let them go.”
The glitch steps out of the shadows, twirling a knife in his hand. He grins, but it is not a friendly grin. It’s the grin of a psychopath.
“And why should I do that? There’s lots more fun to be had?”
Jack begins trembling. “We had a deal!” He cries, anger and worry mingling in his voice.
Anti giggles. “Actually, if I remember correctly, the deal was you give me an outlet to remind the good people who they’re dealing with, and I don’t harm your little friends. And as you can see, I haven’t harmed them.” He creeps forward, eyes glinting. Suddenly, his smile turns to an expression of pure malice. “Would you like me to?”
Jack, despite his best efforts, stumbles back, instinctively reaching his arms out to shield his paralyzed companions. “You-you wouldn’t!”
“Wouldn’t I?” A glint appears in the demon’s eye, and he begins to glitch in spot. “Unlike you, I don’t need them to remain here. They could disappear for all I care.” As if to demonstrate his point, he glitches right behind Ethan and lifts the knife to his throat. The American remains unsettlingly still. Jack’s entire body stiffens, not daring to move for fear of his friend being harmed.
“What do you still want from me?” He whispers, so low that it’s barely audible. “I gave you what you asked for. I let you use the stream. What more do you need?” Anti laughs once again, the sound sending shivers down Jack’s spine. He vanishes from behind Ethan, and reappears to whisper directly in Jack’s ear.
“Your precious community mocked me. They laughed at me, turned me into a joke. They need to learn that I am to be feared. They need to be punished.” Anti manifests on the couch, lounging as a king might. “Do you realize how much power an entire night of uninterrupted attention from thousands brings?”
Suddenly, Jack’s vision begins to blur. He stumbles to the floor as pain wracks his brain, threatening to tear him apart from the inside. He struggles for control as he feels himself slipping into the back of his mind. Anti gets up off the couch and saunters over to the Irishman, lifting his chin so that their eyes meet.
“I think you’re the ones who need saving now.”
Kepama
Hmmm.... that's interesting haha
1st Letter Of My Name : 2nd Letter Of My Name : 1st Letter Of My Moms Name : 2nd Letter Of My Moms Name : 1st Letter Of My Dads Name : 2nd Letter Of My Dads Name : My Child’s Name Would Be ?
"Oh, come on now. Don't be like that! You know that I love you."
"I know that you say it a lot."
I’d never, ever hurt a lady but I’d be happy to punch a feminist. It’d bring me great joy.
Maybe you are tired of all outlining techniques out there… the snowflake, the skeletal, the summary, the visual map, you’ve tried them all. And, although they are great, nothing works anymore. Or never worked in the first place. Maybe, when you outline, you feel like the magic is gone, the story has already been told, you don’t need to write it anymore. Outlining makes your bored.
Then, you try going pantser, but you get lost to where your story should be going soon after the first plot point. Not outlining makes you lost.
We need to jump outside the box of plotter and pantser. No one is 100% plotter, or 100% pantser. We are neither. In truth, we are explores, travelers, discoverers of beautiful stories, sometimes we have maps, sometimes we are following the unknown.
If we outline with fear and/or severity, we are doomed. Outlining is supposed to be on the creative side of the brain. It’s the whole picture of a drawing. Or the sketch of a sculpture. So, let’s try an artistic approach to outlining.
1. TV Series:
For a moment, pretend that you are not writing a book, but a 15-episodes TV series. Write down a small paragraph to what should happen in each episode. Don’t worry about details, make it general. With 15 episodes planned out, you’ll have a clear view of the story. As you write, use the episodes as guidance.
This exercise helps you explore plot details.
2. Hours:
Think of your story as the hand of a clock, it has to run through twelves parts to close the circle. Draw a clock, but, instead of hours, write down plot points. Every hour should change the story somehow and guide the characters to a conclusion.
This exercise helps you keep track with the main plot.
3. Branches
Picture your story as the branches of a tree. Better yet, grab a paper and draw your tree trunk. The trunk is the beginning of the story. Part the trunk into two big branches. These two branches are two different turns your story could take. From two big branches, create four smaller ones. At each split, create a new course for your story. At the end of the exercise, you’ll have many outlines to choose from.
This exercise helps you discover new possibilities.
4. Mixing
Mix the outline of two existing stories from books, movies or games to create your own. Very simple and easy. Write down one or more paragraphs on how these two stories would merge into one completely new.
This exercise helps you unravel new angles to old ideas.
5. Tags
Make a list of 10 to 50 words of objects, colors, places, animals or even feelings. Pick three words randomly and try to incorporate them into your story.
This exercise helps you think outside the box.
You can try your favorite exercise, or all of them.
“We’re not free,” They whispered. “We never were.”
Ahhhh!!! It's here!!
Thank you @soopticboop I love it so much!!!
I can't believe I didn't post this sooner!!!
Thank you @jacksoopticboop for the fantastic art!!
I also really enjoyed the little notes that came with the art!
You're the best, and I hope your day is full of PMA!!
time for angst
I'm going on a date tomorrow, and my dad was asking questions. While he was I pulled up Instagram and saw this photo. My dad leaned over and said, "oh is that him?" And I just laughed and said no.
Writing fight scenes
masterlist. main navigation.
@bluebxlle_writer on Instagram
A fight scene should be fast-paced and intense. Unless it's a final battle with numerous parties, a fight scene that's too long tends to take away suspense. To speed up your pacing, use active voice to describe movement and don't overdescribe your characters' thoughts. Excessive inner monologue will be unrealistic, as people usually have no room to think during intense combats.
Here's a point that people often overlook, but is actually super important. Through fight scenes, you should be able to reveal your characters' contrasting mannerisms and personality. A cunning character would play dirty - fighting less and making use of their opponent's weakness more. A violent character would aim to kill. A softer one would only target to disarm their enemies, using weakened attacks. A short-minded character would only rely on force and attack without thinking. This will help readers understand your characters more and decide who to root for.
Not only the characters, you also need to consider the setting of your fight scene and use it to your advantage. Is it suitable for fighting, or are there dangerous slopes that make it risky? Are there scattered items that can help your characters fight (e.g. nails, shards of glass, ropes, wooden boards, or cutlery)? Is it a public place where people can easily spot the fight and call the authorities, or is it a private spot where they can fight to the death?
The main things that you need to describe in a fight scene are :
• Characters involved in the fight
• How they initiate and dodge attacks
• Fighting styles and any weapons used
• The injuries caused
Be careful to not drag out the description for too long, because it slows down the pace.
By raising the stakes of the fight, your readers will be more invested in it. Just when they think it's over, introduce another worse conflict that will keep the scene going. Think of your characters' goals and motivations as well. Maybe if the MC didn't win, the world would end! Or maybe, one person in the fight is going all-out, while the other is going easy because they used to be close :"D
Fights are bound to be dirty and resulting in injuries, so don't let your character walk away unscathed - show the effect of their injuries. For example, someone who had been punched in the jaw has a good chance of passing out, and someone who had been stabbed won't just remove the knife and walk away without any problem. To portray realistic injuries, research well.
You don't write fight scenes only to make your characters look cool - every fight needs to have a purpose and drive the plot forward. Maybe they have to fight to improve their fighting skills or escape from somewhere alive. Maybe they need to defeat the enemy in order to obtain an object or retrieve someone who had been kidnapped. The point is, every single fight scene should bring the characters one step closer (or further :D) to the climax.
• Hand to hand combat :
Crush, smash, lunge, beat, punch, leap, slap, scratch, batter, pummel, whack, slam, dodge, clobber, box, shove, bruise, knock, flick, push, choke, charge, impact
• With weapon :
Swing, slice, brandish, stab, shoot, whip, parry, cut, bump, poke, drive, shock, strap, pelt, plunge, impale, lash, bleed, sting, penetrate
A collection of whatever I want to reblog :) Main blog of @random-writing-thoughts 😊😊
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