Real Ones Know How It Feels To Lose Good Post Before U Could Reblog It

some interesting stuff I found on the blog of Oriental DreamWorks (an animation company that DreamWorks once held shares in)

Oriental DreamWorks once released the constellation information of the characters during the promotion period of httyd2🤩

Hiccup-Aries (Hiccup’s birthday in the book is February 29th, aka Pisces. I personally think that Oriental Dreamworks made a tiny mistake, has reversed the astrological signs of Hiccup and Astrid)

Astrid-Pisces

Toothless-Scorpio

Stormfly-Libra

Fishlegs-Cancer

Ruff and Tuff-Gemini

Snotlout-Sagittarius

Stoick-Taurus

Valka-Capricornus

Gobber-Gemini

Note: this information is for entertainment purposes only, DreamWorks has not confirmed the zodiac signs of the characters officially

THIS. And my personal theory being, the federal agents that came to the Mystery Shack in search of paranormal activities are some like attachment agency to Cognito Inc.

I know I mentioned this in shitpost-adjacent blog before, but I feel like I really have to give a better explanation here.

It is so very possible that Inside Job and Gravity Falls take place in the same universe, it's not even funny.

I've got little theories and essentially one of those conspiracy corkboards in my brain, but the one thing I really want to talk about is in Myc's Hiveschool Reunion.

In that episode, the gang all travels to Oregon (you know, where Gravity Falls takes place) to get down into the earth. And I'm like 90% sure it was just a throwaway line, but Reagan says, "if we go too deep, we'll hit [...] some wacky gravitational bullshit."

Well. You know what else is underground and makes some "wacky gravitational bullshit" in Oregon?

Ford's portal. Booyah.

Sometimes I don’t even realise something is an expression because it’s so overused that it just sounds like what you’d learn from the basics of English. Like, “here’s pronouns, verbs, also look *insert common expression”.

I was talking to my cousin and I said something like “he was tryna not make it obvi and she didn’t automatically pick up what he was putting down.” And she said “wait, pick up what” and I, “what he was putting down”. A beat. “What was he putting down” and it took me forever to explain it was an expression because I’ve never registered it as one.

Character is Plot

Character is plot. I mean that as, your main character’s arc is (literally) the main plot. If you think about arcs as something to put over or alongside an existing plot, they probably aren’t working very well. Or at least, you don’t have as much time or space as you need to fully explore both a good plot and a good arc. They are one of the same, so I’d even say throw whatever idea you have about plot out the window. They’re called arcs now. Congrats.

This also means if your characters aren’t working, the whole thing is going to fall apart. So I’m going to relay what was taught to me about solid character creation, and finding your arc!

There’s five critical things that go into character building: Goal, Objective, Unconscious Need, Disrupting Characteristic, and a Formative Event. They all work very closely together, so once you get one going, the others typically fall into place. (oh, and they sound complicated, but I promise they’re not.)

Goal and Objective go hand in hand, I’m sure you’re telling me right now that actually they’re the same thing. You’re right, they kind of are. The reason I split them up is so I make sure I always get not only a journey for my character to go on, but a meaning behind it. Action and intention. So:

Objective: the actionable (your character can work at it) objective of the story. What your character is physically doing throughout the story. Frodo taking the ring to Mordor is his Objective, Rapunzel going to see the lanterns in Tangled. Mulan protecting her dad by taking his place. Essentially, objective is what we’ve thought of as plot.

Goal: the intention behind the objective. Why is your character doing this? This is usually the emotional core of the story, where we tuck away arc and characterization. Rapunzel wants to see the lanterns to finally get out and start her life. Mulan wants to prove she’s worthy. Your character wants to make someone proud, or hurt someone who’s hurt them, or feel loved. This is the emotion behind their objective and cannot on its own be turned into an arc. One cannot ‘prove themselves worthy’ out of a void, that’s the goal, you also need an objective, ‘prove themselves worthy through taking their father’s place in the war’.

If you have these, great job! You’ve got a really solid foundation for your arc. What your character wants, and why they want it. However, if we just follow an objective and goal, your characters are going to feel very lifeless—so we need some additional depth:

Unconscious need: This will probably be the one you get stuck on the most. Good thing is, both of these words are hints on what to do here, Unconscious meaning your character doesn’t realize it, couldn’t put it into words, and Definitely doesn’t say it out loud. Need, is the start of how to answer this blank space. Your character needs to realize something they haven’t been aware of to achieve their goal. Or they need to realize a flaw in their goal. For example, a woman wants to run for president (objective) to make her mother proud (goal), but she needs to realize all her mother wants is to spend more time with her, and by using all her time to campaign for president, she’s actually splitting them further apart. Mulan needs to internalize that she doesn't have to be bigger than life to make her parents proud of her and bring them honor.

Your need is character specific, which means no one else should need the same thing. If your need can apply to multiple people, you probably didn’t get specific enough. Everyone needs to be loved, everyone needs to feel cared for. However, not everyone closed themselves off from relationships and needs to open up to people if they want to foster a connection. See the difference?

This step will directly influence how you write your climax, because it leads to a choice your character makes. They can either realize their need and adhere to it (Fine, I’ll take my name out of the campaign for president/call my parents/apologize to the people I’ve hurt) or continue with their objective despite it. Typically, characters that ignore their need after they realize it are considered to have tragic arcs. Getting your character to realize their need is the end of their positive arc, it’s what we’ve been working towards all along.

So it’s important. Don’t skip, yes?

Disrupting Characteristic: this one is fun. This step is adding a flaw to your character, specifically, it’s the flaw that’s holding them back from meeting their need. If there was nothing holding them back, wouldn’t they be satisfied already? So that’s the easiest place to start with this one, what they need, and what could possibly be holding them back from it. If they need to see their father as he truly is, maybe their disrupting characteristic is that they’re optimistic to a fault. This characteristic could be a thing the character does (idolizes their father, acts fiercely independent, etc.) or a belief they have about themselves or the world (self conscious, believes humans are inherently cruel, etc.) It’s the epitome of their internal conflict, they need something, but some ingrained part of them is keeping them from it. Evil? Absolutely. But us writers tend to be.

The disrupting characteristic is the internal arc your character goes through, they are working and being challenged throughout the story to overcome this characteristic. So in another example, a romantic character may realize their parents led them to believe they were undesirable (unconscious need), and that it has no merit, so they gain a new confidence and overcome their self consciousness (disrupting characteristic) to ask their ideal partner out.

You see what I mean why I say all these steps work together. Need and disrupting characteristic and goal are so intertwined that it can be difficult sometimes to voice them apart from each other, but they also can’t carry each other. A solid need and disrupting characteristic isn’t going to do much if you don’t have a very convincing goal. Make sure you can put them into words (preferably write them down) and voice them all as separate things from each other, and how they work together. If you can do that, you’re set.

Last but not least is Formative Event: this is essentially your beginnings of backstory. The formative event Is the (usually) singular event in a character’s past that made them to be who they are today—importantly, that developed their need and disrupting characteristic. Your character showed up to school in their new dress and was bullied, a mom left, or a dog died. The reason they are the way that they are. From this, you can build up the rest of their backstory. Moana is chosen by the ocean, her parents try to keep her away from the ocean, she grows up unsure about the idea of being the next chief. If you’re struggling with backstory, start here, build around it.

(Oh, and you don’t necessarily have to mention the formative event in your story, in fact most screenplays don’t. As long as you know it, you’re set.)

Speaking of backstory, it’s our invisible sixth step (or… first, really) because all of these things you come to know about your character is developed out of backstory (which makes it a pretty good place to start). It makes sense, really, if these steps are who they are, they’ve become that way because of where they’ve come from. I tend to start with family when I’m trying to discover backstory, given family is a large part of who we are—then education, then home/community, friends, interests, etc. But there’s no real ‘perfect’ way to do it. Just write, let your mind wander, add and take away whatever you want, and meet your new character for the first time.

So how did all of that give you your plot? It’s through how they change! We’ve created someone who wants something, and needs something else, and unless we take them on a journey so they can figure it out, we’ll never have a story. So that journey to help them realize their need? That’s your plot.

If you’re struggling with how to help them change, consider putting your arc into a logline (something screenwriters do, but I find it really helpful even in novel writing). A logline is essentially your plot (character arc) summed up in a sentence or two. It goes like this: A but B so C

A: Disrupting characteristic

but

B: Conflict (goal/objective meets antagonist)

so

C: Changed character

Loglines are a tool for writing (at least in the way we’re using them), so make sure you have your full story—ending, character change, conflict, anything you’d find helpful to keep you on track.

I’ll often write a logline for each major character I have. Here’s an older one about a character I’ll call “Mark”:

A: Obsessive

B: His death has been predicted

C: Opens up to the others, recognizes he only has a little bit of time left, and should spend it with the people he loves (that’s also his need!)

Logline: Private Mark Jackson obsesses over an unproven myth that promises the escape of his small life, but when his untimely death is foretold and every day drives him closer to his fate, he opens up to his friends to be content in a slightly different life than he had imagined for himself.

Loglines are great because they have it all!

Private (additional characteristic) Mark Jackson obsesses (disrupting characteristic) over an unproven myth (objective) that promises the escape of his small life (goal), but when his untimely death is foretold and every day drives him closer to his fate (conflict), he opens up to his friends (need) to be content in a slightly different life than he had imagined for himself (change).

You see how the entire story is right there in that sentence? This is a great place to start before we move onto officially outlining next week, so save your work, we’ll come back to it!

To get a good handle on all this, I’d recommend watching your favourite movies or reading your favourite book and filling out as many steps as you can, then creating loglines for each major character. Disney movies especially stick to this structure (thus all the examples) and typically have very clear arcs, but anything works.

Good luck!

I had a really bad migraine last night, but I've run out of everything except these hungarian pain killers my dad gave me 9 years ago, anyway I don't remember anything and I can't feel my tongue and the only thing in my search history is this

honestly? that one David Tennant Richard II Kiss™ is my favourite acted kiss in history

look how ridiculously tender and how achingly desperate it is. so gentle, so kind, and yet so selfish at the same time. i've never seen anything quite so human

just. just look at these

there's something so genuine and chaste about this kiss, while also being gorgeously passionate and heated and...... it's just perfect

Posters for National Theater of Korea's production of Macbeth, designed by Yuni Yoshida and photographed by Noh Juhan. [1][2]

Pope says mass deportation is wrong ❗️

JD Vance uses sudden death: it is very effective.

so what do we think