Making your angst hurt:the power of lighthearted scenes.
I’m incredibly disappointed with the trend in stories (especially ‘edgy’ YA novels) to bombard the reader with traumatic situations, angry characters, and relationship drama without ever first giving them a reason to root for a better future. As a reader…
I might care that the main siblings are fighting if they had first been shown to have at least one happy, healthy conversation.
I might cry and rage with the protagonist if I knew they actually had the capacity to laugh and smile and be happy.
I might be hit by heavy and dark situations if there was some notion that it was possible for this world to have light and hope and joy to begin with.
Writers seem to forget that their reader’s eyes adjust to the dark. If you want to give your reader a truly bleak situation in a continually dim setting, you have to put them in pitch blackness. But if you just shine a light first, the sudden change makes the contrast appear substantial.
Show your readers what light means to your character before taking it away. Let the reader bond with the characters in their happy moments before (and in between) tearing them apart. Give readers a future to root for by putting sparks of that future into the past and the present. Make your character’s tears and anger mean something.
Not only will this give your dark and emotional scenes more impact, but it says something that we as humans desperately, desperately need to hear.
Books with light amidst the darkness tell us that while things are hard and hurt, that we’re still allowed to breathe and hope and live and even laugh within the darkness.
We as humans need to hear this more often, because acting it out is the only way we stop from suffocating long enough to make a difference.
So write angst, and darkness, and gritty, painful stories, full of treacherous morally grey characters if you want to. But don’t forget to turn the light on occasionally.
Oh my god, this is going on my list along with doesthedogdie.com
Holy shit that’s useful
I probably won’t find myself using this but for my followers: if you can’t handle this shit, USE THIS. If you think a movie or tv show may be hard to watch, do your homework.
ok so i screenshotted this moment because i thought it was pretty cool
the first time we get to see all four elements working together for a common enemy, blah blah blah, but i started laughing because
sokka’s fucking boomerang. sokka threw a fucking boomerang at princess azula, renowned lightning bender and heir-apparent to the throne of the fire nation.
and sokka threw a boomerang at her.
I said it once and i say it again.
Azula considered Sokka to be the biggest threat in this group and countered him first. What this picture miss is Sokka sanding nearby. All members of this group unleash their attack at same time, but Azula reacts to boomerang first. If you watch this part in slow motion, you could see that Sokka’s boomerang was the first thing that would hit Azula and may even incapacitate her making her unable to continue to fight. So she had to counter in first. She deflected it with well placed shoot.
Then and only then, when there is no immediate threat, she starts to create her blue fire wall to counter other elements.
Lets think about this. How hard should you have to throw something to make it move faster that any elemental attack? Either all elemental attacks are slow or you are pretty strong. That said nonbenders with good aim and strong hands could easily overpower benders if they timed it right.(Aang got captured by Yuan archers who are all nonbenders.) Azula knew of this and acted according to it. She is talented bender and you may think that she should enlist other benders to help her track and capture Zuko, Iroh, and later avatar, but instead she uses her nonbender friend to help her.
Even if you have no bending you can still fight… and win.
Let’s not forget that on the Day of Black Sun, Sokka was the one in charge and Azula was no idiot Azula knew that.
When Aang, Sokka, and Toph all confronted Azula, she proceeded to make them chase her and waste their time. Azula is not only talented, she’s sly and smart as hell. WHO WAS THE ONE WHO SAW THROUGH THAT BS CHASE?
Sokka.
NOT ONLY THAT but after Sokka explains to the Gaang that Azula is just baiting them, Azula actually verbally attacks Sokka. Not through fighting, but through words, knowing not only that an intelligent person like him could only be brought down with emotions BUT that Sokka was the leader and if she could get him the stay, Aang and Toph would follow his lead.
Azula knew Sokka was their strength and took him down. WOULD SHE DO THAT IF HE WASNT A SIGNIFICANT THREAT TO HER!!??!
No. She wouldn’t waste her time and energy on someone she didn’t think was capable of actually getting in her way.
WHEN SHE GETS HER FIREBENDING BACK SHE HAS THE OPTION OF ATTACKING BADASS METAL BENDING TOPH AND THE FUCKING AVATAR
WHO DOES SHE ATTACK?!?!
Azula never underestimated the power of non benders especially an intelligent one like Sokka. Sokka was a huge threat to fucking Azula on multiple occasions.
Remember that.
Look at this spot on fucking discourse. LOOK AT IT.
Just thought I’d drop this
into the debate as well, (instead of actually fighting him she backs off, and who blames her? Sokka’s club looks like it could shatter bones…).
Along with this:
Scenes with Azula confronting Sokka are few and far in between but they paint a pretty interesting picture, don’t they?
I mean, Azula’s friends/most trusted warriors were two non-benders. Mai was an expert with thrown weapons and Tai Lee was the only chi blocker shown in the first series, and she was able to take down half a groups of earth nation soldiers like that. Azula knows that non-benders are dangerous and she sees sokka for the genius he is
She’s knows she can take bending, she can redirect fire and she’s fought Katara a lot- but unlike Zuko she was probably never trained with weapons, she knows she has no defense to a sword or a club, and she knows that one of Ty Lee’s biggest advantage is that people underestimate her
Let me sum this up;
It doesn’t matter how much crazy magic bullshit you have, a sword to the face is a sword to the face.
If society collapses and we gotta start living back in tiny tribal societies everybody’s gotta make sure when you start making those stories that get passed down through the ages that you include some ghibli movies in there. I want future archeologists to find multiple societies around the world worshiping chihiro the dragon rider goddess and howl the trickster god. We got one chance if it happens so don’t fuck it up
I can’t tell if we’re handling the collapse of society well or not anymore
WHENEVER YOU SEE THIS POST ON YOUR DASH, STOP WHAT YOU’RE DOING AND WRITE ONE SENTENCE FOR YOUR CURRENT PROJECT.
Just one sentence. Stop blogging for one minute and write a single sentence. It could be dialogue, it could be a nice description of scenery, it could be a metaphor, I don’t care. The point is, do it. Then, when you finish, you can get back to blogging.
If this gets viral, you might just have your novel finished by next Tuesday.
Minors: why are you personally attacking me personally?
Adults: ….????????…………
Minors: I know you want to fuck children
Me: *looks at fic with one character that’s in his 40′s and another that’s in his 50′s, with no children in sight*
Me: ………please get out of my house
(I still get a lot of responses to this post calling me a pedo and I am t i r e d of this bottom-of-the-barrel quality discourse)
* this obviously doesn’t apply to all minors, and to all those minors (like me, when I was your age!) that manage to enjoy and participate in fandom without calling everyone a pedophile, I appreciate you.
Adults: we want to write/draw porn of these fictional adult characters.
Minors: that’s not appropriate for children.
Adults: yep! that’s why it’s tagged as explicit and has a warning for mature content and also is tagged for various sex acts in case you’re not into that.
Minors: that type of content makes me uncomfortable.
Adults: we totally get that but that’s why the tags and warnings are on it.
Adults: look you even have to agree:
This work could have adult content. If you proceed you have agreed that you are willing to see such content.
Adults: so if you’re not into that type of thing then you can just skip over it.
Minors: it make me uncomfortable.
Adults: ……then… don’t… read it?
Minors: no.
Minors: you should stop writing it.
Adults: no.
JUST FUCKING SAYING
I’ve said it before and I’ll say it again. If you’re old enough to be using the internet unsupervised, then you’re old enough to be learn how to avoid content that upsets you. Adult fans and content creators are not here to be your babysitters.
what if i told you that a lot of “Americanized” versions of foods were actually the product of immigrant experiences and are not “bastardized versions”
That’s actually fascinating, does anyone have any examples?
I took an entire class about Italian American immigrant cuisine and how it’s a product of their unique immigrant experience. The TL;DR is that many Italian immigrants came from the south (the poor) part of Italy, and were used to a mostly vegetable-based diet. However, when they came to the US they found foods that rich northern Italians were depicted as eating, such as sugar, coffee, wine, and meat, available for prices they could afford for the very first time. This is why Italian Americans were the first to combine meatballs with pasta, and why a lot of Italian American food is sugary and/or fattening. Italian American cuisine is a celebration of Italian immigrants’ newfound access to foods they hadn’t been able to access back home.
(Source: Cinotto, Simone. The Italian American Table: Food, Family, and
Community in New York City. Chicago: U of Illinois, 2013. Print.)
that corned beef and cabbage thing you hear abou irish americans is actually from a similar situation but because they weren’t allowed to eat that stuff due to that artificial famine
❤ FOOD HISTORY ❤
Everyone knows Korean barbecue, right? It looks like this, right?
Well, this is called a “flanken cut” and was actually unheard of in traditional Korean cooking. In traditional galbi, the bone is cut about two inches long, separated into individual bones, and the meat is butterflied into a long, thin ribbon, like this:
In fact, the style of galbi with the bones cut short across the length is called “LA Galbi,” as in “Los Angeles-style.” So the “traditional Korean barbecue” is actually a Korean-American dish.
Now, here’s where things get interesting. You see, flanken-cut ribs aren’t actually all that popular in American cooking either. Where they are often used however, is in Mexican cooking, for tablitas.
So you have to imagine these Korean-American immigrants in 1970s Los Angeles getting a hankering for their traditional barbecue. Perhaps they end up going to a corner butcher shop to buy short ribs. Perhaps that butcher shop is owned by a Mexican family. Perhaps they end up buying flanken-cut short ribs for tablitas because that’s what’s available. Perhaps they get slightly weirded out by the way the bones are cut so short, but give it a chance anyway. “Holy crap this is delicious, and you can use the bones as a little handle too, so now galbi is finger food!” Soon, they actually come to prefer the flanken cut over the traditional cut: it’s easier to cook, easier to serve, and delicious, to boot!
Time goes on, Asian fusion becomes popular, and suddenly the flanken cut short rib becomes better known as “Korean BBQ,” when it actually originated as a Korean-Mexican fusion dish!
I don’t know that it actually happened this way, but I like to think it did.
Corned beef and cabbage as we know it today? That came to the Irish immigrants via their Jewish neighbors at kosher delis.
The Irish immigrants almost solely bought their meat from kosher butchers. And what we think of today as Irish corned beef is actually Jewish corned beef thrown into a pot with cabbage and potatoes. The Jewish population in New York City at the time were relatively new immigrants from Eastern and Central Europe. The corned beef they made was from brisket, a kosher cut of meat from the front of the cow. Since brisket is a tougher cut, the salting and cooking processes transformed the meat into the extremely tender, flavorful corned beef we know of today.
The Irish may have been drawn to settling near Jewish neighborhoods and shopping at Jewish butchers because their cultures had many parallels. Both groups were scattered across the globe to escape oppression, had a sacred lost homeland, discriminated against in the US, and had a love for the arts. There was an understanding between the two groups, which was a comfort to the newly arriving immigrants. This relationship can be seen in Irish, Irish-American and Jewish-American folklore. It is not a coincidence that James Joyce made the main character of his masterpiece Ulysses, Leopold Bloom, a man born to Jewish and Irish parents.
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