unboundbymusic:

vainvaihe:

strangestquiet:

acheemient:

portinagoldstein:

timeforlupsopinion:

puffbadgersandbees:

urbanisticdaydream:

dawhitebag:

transguypeterparker:

shakespearesocks:

bridgesquid:

riotrogers:

ironicallyxspiders:

I know TAZ has some completely epic lines that resonate with people like the “I saw seven birds” speech and “Our capacity for love increases” speech but what’s everyone’s favorite stupid line that for some reason lodged in your head beyond the others I’ll start 

Mine is when Taako and Barry are talking in the Beach Episode and Taako says “Barold… Barold…. I rolled an Eleven Barold, you have to tell me.”

“The late Merle Highchurch rolled a five”

Griffin: “Are you using the umbrella like Mary Poppins-style? You don’t need to.”
Justin: “Oh, natch. And I don’t need to. For sure. But I deffo am.”

“I can fuck any onion I want!”

“the memory of my grandfather’s name died long before i was born”

“hot diggity shit that is a baller cookie”

“How do you not have a d6 it comes with every game?!” “My daughter…” “Eats them for power????”

“You haven’t seen this ass!”

“what’d you do merle?” “laid down in the road”

“I love you guys. You just set my fucking dog on fire”

“Hey, you calm the fuck down, sir! There’s no yelling in the Fantasy Costco!”

“You, my dear man, have died fifty-seven times. FIFTY-SEVEN times. FIFty-SEveeeEEEENNNNN times.”

“What are you’re actual names that aren’t fake?

“Can I tell ya somethin’?

“Can I tell ya somethin’?”

“Can I tell ya somethin’”

thefusspot:

So it appears that Autodesk did a thing.

Go nuts, my friends.

mckitterick:

1000storyideas:

Did you ever feel bored midway writing a scene? Or lukewarm? Do you feel like readers will jump full chunks of text?

Well, I used to feel that all the time.

I disliked outline with a passion. I thought it stole the magic away from creation. I thought it would trap my story in a box. Whenever I tried, I had no idea where to start, so I blamed outlining all over again. I would just write the first scene and allow my story to unfold itself. Although it is fun to let your story take the lead, it’s also chaotic.

I realized the importance of outlining on my third book. After months and months of hard work, my story turned out just… boring. Weak characters. A plot full of holes. No defined theme. Useless scenes. And a story that started with a goal, but changed so many times along the pages and accomplished almost nothing. Slow. Tedious. I was frustrated. I had to delete more than half to make it work. Even after rewriting, I wasn’t happy. That project was a major fail.

Originally posted by failworldblog

And failing was good, because, on my next project, I outlined. 

I listed all arcs and, within the arcs, all scenes. I was mad. I wanted control. I wanted power. And I only sat down to write when I knew exactly what was going to happen from start to finish. I never wrote something that fast and effortlessly in my life. It didn’t take away the magic of writing, it simply gave me a sense of direction.

Outline is a map. And when you have a map, you have a journey to make.

Originally posted by artymissk

If, like me, you are a bit lost, here’s how you can create the map for your next novel, or how to outline your book scene by scene. I’ll share with you three techniques, but will divide them into three posts. This is the part one. Or the Map Technique.

I advice you to grab pen and paper, and move away from the computer. Find a comfortable spot, maybe a coffee shop, or by your window. And let’s work!

Originally posted by sashabloodsoup

Before outlining, write down your storyline in one phrase. I’ll be using an example to help you understand this technique. So, my storyline is:

Masked twins fight against a violent dictatorship.

Now, let’s start.

In every journey, we need a departure point and an arrival point. This is essential for a map. And, if it’s essential for a map, it’s essential for our outline. So, create the start (departure) and the end (arrival) of your story. With my example, it goes:

• Twins have their lives destroyed by the government (departure)
  
• They destroy the government (arrival)
  

Amazing!! Our map is taking form. 

What else a journey must have? Milestones. Without milestones, we don’t know how far we are from the arrival. They are essential as well. But how can we put milestones in an outline? Easy. Between departure and arrival, you will list every important arc (or event, or key scene, or plot point) that must happen in order to take the plot from start to end. More or less like this:

• Twins have their lives destroyed by the government (departure)
  
• Their family is destroyed
• They are taken in by their uncle
• Uncle and twins plan their revenge
• Twins find their mask
• Twins perform small acts of justice
• They gain the respect of the citizens
• Government sees them as threat
• Government tries to erase them
• Twins perform huge acts of justice
• They are almost killed 
• Uncle is killed
• They perform one last act of justice by killing the dictator
• Citizens claim for democracy
• Democracy is installed
• The twins destroy their masks 
• They destroy the government (arrival)

All milestones are placed, nothing too fancy, just a description of what we’ll be seeing along the journey. Good. 

From milestone to milestone, we have roads, or sequences of roads. Between arcs, write down sequences of scenes that must happen to move the plot forward. For example: 

• Twins have their lives destroyed by the government (departure)
• Their family is destroyed
• Twins live with their father (who is an important journalist)
• Father is abducted by the government
• Social worker takes them to lonely uncle
• They are taken in by their uncle
• Twins and uncle can’t adjust to new life
• They are all filled with grief
• Uncle comes up with revenge plan
• Uncle and twins plan their revenge
• Twins trains while uncle perfects his plan
• Twins and uncle adjust to new life
• They become a family
• Twins find their mask
• Getting ready for their first step
• Twins perform small acts of justice
• They destroy factory that uses slave force
• They kill politician who closed hospitals
• They kill a famous torturer for the government party
• They find their father’s file
• Discover that father was tortured and killed
• They gain the respect of the citizens
• …

We are almost there… 

Because, in every mile of the road, we have landscapes. Scenes are landscapes. And we need hundreds of different landscapes along the journey, beautiful ones, strange ones, unexpected ones… we need scenes. To every sequence, create as many scenes as you need:

• Twins have their lives destroyed by the government (departure)
• Their family is destroyed
• Twins live with their father (who is an important journalist)
• Father receives a journalism award
• Twins enjoy the party
• It’s time to go
• Father drives them home
• Father is abducted by the government
• In isolated street, the car is stoped
• Two man attacks them and abducts their father
• One of the twins receive a scar on their face
• Twins are left alone in deserted street
  
• Social worker takes them to lonely uncle
• Social worker takes them from the hospital
• Drives them to poor area
• Leaves them with unknown uncle

• They are taken in by their uncle
• Twins and uncle can’t adjust to new life
• Twins can’t eat
• Twins won’t leave the house
• Uncle tries to get information on what happened to his brother, but fails
• It’s believed that their father died
• They are all filled with grief
• Uncle and twins have a sincere talk about father, they tell past stories, they laugh, they cry
• For the first time, they have dinner together
• Uncle comes up with revenge plan
• …

You can almost see the story playing inside your head like a movie. That’s the magic of a scene by scene outline. :D

This last step is optional. But it’s a great exercise to trim the rough edges. Under each scene, catalog which character(s) you’ll need, what place(s) will be used, what does the scene accomplishes and ways it can unfold. Example:

• Father receives a journalism award
• Characters: Father, twins, father’s coworkers, VIPs
• Place: Banquet hall 
• Accomplishment: To show that father is a famous journalist that gives no chills for what the dictator says
• Possibilities: 
• Father is announced as the award winner
• Speech against the dictator
• Ends speech by showing his love for his son/daughter(s)
• Twins are proud (and kind of embarrassed as well)
• Applause, applause
• Nice food
• Beautiful dresses
• It’s the twins birthday
• Or it’s Christmas
• Open hall with garden
• Fireworks
• Rich people

Takes time, but, now, you have the most detailed map a traveller can possess. It’s easy to depart, just take a seat and enjoy the ride.

Originally posted by mr-nikolo

I hope it helps somehow. Next time I’ll show you a different technique. 

This is very close to the system l mentioned in the post l just shared about story- and plot-development process.

In my “Repeat Offenders” advanced spec-fic writing workshop, we use a collaborative discussion method to help people develop new work. I put up a big sheet of paper for each project, and we use colored markers and Post-It notes to clarify various story elements move them around or swap out some for others as the process advances.

I encourage everyone to think about plot in terms of scenes, because that’s how you’ll be writing it. Each scene corresponds to some point on the plot structure, so it’s a powerful tool for developing your fiction!

Something that’s helpful when thinking about plot is to look at the traditional forms. I put together a page about this on the Center for the Study of Science Fiction’s Workshop Resources page: X

Happy writing!