CREDIT

biteythevillain:

bury me in irish eridans i whispered before i finally died

(via bohemianmachine)

(Source: abernathyed, via bohemianmachine)

theradioprotector:

oh my god people who say that drawing is easy and how can I be stressed about it because it’s just drawing it can’t be hard-

you know what else can’t be hard

your DICK

(Source: bohemianmachine)

You can kill the spell of identification just as easily as you can create it—if you lose the reader’s sympathy for the character. You can lose reader sympathy by having your character commit acts of cruelty to another character with whom the readers identify more strongly or for whom they have strong sympathy. You can lose reader sympathy by having the character make dumb choices—acting at less than maximum capacity. The idiot in the horror story who responds to creepy noises by going into the attic armed only with a candle is an example. You can lose reader sympathy when a character seems too ordinary, is stereotyped, or doesn’t struggle hard enough. The reader wants to cheer a fighter, not witness a milquetoast wallowing in, say, self-pity.

James N. Frey, author of How to write a damn good novel (via amandaonwriting)

Yup! Rule #1 about main characters: Whether they’re “good” or “bad”, the reader should root for him/her, and find him/her “a sympathetic character” (this isn’t the usual definition of sympathy as “feeling bad for someone”, and it doesn’t mean that the character is sympathetic but rather that the reader is sympathetic to the character—it comes from the German word sympatisch, which means likeable/appealing).

(via yeahwriters)

Actually you know what this is complete bullshit. The reader does not need to root for the main character, or sympathize with the main character in order to have a fantastic story. Remember Catcher In The Rye by J.D. Salinger? That was a goddamn masterpiece and I’m willing to bet you HATED the main character. He was NOT sympathetic, he was annoying and he was a douchebag. But despite that, it went down in history as a brilliant fucking novel. Fear and Loathing in Las Vegas by Hunter S. Thompson was absolutely incredible and the protagonists were no where close to sympathetic. They were pigs, you weren’t SUPPOSED to feel sympathy for them. That was the point.

When you give writers rules, or tips based on what you think readers want, you end up with a world of writers all telling the same story and a bunch of bored, seriously pissed off readers.

(via theradioprotector)

(via bohemianmachine)