nine crimes

Subtitle
Blainey: all i can think rn is just
Blainey: i want clocks
Blainey: everywhwer
Blainey: idk why i like them so much
Blainey: it used to be ples but now its not so much ples anymore
Blainey: i love
Blainey: the color of their gears the bronze mix of brown and yellow and the shine and their faces are beauitful and the ticking is just pleasant to hear when its faint its like you just
Blainey: know somethings there idk i have a wall clock that ticks kinda loud and it sounded
Blainey: very alone so i had to take his battery out
Blainey: i wind atticus fairly often and speedys on a battery so hes always goin along with the large wall clock next to my door and the one at my desk ajfsdakfa
Blainey: atticus is my favorite ticker tho,,,
Newton Geiszler: blain are u gay for clocks

biteythevillain:

bury me in irish eridans i whispered before i finally died



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


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)


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