kuno-chan

[kuno-chan]

2x09 / 5x07

Don't be afraid. Just bring that thing here.

[kuno-chan]

[kuno-chan]

being a self-taught artist with no formal training is having done art seriously since you were a young teenager and only finding out that you’re supposed to do warm up sketches every time you’re about to work on serious art when you’re fuckin twenty-five

[kuno-chan]

“I never wanted any of this,” Isuri said.

#Isuri #infrans

[kuno-chan]

So Fox News ran a story about how they think libraries are turning into drug-infested sex dens and I am shocked, shocked that I was never offered any drugs during my 15+ years working in libraries.

[kuno-chan]

I'm getting so sick of major female characters in historical media being incredibly feisty, outspoken and public defenders of women's rights with little to no realistic repercussions. Yes it feels like pandering, yes it's unrealistic and takes me out of the story, yes the dialogue almost always rings false - but beyond all that I think it does such a disservice to the women who lived during those periods. I'm not embarrassed of the women in history who didn't use every chance they had to Stick It To The Man. I'm not ashamed of women who were resigned to or enjoyed their lot in life. They weren't letting the side down by not having and representing modern gender ideals. It says a lot about how you view average ordinary women if the idea of one of your main characters behaving like one makes them seem lame and uninteresting to you.

[kuno-chan]

[kuno-chan]

Please help the family of a non-verbal autistic child (who has been losing weight because he only eats certain kinds of food, largely unavailable during this time) leave Gaza!

[kuno-chan]

Could you take your pfp in a fight? Send to the last 5 people in your notifications. (you don’t have to send it out if you don’t want to)

her? no

from the legend of korra - book four: balance | the art of the animated series

[kuno-chan]

How do I plot a romance story?

Most advice and plot structures I have found seem to be focused on quest-type stories. Do you have any advice or templates that are mpre easily applicable to romance stories? Do I need to include another major plotline?

Basic Romance Structure

Like most stories, there are different theories and methods about structure, and you can find these by Googling "romance story structure." However, let me walk you through a basic romance structure to show you the differences and similarities with the kind of structure you'd use for something like a quest story or an adventure story.

Introduction/Normal World - Like most stories, romance stories usually open with a peek at the protagonist's "normal world" as a means of introducing who they are and what their life is like. And, as with other stories, this also introduces us to the both characters' internal conflicts. In romance, rather than resolving the internal conflict with growth in relation to the story events, the internal conflict will be resolved via change/growth in relation to the romance. [Example: Sandi is a florist with a four-year-old daughter, navigating single parenthood after her husband filed for divorce and ran away to chase a dream.]

The "Meet Cute" - This is essentially the inciting incident... the moment the two characters meet for the first time, or the first time in a long time. All in one moment, we see how undeniably right they are for each other, but due to their individual internal internal conflicts, they're butting heads big time.

[Example: Sandi meets Brent, the new flower supplier who is adorable, sweet to Sandi's daughter, but infuriatingly inept at doing things the way she likes them.]

Forced Proximity - After the "meet cute," something will inevitably force them to spend time together. They get partnered together on the same job, stuck together in the same place, keep coincidentally bumping into each other... whatever. All that matters is that they're forced to get to know each other despite their head butting.

[Example: they get roped into working together on the town's rose festival.]

Resistance/Rejection - Now that they're forced to interact for whatever reason, they're going to spend a lot of time resisting their mutual interest/desire for one another due to whatever obstacles exist, like being from warring factions or one being in the middle of a divorce. But despite this resistance, we can see the sparks flying between them, even if they can't or don't want to admit it.

[Example: Sandi wants to focus on running her business and raising her daughter; Brent just got out of a long relationship and isn't ready for romance.]

Waning Resistance/Giving Love a Chance - Eventually there's a breakthrough... the obstacle gives way... they have a really fun time hanging out at the Christmas market and almost kiss... they move past the misunderstanding between them... or maybe they just slowly get over their issues and start to fall in love. Either way, they decide to give the relationship a go.

[Example: as they get to know each other and bond through working on the rose festival, they can't deny how compatible they are and an unexpected first kiss gives Brent the courage to ask Sandi out on a date, to which she agrees.]

Three Steps Forward, Two Steps Back - This is essentially the first date, then another one, then another one... though it doesn't have to be actual dates. It just needs to be some interactive scenes when they're in relationship mode. Each of these interactions will deepen their feelings for one another while at the same time raising new obstacles or re-raising the old ones.

[Example: the first date goes well except that Sandi is preoccupied with the fact that her daughter is staying with a new sitter. The second date goes okay, except Brent is in a bad mood after his ex came to town to pick up the last of her things. Then they pull an all-nighter to make some final preparations for the upcoming rose festival, which leads to a philosophical conversation about the future, wherein Sandi says she sees herself getting remarried one day and having another kid or two, and Brent says he can't ever see himself getting married or being a father.]

This Isn't Going to Work - This is the midpoint crisis... the "all is lost" moment where one or both put on brakes and say, "I can't do this," citing whatever obstacle/s that now stand in the way of their happiness. Sometimes this follows their biggest act of intimacy yet, whether that's simply their first kiss or going all the way. It could even be the first declaration of love, being introduced to family, or some other important early relationship milestone. But then it all falls apart... maybe because one or more of the obstacles become too much, a fear-based retreat, or some other external force

[Example: the rose festival has arrived... Sandi is there with her daughter and parents, Brent is there with his mom and sister. Everyone meets, Brent continues to be great with Sandi's daughter... it's obvious Brent and Sandi belong together. But then Sandi's wayward not-yet-officially-ex-husband shows up and wants to get back together. Although she's ambivalent, seeing him interact with their daughter and her parents makes her realize giving him another chance is what's best for their daughter. Meanwhile, Brent witnesses this from far away, thinks, "I'm not good enough for a family like that," and he and Sandi go their separate ways.]

On Second Thought... - This is the moment when something happens that makes one or both characters realize they belong together... that the obstacles aren't real or don't matter... [Example: Brent finds a drawing Sandi's daughter made of the three of them together that makes him realize he really is worthy of their love. And Sandi sees that her husband hasn't changed, that he's still focused on chasing dreams that aren't what's best for their daughter... or herself, for that matter. ]

The Moment of Declaration - This is where the one character finds the other, or they find each other, and one or both declare their love and commitment to the other, despite whatever obstacles there may be. This is the run through the airport to catch the other before they fly away to a new life. It's the objection at the wedding before the other can go forward with the less-than-ideal marriage. It's the boombox on the shoulders, the kiss in the rain, the "I love, I love, I love you. I never wish to be parted from you from this day on" declaration in a foggy field at sunrise. [Example: Brent hears from a friend that Sandi's husband left again. He goes to the last night of the rose festival, finds Sandi, and tells her he wants all of it... her, the daughter, her quirky parents, the flower shop, marriage, more kids... he is ready to take on the world with her, and she couldn't be happier.]

The Happily Ever After or "HEA" - This is the story's denouement, where we flash forward a few days, weeks, or more and see the happy ending. This is the jump ahead a few months to see the happy couple living their lives together, the one year leap ahead to the wedding, or a leap ahead to a moment even further down the road when the couple is firmly established in their HEA.

[Example: two years later, Sandi and Brent have been married almost a year, and are at the rose festival with the now six-year-old and their newborn twins, Sandi's parents, and Brent's mom and sister, one big happy family.]

Now... like I said, there are a variety of different structure templates for romance as there are for other genre stories. Don't feel like you have to pick one, and if you do, don't feel like you have to stick to it exactly. Story structure is just a guideline to help make sure you hit the important points to help the story unfold.

Happy writing!

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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[kuno-chan]

20 Emotional Wounds in Fiction That Make Readers Root for the Character

Abandonment: Characters who have been abandoned by loved ones or caregivers can evoke sympathy from readers.

Betrayal: Being betrayed by someone close can create deep emotional wounds that make readers empathize with the character.

Loss of a Loved One: Whether through death or separation, the loss of a loved one can be a powerful emotional wound.

Rejection: Characters who experience rejection, whether in relationships or by society, can be relatable and evoke empathy.

Abuse: Physical, emotional, or psychological abuse can create complex wounds that shape a character's personality and behavior.

Neglect: Characters who have been neglected, especially in childhood, can evoke sympathy from readers.

Failure: Experiencing a significant failure or loss can create emotional wounds that make characters more relatable.

Guilt: Characters who carry guilt for past actions or decisions can be compelling and evoke empathy from readers.

Shame: Feelings of shame can create internal conflict and make characters more relatable and sympathetic.

Injustice: Characters who have experienced injustice or unfair treatment can evoke strong emotions from readers.

Trauma: Characters who have experienced traumatic events, such as war or natural disasters, can be sympathetic and relatable.

Loneliness: Characters who feel lonely or isolated can evoke empathy from readers who have experienced similar feelings.

Fear: Characters who face their fears or struggle with phobias can be relatable and evoke empathy from readers.

Self-doubt: Characters who struggle with self-doubt or low self-esteem can be relatable and evoke sympathy.

Identity Crisis: Characters who are grappling with questions of identity or struggling to find their place in the world can be sympathetic.

Addiction: Characters who struggle with addiction can be complex and evoke empathy from readers.

Betrayal of Trust: Characters who have had their trust betrayed can be sympathetic and relatable.

Unrequited Love: Characters who experience unrequited love can be sympathetic and evoke empathy from readers.

Isolation: Characters who feel isolated or disconnected from others can be relatable and evoke sympathy.

Fear of Failure: Characters who struggle with a fear of failure can be relatable and evoke empathy from readers.

[kuno-chan]

Cultural Architecture: NWT Totem Poles - An Overview

In the Northern Water Tribe (NWT), totem poles are commonplace throughout the capitol city. According to Indigenous Foundations:

Totem poles are monuments created by First Nations [and Alaska Natives] of the Pacific Northwest to represent and commemorate ancestry, histories, people, or events... A totem pole typically features symbolic and stylized human, animal, and supernatural forms.

And the totem poles of the NWT are no different. The poles in the NWT are composed of different "segments" that likely represent animals and natural phenomenon of spiritual significance in their culture (totems).

The biggest difference between real-life totem poles and the ones depicted in ATLA are the materials used. Traditionally, real-life totem poles are carved from red cedar wood. Meanwhile, the totem poles depicted in ATLA appear to be carved/bent from ice. This makes perfect sense when considering the different resources available in the arctic versus the subarctic.

Along with bone chokers, totem poles are a type of Native American/Alaska Native/First Nation art that is well-known to most non-indigenous people, so it's not surprising that they were incorporated into the worldbuilding of the NWT.

In Part 2, I'll be covering the possible meaning/symbolism behind each of the totem pole's segments.

Like what I’m doing? Tips always appreciated, never expected. ^_^

https://ko-fi.com/atlaculture

[kuno-chan]

The Importance of Body Language

Describing a character’s body language can be very important and helps your story from being too “telly”. You end up showing your readers how your characters are feeling instead of constantly telling them what’s going on. For example, if someone’s face “burns bright red”, you know they’re either angry or embarrassed (or perhaps a combination of both). Depending on context, your readers can figure out how your character is reacting. Using these simple techniques can help improve your story and make it much more entertaining.

A character that is over confident (possibly the antagonist) will most likely stand taller, put hands on his or her hips, or bark orders at others. The way they sit will also reveal a lot about their character. Their legs will probably be unfolded and they might sit up straighter to show dominance.

Someone who is shy and closed off will slump his or her shoulders or wrap their arms around their legs if they are sitting. They will do anything to remain unnoticed, which will come across in their body language. Submissive people tend to smile a lot because they might not want to engage in conversation.

Anger can be described through clenched teeth, reddening skin, heavy breathing, or crossing arms. If a character feels physically threatened, he or she might ball her fists as if ready for a fight.

 When people lie they tend to touch their face or avoid eye contact. They will try any physical action that might distract people from the fact that they are lying and it will often be subtle.

I once read that when you’re attracted to someone or open to conversation with them, you’ll point your knees in their direction. Your knees will often face the person who you wish to talk to. If someone is not open to conversation or feels uncomfortable, they will turn their body away from the person to show they aren’t interested.

There are a lot of clues in everyday life as long as you pay attention to them. If you want to learn more about body language, all you have to do is analyze the people around you or even yourself. What do you do when you lie? How do people know when you’re happy? Take a look around and observe.

[kuno-chan]

the eras✨ #TaylorSwift

[kuno-chan]

Fictional worldbuilding

I have this list I compiled of topics for developing of countries, whether fantasy based or not, and it seems to be a useful resource to share. Feel free to use this list to develop your own lore, but DO NOT claim it as your own or repost. It's pretty long, but I think it covers a lot of relevant topics for worldbuilding.

General

∎ Country name - Etymology if possible - Reasons for the name ∎ Does it take inspiration for a historical time period, aesthetic, or culture ∎ What sort of government is it

Important Places

∎ Main cities - Layout of the city - Economic or historical importance ∎ Other cities and places of importance - Ports - Mine cities - Scholarly cities ∎ Seasonal or turistic places

Climate and Terrain

∎ Important lakes, rivers, mountain chains or other geographically relevant places ∎ Seasons ∎ Climate in general ∎ How does the terrain affect daily habits ∎ Important plants - Agriculture - Crops for export ∎ Important animals - Livestock

Government

∎ System of government - Nobility/aristocracy -- Titles and inheritance/eligibility of titles - Merchant class ∎ Current and past rulers

Social customs

∎ Entertainment - Common forms of entertainment - Games - Cultural/social forms of enterteinment (go to parties/go to the movies/go out to eat/etc) ∎ Seasonal entertainment - Vacations - Seasonal high class customs ∎ Customs regarding reading and books ∎ Customs towards addictive substances - Alcohol - Tobacco - Opioids - Other stuffs ∎ Education and educational system ∎ Houses - Home layouts - Common things in houses ∎ Rites of passage - Age to be presented as adult to the society and customs regarding it ∎ Manners and behaviour in public ∎ Religion - Possible gods - Holidays - Festivals ∎ Customs regarding music - Musical instruments

Notions of family

∎ Inheritance laws ∎ Marriage and concepts of marriage - Marriage rituals - Who is allowed to wed who - Divorce - Customs toward conjugal and domestic violence - Polygamy -- Extraconjugal affairs --- Bastards ∎ Adoption ∎ Division of domestic labor and roles

Economy

∎ Coin and values ∎ Important internal products ∎ Main imports ∎ Main exports ∎ Important commercial relations

Fashion

∎ Common feminine fashion ∎ Common masculine fashion ∎ Concepts about clothing - What is seen as vulgar - What is seen as desirable ∎ Fashion and rites of passage ∎ Hairstyles and adornments

Names and language

∎ Base language ∎ Linguistic influences ∎ Working of names - Family names -- Patronymic and matronymic - Personal names

Magic and technology

∎ Magic - Practice of magic - Permissions within magic - Common and uncommon forms of magic ∎ Magic creatures of importance ∎ Level of technology ∎ Daily uses of technology

[kuno-chan]

Mastering the Art of Necromancy in Your Fantasy Novel

Hello fellow writers and conjurers of fantastical worlds,

In the tapestry of fantasy literature, few elements hold the allure and enigmatic charm of necromancy. The art of communing with the spirits of the departed, wielding the powers of death and undeath, and delving into the mysteries of the afterlife conjures a rich and eerie tapestry that captivates readers and writers alike. In this comprehensive guide, I shall help you embark on an odyssey into the realm of necromancy, unraveling its nuances, and harnessing its potent essence to enrich the worlds and characters within your fantasy novel.

Embracing the Essence of Necromancy

Necromancy is a mystical strand woven into the very fabric of fantasy literature, offering writers a gateway to explore themes of mortality, forbidden knowledge, and the uncharted territories beyond death. The art of necromancy beckons us to navigate the delicate balance between life and death, weaving a narrative tapestry that shimmers with eerie allure and spine-tingling intrigue.

Understanding the Arcane Threads of Necromancy

1. Unraveling the Nature of Necromantic Magic:

Necromancy encompasses a vast array of mystical practices, ranging from communing with spirits and animating the dead to harnessing the energies of the afterlife. Understanding the scope of necromantic magic is crucial when integrating it into your fantasy world.

2. Delving into Ethical Quandaries:

The art of necromancy often delves into moral ambiguity and ethical quandaries. As a writer, explore the complex interplay between wielding power over life and death, and the consequences it imposes on both wielder and world.

3. Crafting Necromantic Characters:

Characters draped in the shroud of necromancy carry an undeniably enigmatic allure. Whether they are enigmatic necromancers, vengeful revenants, or tormented spirits, imbue them with layers of depth, conflict, and the allure of forbidden knowledge.

4. Cultivating the Atmosphere of the Necromantic World:

Infuse your narrative with an eerie and otherworldly ambiance that resonates with the essence of necromancy. From desolate graveyards to spectral realms, let the setting itself exude an aura of haunting allure and metaphysical mystery.

5. Unraveling the Consequences:

The tendrils of necromantic magic often carry unforeseen consequences. Delve into the ripple effects of wielding such potent powers, shaping the fate of both the user and the world they inhabit.

Enchanting Your Narrative with Necromantic Flourishes

1. Rich Lore and Mythos:

Weave an intricate tapestry of lore and mythos surrounding necromancy, invoking ancient rituals, mysterious tomes, and the whispers of spirits to deepen the mystique of this arcane art.

2. Enigmatic Rituals and Spells:

Craft spells and rituals that exude an otherworldly aura, invoking the presence of specters and the echoes of forgotten souls to imbue your narrative with the esoteric essence of necromantic magic.

3. Ethereal Companions and Servants:

Bring forth spectral allies, reanimated guardians, and enigmatic spectral entities that serve as both catalysts and enigmas within the narrative.

4. Narrative Pivots and Twists:

Infuse your story with unforeseen twists and narrative pivots that stem from the tendrils of necromantic magic, shaping the destiny of characters and worlds with its potent influence.

Mastering the Art of Responsible Representation

1. Portraying the Nuances of Necromancy:

Embrace the multifaceted nature of necromancy, delving into its allure and peril, and steering clear of reductionistic portrayals that fail to capture the complexity of this enigmatic art.

2. Navigating Sensitive Themes:

Acknowledge the sensitive themes surrounding necromancy, portraying its enigmatic allure while respecting the boundaries of respectful representation and narrative integrity.

Navigating Ethical Quandaries and Moral Ambiguity

1. Delving into the Temptation and Consequences:

Illuminating the temptations and consequences inherent in wielding necromantic powers, delving into the moral turbulence and ethical crossroads that define the narrative and its characters.

2. Shaping Characters' Moral Journeys:

Embrace the moral odysseys of characters enmeshed in the tendrils of necromancy, illuminating their struggles, choices, and the transformative impact of their interactions with the enigmatic art.

Embracing the Mystique of Necromancy

The enigmatic tapestry of necromancy holds the potent key to unraveling the mysteries of death, whispered secrets of the afterlife, and the spellbinding allure of enigmatic power. Embrace its allure, wield its essence responsibly, and watch as your narrative flourishes with a haunting, spine-tingling allure that captivates readers far and wide.

Warm regards and unwavering encouragement on your enigmatic odyssey, Ren T.

[kuno-chan]

Ways to solve the Why Can’t They Use Magic To Fix Everything problem:

•Magic has a cost. The more powerful the spell, the more it drains the caster’s life.

•’We tried that ages ago.The gods grew angry at our arrogance and stripped most of our powers away.’

•Magic is tied to the stars and planets. Its full potential can only manifest on certain astrological events.(And these are once-in-a-millennia type events)

•Only one will a pure heart and selfless intentions can use their full power.

•All magic users are descendants of a (god/spirit). As the years have gone by, the blood has become more diluted, and magic has grown weaker as a result.

•Spell casters can only cast (finite number of spells). They end up using their gift on trivial matters.

•’After the war, we realized the dangers that magic presented. And so we sealed it away, lest it destroy the world.’

•Everyone has magic. Trying to solve one problem is futile as it can be easily undone(often violently and with much destruction)

•inverse of the above: everyone has magic, but their powers are limited and (mostly) harmless.

•Individual, company, or nation has a monopoly on the only substance that can negate magic. As they rule the world, they have installed anti-magic devices everywhere.

•Individual, group, company, or nation has a monopoly on magic. To insure their grip on power, all magic users that do not submit to them are killed.

•An act of good will spawn one of evil. The use of fire will cause somewhere to grow cold and dark. And to save a life, one must sacrifice another.

•The only magic people have access to is Chaos Magic. No one uses it, for obvious reasons.

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