8 Simple Rules for Loving a Vampire - simplifiedemotions - M, WIP - Hermione, an exhausted but determined employee in the Department for the Regulation and Control of Magical Creatures, becomes Draco’s caseworker as he transitions into living a life he had never expected to have. If only there was a handbook, a set of guidelines or rules, that could help her.
American Spy opens with a bang only to come screeching to halt within a few pages. What could have been an intriguing tale of espionage is thwarted by lacklustre execution: painfully slow pacing, watching-paint-dry levels of entertainment, cardboard characters, robotic narration, dry dialogues, heavy on the telling…Aside from its snazzy cover & title, and that brief mention of Nella Larsen’s…
Because these hard working authors deserve much more recognition. Sadly, tumblr’s tagging issue is partly to blame for that not happening, something staff are reluctant to look into, it seems, so we have to help each other!
@longlostinanotherworld For her new Tyler Rake series
@chickensarentcheap For their long-established Tyler Rake series
@mostly-marvel-musings and @lancsnerd for their MCU collections
The silhouette of the person barely gave away his features. He could make out a tall frame, strength packing around his body like an armour. The scent hit him next, a thoroughbred alpha, Louis bared his teeth in warning. He would bite if this man tried to touch him.
"I suppose you are hungry," an amused voice regarded him, his accent giving away that he was from enemy lands, not that Louis needed any more confirmation than the situation he was currently in. "I brought some food and water," the stranger elaborated.
Louis rolled his eyes, tugging the chains to make them rattle, "I don't suppose you would be letting me out of these chains."
Words: 22610, Chapters: 1/1, Language: English
Fandoms: One Direction (Band)
Warnings: No Archive Warnings Apply
Characters: Harry Styles, Louis Tomlinson, Robin Twist, Anne Cox, Gemma Styles, Liam Payne, Original Characters
Relationships: Harry Styles/Louis Tomlinson
Additional Tags: Alternate Universe - Royalty, Alternate Universe - Magic, Alpha/Beta/Omega Dynamics, Alpha Harry Styles, Omega Louis Tomlinson, Prince Harry Styles, Magical Louis Tomlinson, Sorcerers, Prisoner Louis Tomlinson, Strangers to Lovers, Falling In Love, Romance, Courting Rituals, Language of Flowers, References to Illness, Attempted Murder, Angst and Feels, Hurt/Comfort, Smut, Explicit Sexual Content, Top Harry, Bottom Louis Tomlinson, Knotting, Rimming, Dom/sub Undertones, Virgin Louis Tomlinson, Angst with a Happy Ending
via AO3 works tagged 'Harry Styles/Louis Tomlinson' https://ift.tt/3beTAZo
Now I'm officially done with everything, this is just going to be a quick update as to what's going on with me.
You may have not seen me on here as much and more on twitter. This is down to tumblr mobile just loading in half the time so I have to wait to get on my laptop before updating.
I'm not going back to RALTAF until after the DLC because it'll hit on Deepground and I have a feeling some retcon/timeline changes are a coming. In the mean time, I've decided the mysterious air of the G Reports means Genesis edited them to make himself seem more mysterious than he actually is.
JBSWM is in it's second to last arc and will be for at least three more chapters.
I'm not sure how long exactly the last arc will be but I do know not everything is going to get covered in it. The plot has it's own arc and there's specific character arcs that will hit, but if I try to write the rebuilding post-canon as part of it then this story will go on another 100k so it's getting split up into side pieces.
The last two chapters (the one just posted and the next) were swapped around because otherwise Zack's chapter was going to be very, very long to cover everything in it I needed to so I'm back on track
In terms of editing, I'm sad to lose Vincent and Zack but had to reshuffle the group which meant I lost a few things along the way and goth garfield and odie is one of them.
The next two POV's should be Zack then Cloud, because at this point Cloud has been unconscious so long that people may be wondering if it's a @aimeelouart fic.
There's bits and pieces of background going up when I need a palette cleanser. I know there's a few of them in need of updates but I made the mistake of writing a background event in a background story and realising I wanted to write that out so it's a Thing now.
I'm slowly also catching up on my reading. If anyone is familiar with how I read, usually I read something between chapter drafts/posting so it's slow and steady progress as I work on things. I think Restart is up next so I'm preparing for that to kill me just a little bit.
A supporting character is a person who plays a role in the life of a story’s protagonist. Novelists and screenwriters don’t anchor a story around supporting characters, but they use them in the process of worldbuilding to create a compelling backdrop to the main character’s story arc.
A well-written supporting character will have a character arc, a strong point of view, and clear personality traits. In many cases they will be the types of characters a reader might recognize from their own life and—like main characters—they will grow and change over the course of the storyline. Characters who don’t change are known as flat characters, and while certain bit parts work just fine as flat characters, the majority of your secondary parts must be dynamic and engaging to a reader or viewer.
Margaret Atwood’s 7 Tips for Writing Supporting Characters
Your secondary characters are formed by their life experiences. Character and event are inseparable because a person is what happens to them. This is true for main characters and minor characters alike. Even if a secondary character only appears sporadically throughout your novel, short story, or screenplay, supporting characters exist insofar as they experience events.
Secondary characters must be three dimensional, just like main characters. Your job as a writer is to learn about your character by observing how they interact with the world around them. Characters—like real people in real life—have hobbies, pets, histories, ruminations, quirks, and obsessions. They also have a backstory, just like the protagonist does. It’s essential to your novel that you understand these aspects of your character so that you are equipped to understand how they may react under the pressures of events they encounter.
Keep a track of your secondary characters with a character chart. When Margaret writes, she makes a character chart on which she writes each character, their birthday, and world events that might be relevant to them. In this way, she keeps track of how old characters are in relation to one another, and also how old they are when certain fictional or historical events occurred.
Make your characters interesting. Characters, like people, are imperfect. They don’t need to be likable, but they must be interesting. For example, Moby-Dick’s Captain Ahab was certainly not likable, but he was compelling, and that is Margaret’s bar for writing characters. Sometimes the characters in supporting roles are the ones who are easiest to push boundaries with. You should aim to create an interesting character that directly abets or stymies the protagonist’s goal but in a way that doesn’t necessarily conform to a worn-out archetype.
Every character needs to speak with purpose. When your characters are speaking, they should be trying to get something from one another or make a power play. As you draft each scene, ask yourself what your characters are trying to get. What are they trying to avoid? How do these wants inflect their speech and guide what they say—or don’t say? As you compose dialogue for your supporting characters, be mindful of their character roles within your primary storyline (as well as any subplots). Use their conversations efficiently to contribute to worldbuilding, character development, and the escalation of plot.
Take time to get dialogue right. To get dialogue right, you must understand how your characters speak. This is likely influenced by where they come from, their social class, upbringing, and myriad other factors. Speech and tone are always bound up in what has happened and is happening to a character. Shakespeare was exceptionally deft at encoding his characters’ speech with these social markers. In your own story, if the lead character is from Colorado and his best friend is from New York, their dialogue shouldn’t sound the same. Just as their worldview and personality traits must be distinct, so too must be their way of speaking. Most first-time authors tend to get their major characters’ dialogue correct, but it’s supporting characters’ dialogue that can separate great authors from those who are merely decent.
Choose secondary character names wisely. Be sure names are distinct, Margaret cautions, so that readers can tell characters apart. In cinema, the original Star Wars trilogy does a great job of this. Assuming Luke Skywalker is the protagonist, supporting character names like Leia, Han Solo, Chewbacca, and Obi-Wan Kenobi are all distinct from one another, which aids a first-time viewer who is new to the Jedi universe.