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#film for writers
sylvies-kablooie · 3 months
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i do unironically think the best artists of our generation are posting to get 20 notes and 3 reblogs btw. that fanfic with like 45 kudos is some of the best stuff ever written. those OCs you carry around have some of the richest backstories and worldbuilding someone has ever seen. please do not think that reaching only a few people when you post means your art isn't worth celebrating.
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thoughtportal · 11 months
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Indigenous Horror Films
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writingwithfolklore · 2 months
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5 Tips for Creating Intimidating Antagonists
Antagonists, whether people, the world, an object, or something else are integral to giving your story stakes and enough conflict to challenge your character enough to change them. Today I’m just going to focus on people antagonists because they are the easiest to do this with!
1. Your antagonist is still a character
While sure, antagonists exist in the story to combat your MC and make their lives and quest difficult, they are still characters in the story—they are still people in the world.
Antagonists lacking in this humanity may land flat or uninteresting, and it’s more likely they’ll fall into trope territory.
You should treat your antagonists like any other character. They should have goals, objectives, flaws, backstories, etc. (check out my character creation stuff here). They may even go through their own character arc, even if that doesn’t necessarily lead them to the ‘good’ side.
Really effective antagonists are human enough for us to see ourselves in them—in another universe, we could even be them.
2. They’re… antagonistic
There’s two types of antagonist. Type A and Type B. Type A antagonist’s have a goal that is opposite the MC’s. Type B’s goal is the same as the MC’s, but their objectives contradict each other.
For example, in Type A, your MC wants to win the contest, your antagonist wants them to lose.
In Type B, your MC wants to win the contest, and your antagonist wants to win the same contest. They can’t both win, so the way they get to their goal goes against each other.
A is where you get your Draco Malfoy’s, other school bullies, or President Snow’s (they don’t necessarily want what the MC does, they just don’t want them to have it.)
B is where you get the other Hunger Games contestants, or any adventure movie where the villain wants the secret treasure that the MCs are also hunting down. They want the same thing.
3. They have well-formed motivations
While we as the writers know that your antagonist was conceptualized to get in the way of the MC, they don’t know that. To them, they exist separate from the MC, and have their own reasons for doing what they do.
In Type A antagonists, whatever the MC wants would be bad for them in some way—so they can’t let them have it. For example, your MC wants to destroy Amazon, Jeff Bezos wants them not to do that. Why not? He wants to continue making money. To him, the MC getting what they want would take away something he has.
Other motivations could be: MC’s success would take away an opportunity they want, lose them power or fame or money or love, it could reveal something harmful about them—harming their reputation. It could even, in some cases, cause them physical harm.
This doesn’t necessarily have to be true, but the antagonist has to believe it’s true. Such as, if MC wins the competition, my wife will leave me for them. Maybe she absolutely wouldn’t, but your antagonist isn’t going to take that chance anyway.
In Type B antagonists, they want the same thing as the MC. In this case, their motivations could be literally anything. They want to win the competition to have enough money to save their family farm, or to prove to their family that they can succeed at something, or to bring them fame so that they won’t die a ‘nobody’.
They have a motivation separate from the MC, but that pesky protagonist keeps getting in their way.
4. They have power over the MC
Antagonists that aren’t able to combat the MC very well aren’t very interesting. Their job is to set the MC back, so they should be able to impact their journey and lives. They need some sort of advantage, privilege, or power over the MC.
President Snow has armies and the force of his system to squash Katniss. She’s able to survive through political tension and her own army of rebels, but he looms an incredibly formidable foe.
Your antagonist may be more wealthy, powerful, influential, intelligent, or skilled. They may have more people on their side. They are superior in some way to the protagonist.
5. And sometimes they win
Leading from the last point, your antagonists need wins. They need to get their way sometimes, which means your protagonist has to lose. You can do a bit of a trade off that allows your protagonist to lose enough to make a formidable foe out of their antagonist, but still allows them some progress using Fortunately, Unfortunately.
It goes like… Fortunately, MC gets accepted into the competition. Unfortunately, the antagonist convinces the rest of the competitors to hate them. Fortunately, they make one friend. Unfortunately, their first entry into the competition gets sabotaged. Fortunately, they make it through the first round anyway, etc. etc.
An antagonist that doesn’t do any antagonizing isn’t very interesting, and is completely pointless in their purpose to heighten stakes and create conflict for your protagonist to overcome. We’ll probably be talking about antagonists more soon!
Anything I missed?
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Barry Trivers and Gerd Oswald dropping “The Conscience of the King” on December 8th of 1966, only to never elaborate on Tarsus IV and Kirk’s past there
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oblivionfilmclub · 9 months
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Did you know SAG-AFTRA is allowing A24 to continue using its actors during the strike because they’ve accepted every single one of SAG-AFTRA’s terms. A small budget film studio can treat its actors and writers fairly. Amazing job goes to A24. Learn from this.
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nhoirr · 3 months
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It was the year of spring when you got the most lamest confession you've ever heard.
all from a man you'd never expect—nobody ever did expect that GOJO SATORU had the time and capacity to fall in love.
what a surprise, because he was too.
"go out with me," he states more than questioning.
like a giddy normal teenager that was not the most handsome man in the world—the, gojo satoru asked you out.
infront of everyone; without shame, oh but full of smugness that makes you want to reject him just to see his pride fall.
but perhaps the from shocking event did the thought not come to you that day, not when the pressure was all time high.
"This.." you start and the crowd quivers in their boots, boys and girls alike already demanding their victory from the bet, "this is what you greet me with after ignoring me for weeks, satoru?" the said man stiffens with his posture, and as if the bouquet of flowers he held felt the shift of the atmosphere—it dramatically wilted.
"oh, c'mon that was just—" he knew reasoning was futile when he gulps the words down his throat again, catching the way you glare.
and you spin your heel around. guessing with how he hangs his head low, you think he's discouraged enough to let it go and take the rejection.
but the man you knew was always so annoying, so stubborn.
you hear a call of your name but you don't snap your head like your-all-time-secret-is-out kind of surprise, but it's because the dumbest man spoke the dumbest words you've ever heard.
"I, the heir of the gojo clan, am insanely inlove with you!"
the crowd goes eerily silent, like time was frozen but not in a romantic way. It was embarrassingly awkward that you could hear the sound of a pin drop.
"what?" you spat out in disbelief, not comprehending his words and he takes it as another sign to repeat himself to you.
"I lik—" you stop him from talking by slapping a hand to his mouth, glowing eyes shimmering with the brightest smile known to man, "yes yes, don't repeat yourself!" you exclaim almost immediately.
your breath hitches in your throat the moment you feel his hand grasp your wrist, the one that covered his mouth and he points a finger to speak, muffled by your hand, "dso yu asekpt?" you could faintly make out the words he said—do you accept?
it syncs with the voice echoing at the back of your head ever since he confessed.
and yet, the answer always remained the same.
so you drop your hand from his mouth, catching the way his eyes follow your every move—perhaps enough to notice the hesitation, and he worries for the words you'll speak with such an expression.
quickly he starts before you speak, "Its fi—"
"I like you," he gets cut off, jaw slacked and unmoving in shock.
he blinks once or twice, but the crowd reacts before he can, waking him enough to respond back.
with a lopsided grin and dusted cheeks, he speaks again too—he thinks could be lost to the noise of the crowd, but with how close you were, he thinks you'll be able to hear even a whisper.
"I like you too."
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©nhoirr — DO NOT COPY NOR PLAGIARIZE MY WORKS!
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thanks for tuning in for another episodic brain riot of mine that goes no where!
want more? check out navigation for latest posts. <33 (shameless self-plug because.)
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mysharona1987 · 11 months
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eyesforhandsart · 9 months
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It’s so sad that big corporations like Disney can’t even pay the ppl who make there company those actors/writers/animators/etc literally keep there company going but A24 can who is a small Studio I’m very proud that A24 can respect it’s workers 😌
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oscarwildin · 11 months
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dead poets society changed my life because john keating is so right. i read and write poetry because i’m a member of the human race. i do need to seize the day. words and ideas do change the world. i am filled with passion.
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k-wame · 6 months
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Maxwell Caulfield as Roy Alston The Boys Next Door (1985) · Horror · Crime · dir. Penelope Spheeris
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The screenwriters are my comrades and I fully understand how they feel🫡
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plathsbitch · 2 years
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I could really use becoming a vampire right about now. it’s so romantic, so horrifying, so gruesome. gimme it
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writingwithfolklore · 2 months
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It's Okay Your Writing Isn't Like So-and-So's
Here's five reasons why:
1. Published work has teams of people behind it
Traditional (and even lots of indie) published work has not just the writer’s drafts behind it, but drafts that have been through professional editors, agents, beta readers, etc. etc. etc. They say writing is a solitary career, but there are tons of people behind every published work to make it better.
2. Every style is different and valid
Yours might not look exactly like other people’s work. That’s because everyone has their own voice in writing, and that’s what makes every writer individual, and every story worth reading.
3. You’re the only person who can write your story
Style, your ideas, your characters, and every other detail in your story is built off your all your little life experiences and interests. It will look different for every person even if you all tried writing the same idea.
4. Everyone has different skills and experience levels
You may be really great at dialogue, while someone else may be really good at action. Everyone has different skills and areas they’re better or worse at. It’s okay.
5. People will love it anyway
You’ve probably heard of the cake saying? Someone else makes a beautiful cake, you make a just okay cake, but the person that comes along to eat them is just excited there’s two cakes.
                People just want more content. They will read the same content over and over again. They will love it anyway.
Anyone have anything to add?
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randimason · 6 months
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THE PICKET LINE: A ROAD TO PAY EQUITY AND SUSTAINABILITY - WOODSTOCK FILM FESTIVAL
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SPEAKERS: Neil Gaiman, Dana Weissman, Jo Miller
MODERATOR: Thelma Adams
The Creative Industry has been radically transformed in the last several years due to the pandemic, economic turmoil, advances in digital technology, and production efficiencies.
Yet, creators of content, writers, actors, and many others that are instrumental to media development are still struggling to ensure economic sustainability.
To date, over 11,000 writers and 150,000 members of SAG AFTRA have taken up protest to be heard and galvanize change.
Come hear as the experts and those on the front lines, union members from Writers Guild of America East (WGAE), and Screen Actors Guild/ Aftra, discuss what has been done to update contracts that no longer serve current working conditions, and a critical look at what the public can do to support their efforts.
New York Women in Film & Television (NYWIFT) advocates for equality in the moving image industry and supports women in every stage of their careers. An entertainment industry association for women in New York, NYWIFT energizes women by illuminating their achievements, presenting training and professional development programs, awarding scholarships and grants, and providing access to a supportive community of peers.
To learn more about NYWIFT please visit: www.nywift.org. Please become a member and join the movement of women to ensure women gain their rightful place in the media and entertainment industry.
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wdr2-rlbmut · 7 months
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Folks need a fair shake in the theatrical and cinematic arts. Do your part.
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dxmxuse · 9 months
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As a writer, the thought of being paid $260 for helping write a show that has over 12.8 billion minutes viewed is sickening. The writers strike is absolutely crucial for the future of script writing, I can���t see anyone in this generation wanting to work for so little when the workload and potential payout is so massive
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