Vivien, dear Vivien - an exquisite actress, thoughtful, fearless, gracious, and enormously kind. A lovely little pink cloud floating through the lives of all her friends, hovering over the setting sun, and thinking of everyone but herself.
Olivier was a first-rate actor and a second-rate person. Larry always wanted to be a big movie star, and while he was considered the greatest actor on the stage, he was never in the first rank as a star in the movies. Then Vivien comes along and gets Scarlett O’Hara. Wins the Academy Award. Biggest picture ever made. Suddenly Larry says, ‘Oh darling, we really must get you out of Hollywood now. Let’s go off and do Shakespeare together.’ Now Vivien could do anything, but he was clearly trying to keep her in her place, which was billed beneath him. Then a few years pass and Vivien returns to make Streetcar. And she’s brilliant. Wins the Academy Award. Most talked-about movie of the year. And suddenly Larry says, ‘Oh darling, we really must get you out of Hollywood now. Let’s go off and do Shakespeare together.’ Small man. Giant actor. Very small man.
– KATHARINE HEPBURN on VIVIEN LEIGH and LAURENCE OLIVIER
431 notes
·
View notes
finally saw Lisa Frankenstein
SPOILERS BELOW
i love that this movie is about true love and the writing has no compunction about needing to pretend like true love has to be between moral people - soulmates can be kind of selfish assholes who are nonetheless absolutely perfect for each other and tender and good to each other
and i love, after choking on so many heroines who are so pure it's inhuman in recent YA (which I largely only read for canon f/f) for Lisa to just be... so id-tastic and her story to be driven by the intense feelings of teenage girl coming-of-age stuff that gets prettied up and erased
she was internalizing her pain the way a good girl is "supposed to" -she was hurting so much that she wished she was dead with him. instead, he comes to her and they BOTH come more and more alive as he kills the people who hurt her. in increasingly "unfair" ways because it's not about right & wrong
he's kind of her dark side, speaking to and expressing the things she's shoved down inside along with her will to live - as he acts those things out, as she is complicit and eggs it on, covering for him and feeding him the attempted rapist as a victim, her will to live comes back
but they don't do the "maleficent" (and the whole "bad girl but in a safe way" kind of story) thing of making Lisa's dark side "safe" and her only fairly getting revenge - the darkness the Creature speaks to and acts out is not fair, it is not safe or contained.
instead of internalizing her pain, Lisa shares in externalizing it and making other people hurt and she blossoms into herself. and who she is is a bit cringe in the best possible way? she's embracing her own life energy, or own crazy selfish lustful weird set of desires.
it's about Lisa's feelings and what she WANTS, morals enter nowhere into it. except when it comes to Taffy - the one person who really tried to love her at her most broken. everyone else abandoned Lisa emotionally--including her father--but Taffy tried to be there, as awkward as that could be at times
speaking of which: Taffy and Lisa make an interesting contrast to Needy and Jennifer from Jennifer's Body (also a film by Diablo Cody and she says they both take place in the same storyverse). both Jennifer and Lisa decide that what makes them feel most alive is embracing their inner monster, but Taffy doesn't go all "i have to kill the beast" the way Needy does. i like this much better. Taffy is wearing Lisa's mom's rosary at the end and, by doing so, accepting Lisa's "I love you" despite everything Lisa did. whereas Needy ends up ripping off the BFF necklace and rejecting Jennifer's love. In my mind the two films are a tale of two necklaces now lol - one where the "good" girl rejects the monster girl and the other where she accepts that love and carries it with her.
91 notes
·
View notes
Subplot Romance
Over the years I've created some twitter threads on writing and history and I've decided it's a good time to start compiling and sharing them on this Tumblr. I'm going to tag them "writing".
-
Here's what I've learned about writing subplot romance. (People who write genre romance probably already know this stuff. It's those of us who are mainly leavening romantic subplots into fantasy novels that need this info).
1. Romance = fundamentally character-driven. All internal conflict & internal growth. (Can these two trust each other? Will their character flaws drive them apart?) The more study you put into creating characters and building character arcs, the better your romantic writing.
A romance arc is not the SAME as a character arc, but it 100% NEEDS solid character work undergirding it.
2. Romance needs two ingredients: a compelling reason for the characters to be TOGETHER, & a compelling reason for them to be APART. This forms the conflict in the romance so do not skimp on either.
Eg, a common mistake in male-penned stories: female lead has no compelling reason to want male lead. "He's a good-looking warrior dedicated to winning her throne!" Yeah nah, she's literally surrounded by good-looking warriors dedicated to winning her throne, why's he different?
3. Romance needs chemistry = a believable spark of attraction. Something that blew my mind when I realised it: romantic chemistry =/= sexual chemistry. Sexual chemistry (purely physical attraction) is simply PART of romantic chemistry.
Romantic chemistry is a good deal broader. (Read/watch some good romances to see how chemistry is built by different storytellers. One fave of mine is the Romola Garai EMMA. Peerless friends-to-lovers chemistry. Watch the actors' body language; the way they gravitate to each other; the way their faces light up)
Chemistry tip A: if the driver behind sexual chemistry is lust, the driver behind romantic chemistry is trust. Protag needs/wants someone to trust. It's the way you play with trust/distrust that will create romantic tension.
eg: love interest holds protag's hand. With sexual chemistry, protag simply feels a jolt at the contact. With romantic chemistry, protag feels comforted and trustful - then betrayed when it turns out LI is tracking her pulse to see if she's lying to him (see: MISS SHARP 😇)
Chemistry tip B: if protag is falling for someone, that person should occupy their mind. LI should be mentioned/thought of each scene, even when absent. When present: LI consistently provokes unaccustomed emotion - either positive or negative, depending.
Chemistry tip C: make the characters their best/most lovable/most iconic selves when with each other. Quirkiness, smarts, hilarity. Make these the most fun character scenes in the book & the audience will ship them. Passionately.
4. Build romantic chemistry/attraction through escalating moments of trust and tension. If aiming for happily-ever-after(HEA)/for-now(HFN), then the overall arc is towards greater trust, but you need those moments of tension to give the big payoff scenes appropriate catharsis.
OTOH, if you're writing a tragic/backstabby romance, you need the trust/comfort moments in order to sell the big tragedy/betrayal.
5. Trust, comfort, & happiness are POWERFUL. This is what genre romance thrives upon. Even in dark/spiky stories, the most surprising thing in the story can be the moment when the LI DOESN'T betray the protag. That too can be wildly cathartic. Use it.
6. Just as character-driven skills help you with romance, so if you master romantic writing, you'll be better able to write ALL types of relationship - platonic, friendly, hostile.
OK that's all so far. Two book recs: ROMANCING THE BEAT by Gwen Hayes & THE HEROINE'S JOURNEY by Gail Carriger teach you the rules/expectations of genre romance so you'll know what the rules are for a happy romance subplot & how to break them for a tragic version.
518 notes
·
View notes
heehee for shits and giggles I wanted to make Sophie and Jane (aka a new oc) using the Gothic Heroine doll maker because... yeah... they're both Gothic heroines, one just deals with ghosts and the horrors of grief while the other needs to butcher her werewolf BF and deals with haunting horrors of familial legacies😜 (and yes they both have short hair, because I say so ehheheheheheh and the hairstyle says a lot about their characters in both historical and socio-economic contexts heehee)
(off-topic but it's gonna be fun to explore essentially the same era - 1890s London - but through different lenses, with Sophie being a desperate middle class woman that holds a lot of bitter contempt for the world while Jane is upper-middle class and American, and has had the freedom to express herself and her interests a little more freely...even if she's still limited by the fact she's a woman..........at least they both got their pathetic monster husbands heehee)
63 notes
·
View notes