So someone swapped in the Attack on Titan theme on the opening for Sailor Moon Crystal and this was the result.
do most anime openings got like a pacing system going on? cuz when I was in the 10th grade I tried swapping the 2nd Naruto opening with the OP music from at least 6 different animes and every single one of them worked flawlessly
they actually do, they’re very formulaic.
i think instead of the woman taking her husband’s name when they get married or doing the hyphenated thing
couples should just smash their last names together
so like if a Smith married a Grabowski you could be Smabowski or Grabith or Grasmithski
and then as the generations go on the names just get more and more ridiculous
why aren’t we doing this
We come together tonight to wed Jordan Fgjwlken and Michael Gralpbewt, and as they have both decided their names are way too silly, we’ve brought out the ceremonial bag of Scrabble tiles to help them pick out a new family name.
when 90’s kids grow up
When I was a freshman, my sister was in eighth grade. There was a boy in two of her periods who would ask her out every single day. (Third and seventh period, if I remember correctly.) All day during third and seventh she would repeatedly tell him no. She didn’t beat around the bush, she didn’t lie and say she was taken—she just said no.
One day, in third period, after being rejected several times, he said; “I have a gun in my locker. If you don’t say yes, I am going to shoot you in seventh.”
Joss Whedon’s Top 10 Writing Tips (Source)
1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.
Structure means knowing where you’re going ; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes ? The thrills ? The romance ? Who knows what, and when ? You need these things to happen at the right times, and that’s what you build your structure around : the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.
3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys ?’
4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue : you get soundbites. Not everybody has to be funny ; not everybody has to be cute ; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.
5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.
7. TRACK THE AUDIENCE MOOD
You have one goal : to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.
8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly ; if something isn’t that important, just get past it tersely. Let the read feel like the movie ; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet ?’
9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system ; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction ; it’s a homogenizing process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up : they’d started talking about a different show.
10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie : if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skillful you are : that’s called whoring.”
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Hello, writerly friends~ ♥︎
You asked for a Writing Advice Masterpost, so here it is! Below you will find a collection of the best questions and answers from the last two years. Not only that, but they are also organized so you can find the answers to your questions quickly and get on with writing.
But wait, there is more!
This post is more than just a collection of advice, it’s a nexus for writing advice, resources, and information! That’s right, this post is going to grow over time. I will be updating this masterpost WEEKLY with new answers, writing advice videos, playlists, and more! So, make sure to bookmark this page and follow my blog (maxkirin.tumblr.com) so you don’t miss a thing~ ♥︎
- Daily Story Seed
- Daily Weird Prompt
- Daily Character Question
- Your Writing Horoscope (Discontinued)
- "Can I publish a story based on one of your prompts?"
Virtual Writing Academy
- Episode #01: Writing An Intense Scene
- Episode #02: Fleshing Out Characters
- Episode #03: Writing An Engaging Story
- Episode #04: Writing Different POVs
- Episode #05: Writing A Compelling Antagonist
- Episode #06: Writing Things You Have Never Experienced
Motivation & Inspiration
- Daily Writer Positivity
- How to Finish Your First Novel (M. Kirin’s Origin Story)
- What Confidence Is and Is NOT
- How to Regain the Motivation to Finish That Book
- "I’m afraid writing is a waste of time"
- "I’m half-way through this book and I’m stuck"
- Stop Trying to Impress People
- Stop Trying to Make Your Parents Proud of your Writing
- Your Parents Disapprove of Your Writing?
- You’re Not The Worst Writer In The World
- English Not Your First Language? Neither is Mine
- A Tip for All Young Writers Worrying That Nobody Will Take Them Seriously
- Dealing with Hate and Harsh Criticism
- You Need to Develop a Thick Skin
- Neil Gaiman’s “Make Good Art” Speech
- Feeling Down About Your Writing? :c
Planning, Outlining, and Getting Started
- M. Kirin’s (Strange) Guide to Planning Your Novel
- M. Kirin’s Click-n-Drag Story Generator
- Which outlining method is the best? (Video)
- "I want to write a book but I have no idea where to start"
- The Story-Idea Test
- M. Kirin’s Secret for Starting books, and Finishing Them
- M. Kirin’s Top 3 Tips to Start Writing and Never Stopping
- The 10-Minute Writing Trick
- Tips for writing Science Fiction, Fantasy, and Paranormal
- How Much Worldbuilding is Enough?
Editing & Revision
- M. Kirin’s Top 5 Revision Tips
- How to Love and Care for Your Beta Readers
- M. Kirin’s (subjective) secret recipe for the second draft
- When is the best time to edit a story?
- M. Kirin Talks About Editing, and Speeding Up Your Story
- M. Kirin Uses Evernote to Revise Books
- "Kill Your Darlings" VS "Cut What You Love"
- Writing Killer Plot-Twists and Mystery Novels
Hot Button Issues
- Realism is a dirty word
- Racist & homophobic language in fiction
- Inaccuracy in Fiction (Video)
- M. Kirin drops a few bombs on ‘creative vocabulary’
- "I want to write but I don’t have the time"
- Is it bad to have too many LGBTQIA or POC characters?
- "My antagonist is POC/LGBTQIA, is this bad?"
- "All my characters are LGBTQIA, is this bad?"
- When to let go of a story
- Overcoming the First Sentence
- Overcoming the First Sentence, Again
- Overcoming the First Sentence, Redux
- The 10-Minute Rule
- Making Boring Scenes FUN to Write!
- Stories are like children
- Let’s Talk About Titles (And Then Talk Some More)
- M. Kirin Reveals the ‘Secret’ Behind Style
- How much description/scenery is too much?
- How can I write faster?
- I want my readers to love my characters
- I think my book may be too short for my genre
- My story doesn’t have an Antagonists, should I add one?
- I killed one of my main characters by mistake, what do I do?
- M. Kirin’s Writing Advice for Fleshing out Romantic Relationships
- A warning about character names and meanings
- Help! My characters are not doing what I expected them to!
- A warning about character sheets
- A talk about the beauty of first drafts, and pacing
- Is getting attached to your characters… bad?
- A note on Antagonism, and whether you need a villain or not
- Past or present tense?
- Is swearing okay? And other muthafuckin’ truths
- "What emotion do you find hardest to write?"
- "What writing software do you use?"
- Communication, a must for collaborative works
- Researching illegal things, cousin? I got just the thing for you!
- Joss Whedon’s Top 10 Writing Tips
- M. Kirin’s Tarot Cheat-Sheet
Writing Music & Playlists
- Writing In The Dark (Relaxing, Unobtrusive)
- Writing About Love (All the Feels)
- Writing & Fighting! (Super Intense!)
- M. Kirin’s Favorite Music to Listen to While Writing
Last Updated: 07-11-14. Click HERE to see the latest update.
Tuesday Tips - Life Drawing Exercise: All Straight Lines
Without proper instructions or guidelines, life drawing sessions can easily become boring and repetitive, with little to no progress in understanding the process. Once in a while, I try to apply some techniques learned along the way. This is one of them. The last time I applied the technique was through instructor Paul Wee at LAAFA. A great life drawing teacher from the world of animation.
It is as simple as it sounds. Only allow yourself to draw with straight lines. I know, I know, i dedicated an entire post to “No Straight Lines”. I mean “kinda straight” here. It’ll help you tremendously in finding angles and planes throughout the body. Curves and shading can easily muddle a drawing and make it too tentative. Lines and angles have a strong opinion about them. They are very definitive. Your confidence will only grow once you go back to “full” life drawing.