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ophelialoveshandsomemen · 3 months

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Say what you will about Van Helsing 2004; hate it, love it, be indifferent, But the All-Hallow's masquerade ball went sooooo hard and it had zero right to do so! It's a fun, campy, monster mash movie with wonderfully dated ( and expensive) cgi and non-stop action meant to be a popcorn flick one takes out to watch around spooky season. And it has this* chef's kiss* GORGEOUS 6 minute sequence plopped arbitrarily in the second act, which unexpectedly surpasses nearly every other ball in the last 30+ years of film( notable exception being the Cinderella 2015 ball) for literally no reason other than to be dramatic af.

Like feast your eyes on this Gothic masterpiece!!! Who doesn't want to immediately live in this picture?!??

They used those candles with oil in them so that they would have real candles, real string orchestra( I believe), probably around 100 real life extras( something which is tragically absent in modern film), said extras are all in beautiful fully decked-out costumes( which are in luxuriously dark colours, but nearly no fully black, another thing you cannot say for much modern cinema), REAL CIRQUE DU SOLEIL PERFORMERS for all the acrobatics!!!! Hell, instead of filming in a sound stage, where they could control the reverb and the acoustics and the size of the set and the bloody lighting ( they apparently had a heck of a time emulating the firelight for this sequence) and the temperature( it's very cold in stone churches!) better, they filmed in a Baroque church in Prague! As I said, peak dramatic splendour, jfc...

Think about that a second...They filmed a vampire masquerade in a Baroque Catholic Church( St. Nicholas' in Lesser Town, if you were curious) with amazing over-the-top acoustics and marble statues and real, tiled floors and marble pillars and a choir loft which they very much utilized, covered the pipe organ and the altar with a grand brocade curtain so it wouldn't be so obviously a, you know, a church! And there's a gold gilt elevated and canopied pulpit into which they put two vampire kiddies for, again, the sake of being dramatic.

And the costumes! They remind me of the 25th anniversary Phantom of the Opera Masquerade costumes. Same quality, like they're old, well-cared-for costumes pulled out of a warehouse, instead of fast industry churn-outs. With lots of trim and colour and masks and lace and feathers and..just...ugh.. they are all perfect! Just look at all the head pieces on the ladies and the hats on all the gentleman ( save Dracula of course) and the powdered wigs on the musicians. ANNNNDD! The dresses are historically correct!!!!!! It's the 80's bustle era! Nobody does the 80's bustle era in film anymore and it's a bummer. Oh and one other thing! Anna's ( and other women's) hair, at least here in the ball, is also historically accurate because it's all pinned up! None of those fucken modern beachwaves at a ball! Everybody's got updo's!

Gah, I swear, Dracula in his gold cloak really does things to me in this scene!

By the way, the acrobatics are bonkers in here for just background stuff!! Especially the random guys on unicycles and the dude playing the violin whilst standing on a ball...Like....WHAT?

Anyways, all this to say, that this masquerade ball feels sooo real and tangible and because of that it blows every other film out of the water, and no, I will not change my mind!!!!!

Here's a few more gifs, bcuz, why the hell not, this scene is sexy as fuu*ck?

Alright I need to go to bed now.

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the-golden-kingdom · 2 days

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As a person of colour, Toshiro is so unbelievably relatable once you realize the reasons and emotions behind his actions. He's been microaggressed upon p much all the time down to the name people call him, but he continues to be silent about it because of the cultural pressure he was raised on of having to be polite and kind and not to speak his true thoughts.

I can relate so hard to his jealousy about laios being able to be more open and confident and speak his mind. I can never bring myself to dislike him at all esp during the laios/toshiro fight because both of them are coming from very real relatable places to me. Its a nuanced conflict. Toshiro has a lot of pent up emotions he needed to get out for all the reasons i said before. And laios was rightfully upset about Toshiro not seeing him the same way he sees him and hiding all of this from him. Both of these guys are in the wrong in this situation. It's not a good guy / bad guy thing.

They both are different kinds of autistic people under different circumstances and I can honestly relate to them both on different things.

Also the scene right after dude gives him the bell and gives them a way out if things were to get bad. And with that we see he obviously cares for laios and the rest of the party despite everything.

All in all. Love u Toshiro they could never make me hate u !!

#dungeon meshi #toshiro nakamoto #Also coming as a manga reader toshiros later actions wouldn't make sense if he fully hated laios he still cares for the entire party #Laios included!!#Sorry for the random ramble but seeing ppl hate on toshiro like the situation isn't nuanced got me PISSEDD

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panda-puma · 8 months

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One Piece of Advice (hehe) to everyone that got introduced to the world of ONE PIECE through the Live Action and want to know more ASAP.

Do not watch the Anime, read the Manga instead. For your own good.

If you watch the Anime, you are NOT gonna find the relationships or dynamics that OPLA has.

The Anime of One Piece IS NOT a good Adaptation of the Manga. It just isn't.

I will eventually start writing every change it has, but TRUST ME. You are not gonna get the same feel.

OPLA is a good adaptation of Oda's work. He personally supervised EVERY SCENE until he was happy with it.

But Oda has stated several times that he has nothing to do with all the changes that the Anime does to his story.

I say this as a person that has watched the entire Anime 3 times in the last year, but also reads the Manga.

From now on I will probably have OPLA on loop every time I need to have One Piece in the TV because that really has the feel of the story. It has soul.

And Oda never recommends the Anime to people who are new and want to understand his story, he recommends reading it.

He literally gives it for FREE online so you can enjoy it.

And if you like colours, there is a colour version of the Manga.

Please please please read the Manga or wait until a 2nd Season. Don't hurt yourself with the Anime.

#one piece #one piece live action #opla #monkey d. luffy #luffy #strawhats #zoro #roronoa zoro #nami #usopp #sanji #i know i am intense with this #but i really want to help you

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crabsnpersimmons · 3 months

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This one goes out to all the slow burn enjoyers, the dense Y/Ns, and the soft robo jesters that suffer in silence!

Inspired by @bamsara's “Solar Lunacy” fic.

If you feel like reading my ramblings and want to experience more heartbreak for fictional jester blorbos, check under the cut where I detail all the planning behind the frames!

so i heard this song for the first time in a while and the opening lyrics immediately made me think of moon, so i was daydreaming some scenes and then i decided to thumbnail some ideas:

and it all went downhill from there as everything became a metaphor and a parallel to each other, which i will now go into detail on!

you thought the animatic itself was sad?

*writing muse laughs maniacally* IT'S ALL A METAPHOR

Frame 1. "turn down the lights" We start with a back view on Moon. The lights are out, the Moon is out, but we do not see his face. The music and the greyscale atmosphere are enough to establish the weight of the moment and the weight on Moon’s mind.

Frame 2. "turn down the bed" We cut to a shot of Moon's body, kneeling on the ground of the daycare, like a padded cell. Moon’s hands are twitching with the effects of the glitch, with purple sparks coming from his hands. We still do not see his face.

Frame 3. "turn down these voices inside my head" Cut to an extreme close up on the dark half of Moon’s face. Now we see his face, but only a portion of it. His left eye is wide open, red and glitching out. The voices in his head can refer to the glitch but also his repressed feelings. Or maybe it could be Sun's voice in their shared headspace.

Frame 4. "lay down with me" Y/N's hand enters the frame from the upper right corner, lowering down to meet Moon where he kneels on the ground. Only a corner of Moon's face appears on the bottom left corner of the frame, his starry nightcap beginning to cover his glitched left eye.

Frame 5. "tell me no lies" An full shot of Moon on the floor and Y/N standing in front of him with their hand stretched towards him. A light spills out from behind Y/N, creating a boundary between them.

Now we see more of Moon. It is only when Y/N enters the frame—enters his world—that Moon’s body is shown in its entirely. When Y/N is here, he is no longer fragmented. He is whole.

Frame 6. "just hold me close" pspspspsps Playfully, Moon extends his own hand, beckoning Y/N to come closer, to join him. His right hand crossed over his body as he uses the playful gesture to hide his true feelings—to put distance between him and Y/N. His hat continues to cover his glitching left eye. He doesn’t want to worry Y/N.

Frame 7. "don't patronize" In response, Y/N’s hand pats Moon on the head, returning his playfulness. Moon looks surprised by the action. Moon, notably, does not lower his hand—perhaps he has forgotten it or perhaps his invitation is still open.

Frames 8-9. "don't patronize me" Moon rotates his faceplate so Y/N’s hand is touching the side of his faceplate, a more intimate gesture than a head pat. However, his hat is in the way. At this angle, his starry nightcap fully covers his glitchy eye and the dark side of his face, hiding his defect and acting as a veil between him and Y/N. A self-imposed boundary. So close, yet thinly separated. It's better this way. It's safer this way.

The lyrics are broken up by Y/N's arm, both to illustrate how the song is sung ("patronize" is drawn out and "me" is briefly added in before the chorus starts) but also to show how Y/N interrupts Moon's resolve, highlighting the irony between the visuals and the lyrics. Demanding not to be patronized, yet Moon happily accepts this play at intimacy. Don't patronize me, I am weak for it.

This is also the only instance where the red light of Moon's eyes glow and tint the surfaces around it. Visually, it makes it look like Moon is blushing (heavily inspired by @restinsodaroni's art). But also, in this moment of honesty, Moon's intrinsic light spills out, colouring the greyscale world. In this brief moment of honesty, Moon touches the world with his own colours, his own light.

(and this is also where i forgot to clean up the shading on Y/N's arm, but it's okay it doesn't need to be perfect it simply needs to be. And Moon will still love Y/N even if they are a continuity error.)

Frame 10. "'cause I can't make you love me if you don't" A parallel to a frame 4, Y/N retrieves their hand away and immediately Moon is reduced to the corner of his faceplate in the frame. Only now his glitched eye is fully covered by his hat.

The lyrics here (and in the next frame) in particular grow lighter to emphasize Moon's diminishing resolve and agency.

From here on out, the lyrics here are broken up, carrying on this theme of fragmentation. Y/N is pulling away, Moon is breaking up, the words are breaking up. Everything is coming apart.

Frame 11. "you can't make your heart feel something it won't" Y/N turns to leave. The lyrics, broken up as before, highlight the irony of the situation. Y/N, a human, can’t feel something they simply don’t feel. Whereas, Moon, the machine, feels something his code never intended him to feel.

Frame 12. "here in the dark in these final hours" Another full shot that parallels frame 5, as Y/N steps towards the light and Moon leans forward into the space Y/N once occupied. Y/N is leaving—that which makes him whole is leaving. And he is only capable of making it to the boundary where the light cuts into the darkness. The "final hours" suggest it might be the end of Y/N’s shift, or perhaps this scene takes place right before the glitch takes over—the final hours that Y/N has with the true Moon. Either way, time is running out—and only Moon knows it.

There is a contrasting display of body language here. Moon is on the floor leaning towards Y/N with his hand still left out. Whereas Y/N is turned away, walking away, and has already slipped their hand away and into their pocket. Y/N is closed off while Moon is limply open. Y/N is actively moving while Moon is on the floor, waiting, hoping, for that which he lacks the agency to reach for himself.

Frame 13. "I will lay down my heart" A close up on Moon’s hand, rising up again, perhaps to beckon Y/N back once more. This is a slight parallel to Y/N's hand reaching out to Moon. While Y/N can freely reach out and touch Moon, Moon cannot. He can't enter the light and more importantly he can't risk potentially harming his relationship with Y/N—be it through the glitch or by his feelings. He can only lay down his heart—put aside his feelings or hope that someone will pick up his pieces and make him whole.

Frame 14. "and I'll feel the power" Still on a close up on Moon’s hand, now clenched in slightly. This initially was going to have the glitch effects. However, I felt it more meaningful for it to be left without. Leave it up for interpretation why Moon pauses his hand. What is the power that he alone feels and stays his hand?

Frame 15. "but you won't, no, you won't" A parallel to frame 1, a view of on Moon's back with his hand stretched out towards the light, and Y/N walking into the light spilling through the open daycare door.

The placement of the lyrics suggest two different “you won’t”—Y/N who won’t realize Moon’s feelings, and Moon who won’t dare speak them into reality.

Another note on the parallel to frame 1, this time we also see Y/N's back, but it is notably different from our view of Moon's back. With Moon, we literally see inside him through the hole for his loop. However, Y/N is shrouded in shadow, just a solid, obscure silhouette against the bright light of a world Moon—and Sun for that matter—are closed off from. We don’t see into Y/N, just as the Daycare Attendant doesn't have any vantage point of Y/N's life beyond their time at the PizzaPlex. (The unfortunate reality of a being a character made for the purpose of being a vessel for the reader.)

Frame 16. "'cause I can't make you love me" We finally cut to face Moon head-on, frozen in place with his hand stretched out, unable to cross the boundary into the light. His eyes have gone dark. Where we began by seeing bits and parts of Moon, and never seeing his full face—now we, the viewer, see the full Moon, open and vulnerable—unbeknownst to Y/N.

Frame 17. "if you don't" But in the dark, behind closed doors, there is no one to perceive him—no one to receive him. The light dwindles as the daycare doors are closed. Moon stays frozen where he kneels. It is no longer the glitch that plagues him, but a far deeper dread.

But a lone streak of light peaks through the gap in the daycare doors. Perhaps that is just enough. A silver lining. A frail hope. A single, ethereal thread out of darkness and into light.

Thanks for reading and watching!

We'll be back to our regularly scheduled fun and games shortly!

#fnaf moon #fnaf dca #dca fandom #so this idea had me by the throat ever since I heard this song again #I've never done an animatic before but I wanted to give it a shot #the opening lyrics already reminded me of moon right off the bat #but then i kept listening and started thumbnailing some frames #it was actually the frames with moon receiving the head pat and turning his faceplate that convinced me i had to do this lol #the sweetest images resulted in this work of angst #thank you if you read all this!#i promise to post something cute soon to balance things out #and no promises but i will say the second verse of the song is PERFECT for sun #“morning will come and I'll do what's right just give me 'till then to give up this fight” /lyrics #hahaha it hurts :')#crab art #traditional art #digital art #traditionally inked and digitally coloured #animatic

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demonpiratehuntress · 4 months

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baby (name)! (Mihawk, Buggy, Shanks, Brook, Chopper)

featuring - Dracule Mihawk x F!Reader, Buggy x F!Reader, Shanks x F!Reader, Brook x F!Reader, Chopper x F!Reader

summary - you somehow get turned into a baby and they have to spend 24 hours babysitting you

warnings - my first time writing for ALL of these characters, so i'm sorry if i get their characters wrong! im only 416 episodes into the anime. i tried my best!

a/n - this was requested by @faioula16, i hope you like it!

MIHAWK

This could honestly go either way. This guy is unpredictable and even you never know what his next move will be. But you're his faithful and loving girlfriend, so there are some exceptions when it comes to you. Like when some deranged devil fruit user turns you into a baby, and Mihawk could have had someone else take care of you, but he wanted to do it himself. He was curious, now that it was you who was an infant.

But that may also be because a witness to the scene had expressed fear for infant you, saying that Mihawk was too cold and ruthless to take care of a baby. He didn't need to prove otherwise, and he didn't want to, but something just gnawed at him. Protectiveness, maybe. You were in such a vulnerable state right now, only he could protect you and care for you.

It had absolutely nothing to do at all with the fact that you looked so adorable staring at him with your big (eye colour) eyes, reaching out to tap his because the strange colour fascinated you. No, it had nothing to do with how cute your excited squeal was every time he picked you up or looked at you. He was absolutely not entranced by your cute little smile or how you clung to him with little hands that could barely hold his one finger. Absolutely not.

Mihawk is actually a pretty good babysitter. But only for you. He will sit and read to you with you on his lap, trying not to smile when you giggle and smack the book, always catching you when you lunged forward excitedly and almost fell off his lap. He will never finish the story, but he reads to you anyway because you seem to like it...for a little while.

"(Name), no!"

He almost had a heart attack when he set you down for one second to put the book away, and you almost fell off the table because you were trying to crawl to him. Your eyes filled with tears when he yelled, even if he hadn't meant to sound angry. His gaze softened, and he picked up and cradled you against his chest, pressing a gentle kiss to your temple.

"It's alright, I won't hurt you. You're fine, little one."

And then you really are fine, your little body comforted by his actions and words. They lull you into sleep, and soon you rest on his shoulder and fall into a deep sleep, gripping his shirt collar tightly in your tiny fist.

"Sleep well, (Name)."

When you awake, in your usual adult form, you're too nervous to suggest it, but thankfully Mihawk is thinking the same thing.

"I think I'd like a little you or me to keep me company."

BUGGY

Buggy is horrible with children. I mean he's not great with people, but he is absolutely, terrifyingly not good with kids at all. So when you were somehow turned into a tiny human being who could barely stand on two legs, he was shocked. And slightly scared, though he would never admit it. You were the only person he genuinely liked, so he tried not to be too...rough, with your little form. Picking you up was as far as he got, but even then he held you out awkwardly like a football.

And then you squealed and happily reached for his nose, the bright red circular appendage attracting your attention instantly. Now, Buggy was sensitive about his nose, but he let you touch it. A testament to how much he liked you. And, if he were being honest, you were actually kind of cute squeezing his nose like that until he couldn't breath-

Exhale out the mouth.

When he remembered he could use his mouth to breathe, he smiled a little at how much you were enjoying yourself playing with his nose. You even touched his makeup and all his markings, out of curiosity. Your eyes were bright with confusion but also fascination, and it did something weird to Buggy. Made him feel...warm inside?

Then he decided to, experimentally, see what your reaction to his devil fruit would be in this tiny form. He set you down on the floor again, and then detached his hand. Your eyes went wide and you instantly covered your eyes with your small hands, your bottom lip trembling. He panicked, tripping over himself and falling into a tangled heap in front of you. You peeked between your fingers to see this, then burst out into cute laughter. Buggy almost glared at you, but then remembered you were just a baby and instead picked himself up and smiled - or rather tried his best not to smile like a maniac - at you.

Then you saw his floating hand, and grabbed it.

"No no, (Name), that's not-"

You stuck his fingers in your mouth, and he groaned. You just giggled innocently, and only then did he realise his devil fruit could be a source of entertainment for you. He detached multiple limbs and floated them around, watching as you squealed in glee and crawled around trying to catch them.

Were you actually having fun because of him?

When he finally put his body back together again, you pouted but crawled up to his leg and hugged it, gurgling happily as if to thank him. He was stunned. He slowly picked you up and you offered him a toothless smile, before yawning. Still unsure, he laid you on his shoulder and awkwardly patted your back, but that seemed to work because you slowly fell asleep.

When you woke up again, finally an adult, you grinned at him, "Shall we make you a father?"

SHANKS

It was his fault, really. He picked the fight, contrary to his usual behaviour. But that guy had said something about you, and he couldn't ignore it, so of course he acted. And now here you were, a tiny baby fisting his shirt in your tiny hand and looking up at him with big, curious (eye colour) eyes. He had experience with children, of course, having spent some time with Luffy. But you were so small, so delicate.

"Captain, what-"

He ignored the confused questions from his crew as he brought you back on board the ship, immediately taking you to his quarters. It shouldn't last long, he reminded himself, but he still felt guilty. Though that quickly disappeared when you giggled and crawled around his quarters, knocking things over and hiding with a loud giggle when he caught you.

"Oi, (Name)!" He tried to sound stern, he really did, but his laugh have his mood away. You stuck your head out from under his bed and stuck your tiny tongue out at him, and he burst out laughing. "Oh, you're cute, sweetheart."

He lifted you up again and you squealed excitedly and reached for his hair, the bright colour attracting your attention. He grinned and put you on his head, keeping his hands on your small waist, and soon felt you tug on his red strands. You were giggling and pulling and kicking your legs happily, so he endured the pain just for your sake. It was very cute how you thought his hair was a toy, and by the time you got tired of it, it was a mess. Strands were everywhere, out of place, sticking out...but it didn't matter to him.

Because now you were looking at him with your big, innocent eyes and suckling on your hand as he cradled you against his chest. He gently rubbed your back and pressed a soft kiss to your tiny tuft of (hair colour) hair.

"You're so pretty even as a baby, (Name)."

You rewarded him with a sloppy kiss on his cheek, making him laugh. He sat on his bed with you still in his arms, watching as you grew tired and offered him the cutest sight - the tiniest of yawns.

"Sleep, little one."

He gently rocked you to sleep, reassuringly and soothingly patting your small back as you drifted off on his shoulder. He felt warm inside, as if a small fire had been lit inside him. He knew what it was.

And when you woke up in adult form, he grinned at you, "Let me give you a baby, sweetheart."

BROOK

Brook has experience with babies. Maybe not human babies, but babies nonetheless. He knows a human baby is very different to a whale baby, but he figures that there can be similarities too. Such as entertainment, which is his area of expertise. So when he looks down at his feet to see baby you tugging on his pants, he is somewhat prepared. He has no idea how you were turned into a baby, of course, but he's not complaining because you are so, so adorable.

"What happened to (Name)?" Franky asked the skeleton, raising an eyebrow.

"Nothing important!" Was Brook's gleeful reply, followed by a laugh when you somehow crawled on top of his afro and knocked his hat off so you could take its place.

"Nothing imp-" Franky sighed. "Do you even know how to look after a baby?" Franky's eyes worriedly drifted to where you sat upon the skeleton's head, tugging on his afro and squealing with delight. You wobbled precariously.

"No, but it can't be any different to a baby whale!"

Franky would have commented on that, if you hadn't slipped off Brook's head. The cyborg easily caught you, before holding you out to Brook, "Don't let her sit on your head."

"Noted."

For the rest of the day, Brook occupied you by sitting you down on his bed and playing music for you, telling you stories about Laboon and his crew, and about his experiences in the Grand Line before you guys found him. He sang all sorts of songs, played all sorts of melodies, while you giggled and clapped your hands excitedly, bouncing up and down. Brook smiled, the sight warming heart - oh, but he doesn't have a heart. He hardly ever got tired, but you prompted him to play for hours on end, until he really was exhausted. So he picked you up, settled on his bed, and lay you on his lap before humming a tune. You slowly drifted off to sleep, and Brook smiled.

He hoped he could play for one of the crew's babies one day.

CHOPPER

Another island, another mishap, another adventure. No trip is ever boring with the Straw Hats, and this was again proven when an unfortunate encounter with a devil fruit user who could change people's ages led to you being turned into an infant. And that's how you found yourself cradled in Sanji's arms, with Chopper trying to get a good look at you all throughout the walk back to the Sunny.

"Chopper, she's fine," the cook tried to assure the doctor, but Chopper was having none of it.

He was so worried, because no one was equipped to take care of a baby, and he cared about you so much that now you were a baby, he was becoming overprotective. As soon as Sanji set you down somewhere safe for Chopper to examine you, he was grabbing his bag and bringing out all his different tools. He checked all your vitals and made sure you were first and foremost healthy, before he could consider anything else.

Then you touched his blue nose and widened your eyes in fascination, gurgling softly, and Chopper blushed brightly. He smiled and poked your nose back, and you let out the cutest giggle that melted the reindeer's little heart. He shifted to his humanoid form and gently lifted you up into his arms, cradling you as he gazed down at you with the utmost love, adoration and fascination he could manage. You were so tiny, even more so than him, and so so cute. Then you sneezed, looking stunned for a moment before giggling loudly. And Chopper thought there was nothing more joy-inducing than holding and watching baby you.

"Chopper, where's-oh." Nami stopped when she saw Chopper standing there just holding you, one of his fingers in your tiny hand as he cooed at you and made you giggle. She smiled softly and left the room, deciding you were in safe hands.

"You're the cutest baby in the world, (Name)," Chopper told you. You just smiled brightly, exposing your gums cause you had no teeth, and waved your small arms around happily.

Chopper was really good with you. He monitored you throughout the 24 hours, making sure you ate properly, got enough sleep and were bathed properly. He is probably the best caretaker out of all the men on this list, not only because he's doctor but he's naturally caring and nurturing. It comes like second nature to him. Besides, you were such a calm and quiet baby - except for the giggling - that you made it easy for him. He was almost sad when you fell asleep, knowing you'd be grown up again when you woke up.

But maybe one day the crew would be able to fawn over a baby everyday. Maybe one day.

#one piece #op #one piece x reader #one piece x you #dracule mihawk #dracule mihawk x reader #dracule mihawk x you #mihawk x reader #mihawk x you #buggy the clown #buggy x reader #buggy x you #shanks x reader #shanks x you #brook x reader #brook x you #chopper x reader #chopper x you

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writingwithfolklore · 2 months

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Writing Foundations: Creating Paragraphs

You can have the best story in the world, but if it’s all in one chunk on the page, you may struggle to find people willing to read it. To break it up, you need to know where and when to create new paragraphs.

Every new paragraph starts with an indent. So, to create a new paragraph, hit the enter key, and then the tab key, which is typically on the left side of the Q and either says TAB or looks like two stacked arrows pointing in separate directions.

So when do you start a new paragraph?

1. Anytime a new character speaks

The most obvious place to break up your paragraph is when a new character is speaking. Take this example.

“Hi John,” said Mary as she walked into the room. John was reading a book, and tucked a bookmark between the pages as she sat next to him. “how was work?” “It was good,” she replied, “but my boss really didn’t like the draft I sent her.” “That’s too bad, I thought it was some of your better work.”

Vs.

“Hi John,” said Mary as she walked into the room. John was reading a book, and tucked a bookmark between the pages as she sat next to him. “How was work?” He asked. “It was good,” she replied, “but my boss really didn’t like the draft I sent her.” “That’s too bad, I thought it was some of your better work.”

See the difference? So you make a new line whenever a new character is speaking. In the case of Mary speaking twice, “It was good…” “but my boss…” we keep that in the same paragraph. Whereas when John speaks after Mary, it becomes its own paragraph.

The only time you may split the same character speaking is if they have a large chunk of dialogue. In that case, you can split their dialogue according to the next rule.

2. Any new idea

This isn’t necessarily a hard rule like the last one is. We have a lot of room to make interesting creative decisions when breaking up description or action. For the most part, though, you’ll want to break up your paragraph whenever there’s a new thought or idea. So:

A thin plastic film coated the room, making the furniture gleam in the sunlight streaming through the windows. On her right sat a couch upholstered in ivy coloured fabric, untouched by time. Anna swept her fingers through her hair, chewing on her lip. She watched Rick out of the corner of her eye, “What are you thinking?” The detective’s expression was completely neutral, though he clutched his pen tightly in one fist. In his other hand was a notebook, three questions written across it in blocky text, 1. Why are all the clocks stopped at 5:32? 2. Where’s the murder weapon? 3. Why did my wife leave me? “Same as the others,” he said, tapping his pen against the last question, “the plastic wrap killer.”

So in this example we go from describing the room, to describing an action Anna is doing, to describing the detective, and then his notes. These are all separate ideas, so we can split them into their own paragraphs.

As well, as long as it’s about the same character or within the same ‘idea’, description can be paired with dialogue. You can see Anna’s dialogue comes after the description of her. You can totally do this, or you can split it into its own paragraph if you’d like. It looks natural where it is because Anna is the subject of the paragraph, and she’s also the one speaking.

In the case of the detective speaking, his action comes between dialogue. Also allowed, since the detective is the subject of that paragraph.

3. Any new location or skip in time

Similar to the last, if the scene starts outside, when they move inside it’s a new paragraph. If they go into a new room, get into a car, etc. Any time they change location, it starts a new paragraph. Same for a skip in time. If you need to go from day to night, new paragraph.

Kayde looked anxiously up at the looming oak doors. The windows were dark, layered in years of dust and grime. It’s now or never, they thought. They pushed through the doors and into the foyer. Kayde seemed to wait there for hours, and by the time someone came to greet them, it was already dark outside.

4. For style/effect

This is one of my favourite parts of writing. Once you nail when you should be splitting your paragraphs, you can start to play with splitting them for effect. I do this quite a lot. Take this example:

She fixed an ugly stare at herself in the mirror, long locks of brown hair hanging in front of her eyes. A pair of sharp scissors gleamed at the edge of the glass, pinched between her fingers. Dania raised the scissors to her hair. Snip. A lock fell towards the sink, the edges rough and imperfect. Snip. Another. She chopped and hacked away at her hair until it was clumped in an unsightly pile over the drain of the sink, her head round and covered in patches where she didn’t quite get close enough to her skin. She was finally free.

While the cutting of her hair could be in the same paragraph, it gives it more drama and effect when it’s split. Any time a character is going through something shocking or emotional, maybe try playing around with the paragraph to see if you can add some additional drama to it.

Paragraphs can be as long or short as you’d like them to be, as long as you have intention behind it!

#writing #creative writing #writers #screenwriting #writing community #writing inspiration #filmmaking #books #film #writing advice #writing foundations #writing foundations: creating paragraphs #formatting paragraphs #paragraphs

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sylvestris123 · 7 months

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What does the pre-Fall scene actually mean?

I’ve been thinking about that first scene, with pre-Fall Crowley. We are all swooning over how sweet and innocent Angel!Crowley is, and how smitten Aziraphale is, but on reflection there is something odd about this scene.

The action takes place before the rebellion, before the Fall, when bad things hadn’t even been invented yet. So why is Aziraphale already worried about Angel!Crowley getting into trouble for asking questions? Shouldn’t he also be a cute innocent bundle of fluff without a care in the world?

There is a meta that examines this (sorry, I can’t find it, I’m useless at this), which comes to the conclusion that Aziraphale later on is suffering from guilt (that he might have unwittingly prompted Crowley to seek answers and hence fall), but this still doesn’t explain why Aziraphale knows that asking questions might be a Bad Idea, and Angel!Crowley doesn’t. After all, Angel!Crowley has apparently been working “very closely with Upstairs”. Shouldn’t he be a bit more clued up?

This leads me to think that there are 2 possible explanations for this.

1. Angel!Crowley has been so far out of things playing with stars that he really is clueless about everything (possible but doesn’t really match up to the Crowley that we know today).

2. This is not a true record of events.

Either: it is one of Aziraphale’s memories, but coloured by what he knows today, so the conversation that actually occurred might have been quite different. Maybe it is because of Aziraphale’s less than perfect recall, or maybe the memory was tweaked (e.g. by the Metatron) to emphasize the innocence of Angel!Crowley and the injustice of his later fall.

Or: IT NEVER EVEN HAPPENED AT ALL. Their true first meeting was as S1, on the walls of Eden, and it is all a false memory planted by the Metatron. (This could also explain why we don’t get to hear Angel!Crowley’s name. It’s not actually known, so can’t be added to the ‘memory’). Why would he do this? It could be to make Aziraphale think that Angel!Crowley was so full of joy that he should be reinstated to recapture that innocence.

There are plenty of theories about the other flashback episodes in the series, all of which could be interpreted as showing off Crowley’s 'good' side, to make the thought of his reinstatement as an angel more plausible or even necessary to right an ancient wrong.

If any or all of this is the Metatron’s doing, what is the motive? He clearly loathes Crowley. Maybe reinstatement as an angel would automatically wipe out his memories of being Crowley and all of his Earthly experience, so you would end up with a cute innocent (and ultimately useless) angel with no memories of his friendship with Aziraphale. Or perhaps it was a way to get him to come up to Heaven where he could be ambushed and imprisoned.

Or maybe the Metatron always knew that the very concept would go down like a lead balloon and that its aim was to make Aziraphale and Crowley part in such a way that they would be less likely to try to contact each other later.

There are so many pieces to this puzzle. Just when I think that a couple might go together I find others that don’t fit with the patterns already made, and which sometimes seem to belong to a different puzzle altogether. I’m sure that I already have 5 corner pieces.

#good omens #aziraphale #crowley #aziraphale x crowley #crowley x aziraphale #good omens 2 #neil gaiman #good omens analysis #good omens meta #before the fall #Why is Aziraphale aware of bad things before they were invented #angel crowley #too many questions #good omens theories

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