wait wait wait am I supposed to actually believe I'm in the timeline where warner bros and wit studio collab to do a suicide squad anime with a screenplay written by tappei nagatsuki?

Im sorry if this question has already been asked, but what was the first dialtown character to be created? (Excluding the dsaf cameo characters)

That's actually a tough question to answer. A lot of Dialtown characters/ideas are actually from various unpublished projects I had on paper that I devised years ago and despite never having the time to make these projects (or by the time I got around to thinking about it, had largely lost interest in the core idea), many of them had characters/ideas in them that I liked so much, I wanted to use for something else, and they ended up being fed into Dialtown. Some of these ideas are 6-10 years old, now!

PhoneGingi is one such character, including elements from a ton of separate characters across many scrapped projects (even including the narrator in Gingi's head, which was then a separate character with a similar relationship in a screenplay project I wrote years ago.)

Crown had ideas pulled from the reserves too, and Milt (ironically, given how little of him is in Dialtown lore rn) was a direct transplant from another project (even down to a lot of his history), though his name was different then. Bigfoot appeared in a different dating sim idea I had on paper (featuring lots of different cryptids) and his character was roughly the same.

A proto version of Karen was knocking around in my head before I started working on DT, though much more recently than the above examples.

"You love trains": Crowley & Aziraphale inspired 'North by Northwest'

Putting my film studies background to good use here with some film history & historical context under the cut.

The "what does the J stand for?" exchange in The Blitz, Part 1 and the inability for the audience to initially understand what Aziraphale is mouthing in The Blitz, Part 2 are both references to Hitchcock's classic spy thriller, 'North by Northwest'. I didn't link the clip that goes along with The Blitz, Part 2 in case some of you have never seen this film because it would ruin your experience of it. (Definitely watch it if you have not as it's a masterpiece.) Since The Blitz scenes are taking place in 1941 and 'North by Northwest' was released 18 years later in 1959, Crowley and Aziraphale aren't referencing the film in the dialogue but, instead, could be presumed to be the source *of* the dialogue in the film... just like how Shakespeare lifted Crowley's love poetry for 'Antony & Cleopatra'... and the 'North by Northwest'-referencing part of The Blitz, Part 1 *is referencing* the 'Antony and Cleopatra' reference because it's the reveal of Crowley's first name. But... it gets even better...

The writer of 'North by Northwest' was legendary Hollywood screenwriter Ernest Lehman, whom we're now presuming to have been a friend of probably at least Aziraphale's. Lehman wrote a dozen or so classic films and, outside of 'North by Northwest', is most famous for writing adaptations of several famous musicals, including the adapted screenplay for... 'The Sound of Music.' But, no, somehow, we aren't done yet with how amazing this is lol.

The thing that makes this all even funnier is that 'North by Northwest' is responsible for probably the most famous train metaphor in cinema. I'll spoil just this bit as it won't really ruin the overall movie for you if you haven't seen it but don't go any further than here if you don't want to be spoiled at all. If you've already seen it, you totally know what I mean. *laughs*

In 1959, when this film was released, you still couldn't really show sex on screen in a mainstream film. If you showed two people in a bedroom at all, they were cisgender, heterosexual and married and they slept in two separate beds. The level of sex happening in the above clip was *wild* for the era and the fact that it was put into the film the way it is-- that an unmarried woman picks up a hot guy on a train and they sleep together and she's still the heroine of the film and all of that-- was really nothing short of feminist revolution in a film in this era.

The film has a famous "love scene" of sorts that follows not long after the one I linked above, where the two of them are in a cabin on the train and starting to get it on but constraints of cinema coding at the time limited how far it could go. So, to imply that the main characters do, in fact, sleep together, the film famously cuts away to a shot of the train entering a tunnel-- making the train itself symbolic of sex. Because of how famous the film overall--and this scene in particular--became, it became a thing to use trains euphemistically for sex in other cinematic works following it. There is literally no way that Crowley and Aziraphale have not seen this movie so while Aziraphale was happy to make The Bentley into a sexual metaphor while angling for the car keys, Crowley is half-heartedly griping in flirty response by continually referencing trains, another sexual mode of transportation-- the one that that they inspired lol. Hence Aziraphale's bemused little lololol-but-won't-give-him-the-satisfaction-of-seeing-my-amusement face here:

Sunglassed!Cary Grant is Crowley and the old movie chemistry and the semi-coded flirty banter and someone please, please write a fic where Aziraphale says "I don't particularly like the book I've started"-- I will pay you lol.

For Sandtober #6, "golden", and the Monsterfucktober bingo square "undead", I present you something based on one of the books that left an impression on my teenage mind and now that is all I can think of when I get "bones" and "gold" in relation to one another -

Servant of the Bones AU

In Babylon, about 600 years BC, Hob, a young handsome shepherd, is forced to become the new statue of the god Marduk but through a secret ritual conducted by a witch does not die and is made into an undying spirit who has to serve whoever owns his bones. The witch botches up the ritual and dies, leaving Hob with his mind his own - even if he has to obey the bones’ current master, he is able to think for himself and over the centuries he outsmarts a lot of his crueler masters, leading to their demise and to the box being inscribed with more and more warnings not to summon what is inside.

First AU variant: In 2022, Dream Endlos [lol let’s give him the German name variant for once], a successful author of books and screenplays, buys an old mansion (Fawney Rig) which is full of old occult stuff from the previous owner. While he sorts through the stuff he comes to the conclusion that he’ll have to hire an expert to ascertain the value of a lot of objects. He trips over a box on his way out and it falls over and unlatches, revealing a glimmer of gold inside. Curious, Dream opens it and finds the golden bones of what seems to be a complete human skeleton. The box is inscribed with ancient warnings in almost every language from cuneiform to hieroglyphs to Greek and Latin. Dream is both horrified and fascinated.

He reverently places the bones back inside the box, carefully handles the skull and wonders about the person they belonged to. He goes to bed, his mind spinning with possible scenarios and stories concerning the bones, the box, the warnings. He lies awake for hours. Late at night he gets up again and goes back downstairs. He takes the box back up into his bedroom and sits before it. “Who were you?” he asks the box, and there is a quiet whisper of a man’s voice near his ear. “My name. Is Hob.”

Second AU variant (that I like almost better because I know how it would end): 

Burgess gets his hands on the bones after he captures Dream. He uses Hob to try and get Dream to talk, in so far as that he sends him down to talk to Dream and learn his secrets, in the hopes it might work because Hob is a supernatural being. Hob is fascinated with Dream immediately and tells him that he should not talk to him so he won’t have to betray anything to Burgess. “You mustn’t tell me anything important, I cannot lie to my master. If he commands me to tell him what you said I’ll have to answer. But I can tell you about a lot of things, if you’re bored. You must be bored, right?”

Dream is in turn fascinated with Hob and his strange curse and after a while they talk about unimportant things, things they like and dislike, they tell each other stories. Hob tells Dream how he was made into what he is against his will. Dream aches with sympathy. Burgess is frustrated because he gets no results. Maybe he also tries to have Hob use force on Dream but luckily the magic circle and spells make it impossible for Hob to enter the sphere Dream is held in. Events happen like in episode 1, Alex inherits Hob’s bones but barely uses him to do anything because he’s almost more scared of Hob than he is of Dream. Hob talks to Paul more than he talks to Alex and he tries to subtly influence the man to let Dream go. It takes decades but eventually Paul is showing signs of having had enough. Hob warns Dream to be alert and begs him to please take his bones with him if he escapes. Events unfold like in canon and Dream breaks free. He leaves without Hob’s bones, too weak to search for them right away. He knows where they are but he can’t get them without reclaiming his power first. 

Hob thinks Dream has left him to his fate and is full of sadness and despair. He returns to the bones, his master caught in an eternal waking nightmare. Paul takes the bones and calls on him to help Alex, but Hob can't help and so he ignores the pleas and doesn't even manifest. Paul is frustrated and puts the bones into a safe and out of his mind. When Dream has got the sand, helm and ruby back he goes back to Fawney Rig and searches for Hob. He finds his bones and takes them with him to the Dreaming, putting them into his own private rooms. Hob does not answer him and Dream pleads for forgiveness and begs Hob to come back to him. Only when he places a kiss on the forehead of the golden skull do the bones start to vibrate and come together and Hob is able to form himself a new body, with the help of the power of the Dreaming, a body that holds his bones and is free of the box so he will not be bound to any master ever again. :)

he had to hurt her like that, look at the cinema he made. did he? how do you know? the ends justify the means, huh. a woman could never actually act this well, it had to be real, a snuff film. yes, she was hired for her talent - but pain will make the talent brighter, right.

he is not alone. there are men around him who think like this. who choose actresses they can manipulate, exert power over. who write scripts that demand the pain be felt. she must hurt to uphold the message.

(an aside. author's note, i guess. in poetry, when the words cannot hold themselves up, we actually blame the writers. it shouldn't matter who speaks the literature. the words should carry their own weight. be their own scaffolding.)

the men in the room all applaud each other for doing less. they say they push boundaries. they're leaders in their field. they ask the hard questions.

when they get your resume, they put it into a pile that they will put into a trashcan. when they get your screenplay, they will use it as a coaster. when they build their museums, they will have a disjointed room dedicated to "repairing" the ways that women and people of color have been eradicated from "fine arts". it will be self-effacing. we may have overlooked some artists, they apologize. but really it's not our fault that white men make better art. (those men and their works are in permanent displays. for more on this, see: the way that he laughs at your work will make you sick to your teeth). in six weeks, their apology will be scrubbed and the room will be scrubbed and all the paintings will go back into storage.

they know they are right. sure, okay. maybe we have had less opportunities. but what would we have done with them? not something like this. it took a man to do this. okay, okay. it was deranged, we can all agree about it. but look at the product.

in your life, when you wake up, isn't it grand. if they made a museum for people like us, it would be a cycle of empty frames. of ruined videos. of songs with a voicecrack. all the little plaques reading some variation of a theme. here is where my work would stand if someone like me could actually get published in this fucking industry. here is the work i tried to make, before my agency was stripped from me. here is the placeholder of my dreams, but i could not afford them in this society.

if you keep walking, out in the greenhouse out back, the whole world is full of color. every fabric and fortuneteller and feverdream we spat out in despite. centuries of brightness, of novelty, of exploration. of talent, of wisdom, of creativity.

there is only one sign here in this alexandrian library. the sign acts like an epitaph. you already know what it says, don't you. THIS ISN'T ART, it tells you.

the blankets. the chef-level 5-course meals. the carefully-colored journal pages. the abandoned works-in-progress. the library of fanfiction. the margin drawings. somewhere in there, an actress makes a face, and you think - oh shit! she's really broken! but then she smiles at you, winking. she could do it, you know. she could always act like a starbeam. it's just that his name is the one scrolling at the bottom. she hadn't wanted to undress for him. she goes home and gets forgotten. in our museum, another blank frame goes up on the wall.

they'll give him an award, looking to the camera with almost an apology. he will laugh ruefully. nobody will do anything. little white strings will drip from his fingers. young boys in film studies will continue to chainsmoke while explaining how beautiful it is that there's violence in those scenes. she couldn't have done it without him pushing, he'll tell you, shrugging.

but what if, you wonder. what if he had never existed? without him, what else could we be making? all that time and love and spirit, allowed back into the light. into knowledge. what has he taken, to give us his art?

and is it a trade worth making?

“Script Writing

So, before Alan Parker was brought into the project Roger and I worked together for some time, discussing ideas in my in my house and I thought it would be a good idea to write it into some semblance of a script and had my secretary transcribe my notes, titling it ‘The Wall - Screenplay by Roger Waters and Gerald Scarfe’. We had another week of spasmodic script meetings. This time Roger had it transcribed and I couldn’t help but notice when it arrived that my name had disappeared and it now said ‘The Wall by Roger Waters, copyright Roger Waters’. Fair enough.”

— Gerald Scarfe, The Making of Pink Floyd The Wall

Neon Requiem - Band Rivals Hobie x Guitarist! Reader

Based on @rexlroze and @the-kr8tor 's original ideas that just started to eat my brain.

NOTE: I don't write Hobie/Miguel--in fact--I don't write fanfiction at all. As the fandom's resident Chaos Goblin Queen!Spider-Mom writing characters half my age is a bit of a stretch for me. This has not been proofread/edited for foreign language used. All repetitive info, boring shit, and grammatical mistakes are 100% my own and brought to you by the letters ASD and the numbers 5 (as in year-old-child with aforementioned ASD) and 3 (as in hours of sleep that I get each night).

Also, written like a screenplay, so I could turn this into a proper comic coming up. Also also, get you a person who looks at you like Hobie looks at R.

ACT 1 SCENE 1 - FLASHBACK - EXT. CITY STREETS - NIGHT In a gritty, neon-lit alleyway, Young teen R is busy wheat-pasting posters for her band's upcoming gig. The posters feature a cybernetic skull (looking suspiciously like Spider-Man 2099 mask) with glowing eyes, the band's name "2099" emblazoned beneath it. As she works, Hobie appears from the shadows, a spray can in hand. He's tagging a nearby wall with a stylized anarchy symbol.

HOBIE (noticing R) Oi, what've we got 'ere? Another lost soul in the concrete jungle?

R (startled, then regaining composure) Hardly lost, mon ami. Just spreading the word about the revolution. Hobie steps closer, examining her posters.

HOBIE "2099," eh? Sounds like a proper cyberpunk outfit. You lot singing about the end of the world or sommat?

R (grinning) More like the rebirth of a new one, through science and technology. It is the brain-child of mon ami, his idea for a band... but he sings like...a cat in heat yowling from inside a Cookie Monster costume. Fun concept though. I'm going to take lead vocals.

HOBIE (intrigued) That sounds painful... but color me impressed, love... You can sing? Right? Not every day you meet a bird with brains, talent, and beauty. R rolls her eyes, but there is a hint of a blush on her cheeks, but before she can respond, the sound of police sirens fills the air.

HOBIE (grabbing R's hand) Bollocks, your dystopian future has arrived! They run through the winding alleyways, adrenaline pumping, until they finally come to a stop in a secluded courtyard.

READER (catching her breath) Merde, that was close!

HOBIE (grinning) Stick with me, love, and you'll never be bored. As they lean against the wall, laughing and trying to catch their breath, a spark of connection flickers between them.

READER (realizing) Wait, I never got your name.

HOBIE (extending his hand) Most just call me Dirty Punk, or Punk for short. He jokes, self-deprecating, he doesn’t want to tell her his name yet, it feels really personal now, like it's just Hobart, it's not that cool. It’s definitely not cool enough to tell her.

READER Punk, eh? Really? Fine, then call me R. Yeah, Punk, I can sing...

SCENE 2 - PRESENT DAY - EXT. CITY STREETS - NIGHT

In a gritty, neon-lit alleyway, READER, a French metal chick with ever-changing hair color, is struggling to wheat-paste a large poster featuring her band "NEON REQUIEM" on a high, hard-to-reach wall.

Suddenly, SPIDER PUNK (aka HOBIE BROWN), a British punk rocker and vigilante, appears hanging upside down on a web behind her.

SPIDER PUNK Need a hand, love?

Reader spins around, eyes wide with fear and surprise.

READER (stammering) Spider-Man! Je suis désolée, It… yeah.. it's exactly what it looks like.

SPIDER PUNK (waving his hand dismissively) Nah, don't sweat it, mate. I'm all for stickin' it to the man. 'Sides, that's a wicked poster you got there.

Reader relaxes, a smile spreading across her face.

READER (relieved) Merci! I thought I was busted for sure.

SPIDER PUNK (flips down from the web and lands on his feet, like a cat) Not on my watch, love. 'Ere, let me give you a boost.

Spider Punk gently wraps an arm around Reader's waist and shoots a web to the top of the wall. They ascend together, Reader grinning as they reach the perfect spot to place the poster.

As they work together to smooth out the poster, Spider Punk notices the band details: Reader, Miguel, and Gabriel. Guitar, Bass, and Drums. Miguel is handsome, long-haired, massive band-mate. Miguel back up vocals and bass he is the epitome of a metal-head.

SPIDER PUNK (chuckling at Miguel's serious metal-head expression) This bloke looks like he could use a laugh.

With a mischievous grin beneath his mask, Spider Punk uses his web shooter to draw a silly mustache on Miguel's serious face.

READER (giggling) Oh, il va être furieux! But it's too funny! My poor brother.

SPIDER PUNK (admiring their handiwork) There, now that's a proper work of art.

As they descend back to the ground, Reader turns to Spider Punk, her eyes sparkling with amusement and gratitude.

READER (sincerely) Merci beaucoup, Spider-Man. You really saved my ass tonight. You should come cheer us on at Battle of the Bands.

SPIDER PUNK (bowing dramatically) All in a night's work for your friendly neighborhood Spider Punk, love. I might be there, afterall, the Spider Punks are playing-band like that is my namesake, innit?

With a wink beneath his mask, Spider Punk shoots a web and swings off into the night, leaving Reader grinning and shaking her head in amazement.

SCENE 3 - INT. BAR - NIGHT

Later after dropping by her hostel room to change and wash up from paste, READER, aka, R is at a bar when she spots the only open spot at the bar. It's next to a 20-something nursing a pint. SPIDER PUNK, aka HOBIE BROWN aka PUNK, a British punk guitarist in his mid-20s, sits at the bar, nursing a pint. His lean, wiry frame is clad in a torn Sex Pistols shirt and tight jeans, held up by a studded belt slung low on his hips. Fishnet gloves adorn his hands, their black polished nails chipped from endless hours of guitar playing. Piercings glint in the dim light, catching the eye and hinting at his rebellious nature. He's in his civvy digs, a signature blend of 1980s anarcho-punk style that makes him look like the second-coming of Jean-Michel Basquiat, all raw talent and unfiltered edge. Lost in thought, an achingly familiar voice, something from a buried memory, suddenly catches his attention. It can't be...

READER, [loosely based on Gwen Stacy's Black Cat] a French metal chick with ever-changing hair color,  also in their mid-20s and equally skilled with a guitar, orders a drink next to him. Her effortlessly cool vibe is a result of her world travels. She is now in her full stage persona costume with all the eyeliner and leather that comes along with it.The two don't recognize each other at first.

READER (to the bartender, in a French accent) Un Jack Daniel's, s'il vous plaît.

Hobie glances at Reader, a flicker of recognition in his eyes... doesn't he know her? Battle of the Bands? Must be it, mate.

HOBIE (in a thick British accent) Blimey, that's a proper choice, innit? You 'ere for the battle of the bands, love?

READER (surprised) Oui, how did you know?

HOBIE (smirking) Just a... sense...Call it a punk's intuition, darling. I'm in the mix too, y'know.

MIGUEL O'HARA, Reader's handsome, *built* Hispanic bandmate, approaches. At 6'7" and 310lbs of pure muscle, he cuts an imposing figure. His younger brother GABRIEL, a softer, sweeter version of Miguel, follows close behind.

MIGUEL (Finds Reader and is by her side instantly, voice dripping with sarcasm and derision) R, you snuck out on practice...just to drink in this hellhole? Is that Jack? No puedo mas... Carnalita...This shit is bad for you.

READER (smiles to her bandmate, she has just arrived but she is hiding her wheat-pasting activities from the stern older band-mate) You worry too much, Miggy, mon ami. We've been practicing all week.

MIGUEL (softens) Gabri and I could have come out with you. You shouldn't go out in an unknown city alone. It's not safe for you, carnala.

HOBIE (puffs a bit, all charm, recognizing Miguel from the poster, he puts it together that R is the same girl from earlier. Hoping to impress this 'brother' of the cute girl, he offers Miguel his hand. Miguel looks him over and is unimpressed, he does not take Hobie's hand) Keeping the lady safe, mate. You can trust me. I'm one of the Spider-Punks.

GABRIEL (shoulders his brother to the side and takes Hobie's hand, gushing) We've heard of you guys, the local punk rock band, yeah? Your drummer is... gahh...Ah-Mazing! You think we could meet?

Someone's got a crush on Gwen Stacy.

MIGUEL (scoffing, stepping closer to R) You call that punk noise "rock"? Metal is where the real skill lies...Real talent is in the complexity, the technical skill. Metal pushes boundaries, takes you to new places. Punk's just three chords and an attitude.

HOBIE (visible shift in attitude, he eyes Miguel's massive frame) Never skip leg day, eh bruv?

R stifles a laugh as Miguel's face reddens with anger. Gabriel looks nervously between his brother and Hobie.

READER (trying to defuse the tension) Allez, let's save the competition for the stage, d'accord?

HOBIE (smirking, he stands, not as tall as Miguel, but nearly so) Tell you what, mate. Let's settle this on stage. We'll let the crowd decide who's got the real chops.

MIGUEL (grinning fiercely, are those...fangs?) You're on, punk. Prepare to be schooled.

READER (interjecting, her eyes sparkling with amusement) Ah, mais non, Miggy. There's art in simplicity too. Punk, metal, it's all about the energy, the message, non? Who is your drummer, she sounds enchanting.

GABRIEL (nodding) She is, she's go this...energy. Pero, R's right, Miguel.

There is a not so subtle look that passes between the brothers, an undertone of: DON'T RUIN THIS FOR ME MANO from Gabri, Miguel nearly rolls his eyes.

Music's music. Let's just focus on putting on a good show and maybe we can learn something from their band, eh?

HOBIE (winking at Reader) Aye, love. Can't wait to teach your wall of meat here a thing or two. Let's give 'em a show they won't forget...later?

READER (brightly, oblivious to the brothers' feelings) Later!

As Hobie saunters off, Miguel glares after him, his fists clenched. Gabriel places a calming hand on his brother's arm.

GABRIEL (softly) Easy, hermano. He's not worth it.

As Hobie leaves the bar, Reader shoots Miguel a disapproving look.

READER (oblivious to the brothers' feelings) Was that really necessary?

MIGUEL (shrugging) Just giving him a taste of what's to come. We're going to blow them away, R.

GABRIEL (sighing) I hope this doesn't get out of hand, their drummer is way better...I wanted to meet her.

READER (shrugs, trying to ease the tension) You will, I'll be yoru wingman, yeah? Gabri. You got this. And mano, Miguel... nothing wrong with being confident, but..just...save that aggro energy out on the stage. Come on, we're going to kick some ass!

MIGUEL (glaring at Hobie's retreating back) Don't tempt me. Let's go, carnalita, time for practice.

Hello!

I am currently writing a novel that takes place in a traveling circus. Since all the primary characters are performers, their acts are, of course, a very important part of the story/who they are. Therefore, I'm wondering if you have any advice on how to go about describing the performance acts (i.e., contortion, trick-riding, clown acts, etc.) in the book? I fear the descriptions will end up sounding boring, being confusing, or seeming convoluted. I've primarily worked on screenplays for films, so this has been a great struggle for me. Any advice is greatly appreciated! Thank you so much!

Describing Circus Acts

1 - Map Out Your Need - Before you do anything else, it will help to map out the specific moments in the story where these performances will occur. What specific feat, trick, or sketch is being performed and by which character? Is it a performance, audition, or practice? Who else is watching? Who is the POV character? Does anything unusual need to happen with the performance?

2 - Research the Details - Once you have the specific moments mapped out, it will be much easier to research the details, and having a grasp on the details is essential to good description. You can create a much more authentic image if you know the names of different contortion poses or different trick riding moves, for example. Since you mapped out the need in step one, you should have a good idea of how much of the performance will need to be described to the reader, too.

3 - Consider Sensory and Emotional Details - Another part of creating an authentic and impactful description is remembering to consider the sensory and emotional details. What can the POV character see? What can they hear? What can they smell? What can they taste? What can they feel, both physically (touch, internal cues) and emotionally? See: colorful costumes, props, the joyful faces of the audience. Hear: prop noises, music, audience laughter. Smells: popcorn, circus animals, people smells from the crowd. Taste: circus food, bile rising in throat from nervous anticipation. Feel: warmth of the crowd, numb butt from hard seats, butterflies of anticipation, sense of thrill and joy.

4 - Resist the Urge to Overdo it - Even if these performances play a big role in the characters' lives, if the reader wanted eleven hours worth of circus performances, they'd probably just watch eleven hours worth of circus performances on YouTube. The performances themselves should play only a very small role in the actual action... like Katniss Everdeen's bow skills, Luke Skywalker's piloting prowess, and Arya Stark's Faceless Man shapeshifting abilities. They're shown only when they add something to the story, and never just for the sake of showing them.

5 - Some Telling is Just Fine - Obviously in fiction we want to rely on showing as much as possible, but there are certainly times when "telling" makes more sense, and telling is a great way to make sure these performances feel like the important part of the characters' lives they are without feeling every scene has to highlight such a performance. For example, once you've shown a couple of contortionist performances, you might instead have the contortionist doing something else in a scene... helping another performer, making repairs on a costume, or doing whatever they do in their spare time, and maybe have them talk about an earlier performance or something they're going to do in a performance that night. You and even have other characters refer to other characters' performances. For example, "I don't know where Ribena went. She was monkeying around with her horse's saddle while Lian was doing their Double Marinelli bend finale, and I haven't seen her since."

Happy writing!

•••••••••••••••••••••••••••••••••

I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

♦ Questions that violate my ask policies will be deleted! ♦ Please see my master list of top posts before asking ♦ Learn more about WQA here

Hello again! Please elaborate on why you don’t like Bram Stokers Dracula (1992) I love hearing people go off and I think I’ll agree with your conclusion since I don’t like it either haha

HI thanks for sending this as an ask!! Here's a very long, convoluted response. Warning: it is not proofread.

So, the main reason I don't like Bram Stoker's Dracula (1992) is because of accuracy. Now, I am completely fine when a book-to-film adaptation isn't a perfect recreation of the book (frankly thats impossible imo) but MAN does this adaptation do the original book injustice. The romance between Dracula and Mina?? The plot line about Dracula's dead wife? Renfield originally working with Harker?? MINA ATTEMPTING TO SEDUCE VAN HELSING???? Really, most of the injustice is done to Mina as a character. Book!Mina is such a strong, well written character. She is integral to the plot and to the book's structure (we would not have had all of the letters, newspaper clippings, and diary entries without her). The book itself states this with how often the Dude Squad (I think I got that title from an Overly Sarcastic Productions video, im going to keep using it) directly tell Mina that they could not have defeated Dracula without her. She is resilient, smart, and stands up for herself. 1992!Mina is not this. James V. Hart, who wrote the screenplay, took everything that made Mina Mina and created a stereotypical damsel character. It's a shame because I strongly believe that Winona Ryder could play a killer, book-accurate Mina Harker.

Speaking of who plays the characters... the cast is really hit or miss for me personally. I do think Winona Ryder and Anthony Hopkins are good picks (especially based off of the book portrayals) and I remember liking Cary Elwes as Arthur Holmwood. Tom Waits as Renfield is a pretty inspired choice ngl.

But. Keanu. Don't get me wrong, I love Keanu Reeves. I think he is great in Bill and Ted's and John Wick. But that's why it confuses me as to why he was cast in this film. He can't do the accent, he shows no emotion, and it sounds like he is remembering his lines as he says them. In fact, my family and I quote his lines in this film as a joke all the time ("Is the castle far?"). None of his former roles at the time implied that he would be a good Jonathan either.

I can't remember much of Gary Oldman's performance, I just know I didn't like it lmao. He made Dracula too suave when he's really just a Creature.

Note: in looking up the cast I was reminded that Richard E. Grant plays Seward and as a fan of Saltburn (2023) that is just. hilarious to me.

I only went into this movie because I was told I would like it because the production design was pretty. Honestly? It's not. The film is poorly lit and the costumes are questionably accurate. The few shots I can remember are for the wrong reasons- such as that One Scene with Lucy in the cemetery. I won't get into it much more, it makes me extremely uncomfortable, but its another instance of Bram Stoker's Dracula taking away everything that made the female characters interesting.

Honestly? The best thing I can say about this movie is that it included Quincey. He's my favorite and he usually doesn't make it to screen adaptations. I'm happy you're here buddy.

I think what infuriates me is the title. Bram Stoker's Dracula implies that this adaptation takes a lot from the book. It's not just Dracula, it's Bram Stoker's Dracula. It's like saying that this adaptation is the most faithful. But... it's not. Bram Stoker's Dracula takes more of it's inspiration from old Universal films and previous Dracula adaptations than it does from the actual book. Thats okay! I'm all for new interpretations of old stories. But if you're a new interpretation that changes half of the characters and plot, don't market said interpretation with the original authors name.

This is not Bram Stoker's Dracula, it's Francis Ford Coppola's Dracula.

Which, even then, this is weak for Coppola. I'm not a huge fan of his work (I've seen The Godfather and Apocalypse Now) but I can understand and appreciate why he is as influential as he is. I think his films are well written and beautifully shot. He has great casts who elevate the writing and make their characters memorable. This film goes against all of that and that bothers me so much. It feels like a cheap imitation of Coppola's work.

Anyway- that sums up my thoughts on Bram Stoker's Dracula. I reallt enjoyed writing this, as someone who wants to be a film historian but doesn't actually get to do film-deep dives this was pretty refreshing haha. Good reminder that this is a film blog, not a podcast one.

Feel free to ask me more about movies, especially if you like Dracula! I am of the opinion that there is no good adaptation of Dracula... but I have ideas on how to fix that so...

New info based on today’s update from FEB 5 2023

Finally Man Suang started making merit. (Source)

(If OP says “finally” i imagine that it’s something very common to do in thailand before starting the shooting of a movie)

Looking at the slate, they haven't actually started shooting, they just tested the lens but taken with a 35mm film (low quality), using Alexa camera.

Okay, that's a good start.

OP put a flag on three actors.

These three actors are the best: Khun Fah, Khun Pure, Khun Tua. Congratulations to Mile, Apo, Tong and Bass for working with such good performers.

Here’s a photo of one of them with Chatchai Katenut, a movie director, and Apo:

- Man Suang’s screenplay is written by LiFE Creator, of which, Teacher Ning Panpatsa is also one of the film directors

The Screenplay is dated January 30, 2023

A slate serves to sync audio and video to start shooting. It stores every important filming information, Scene Tech Film used, the date of filming so that the team can choose the right footage to use in the process of editing and post-production.

The left slate is used for a merit-making ceremony. They put the words: silver, gold, diamonds for auspiciousness and smooth filming. It’s the one they used yesterday!

The slate for a normal filming is the one in the photo on the right.

The lady dressed in white at the centre of the group pic (she also took pics with Mile and Apo)

is miss thailand 1992 and a very famous actress. She’s called P’Orn. She’s the only actress named by BOC in the ‘starring’ list along with Mile, Apo, Tong and Bas.

Another group photo from yesterday :)

Johnny Cage starts giving people birthday presents (possibly making up birthdays when they don't know or won't tell him.) What does he get everyone, and what does everyone bring to the surprise party they have when it's his birthday? (Of course they let him think they forgot/ don't know/ don't care)

ooooooo, I like how you think

Kuai Liang: A snow cone machine (Johnny is prepared to run for his life only to be terrified when Kuai Liang starts laughing and genuinely thanks him for it) Kuai Liang also doesn't remember his birthday (yet) so Johnny makes one up for him.

Hanzo: Johnny managed to track down a sword that had famously belonged to the Shirai Ryu and bought it off a collector, returning it to Hanzo privately rather than putting on a show like he normally does. Had to get Hanzo's bday from Takeda

Sonya: when they're married, all the kisses she wants along with her favorite type of coffee grounds, in a year's supply. After the divorce, just the coffee.

Jax: Fancy metal polish for his arms, Johnny thinks he's funny (Jax actually really likes it tho bc it does actually work and helps keep the scratches on his prosthetics from showing, and the fact that Johnny doesn't get all squeamish about the prosthetics like most people do is an added bonus)

Liu Kang: A new headband embroidered with flames at the ends. Liu Kang actually really likes it as his old one was getting worn out and it's easier to accept a practical gift than a frivolous one.

Kung Lao: Also metal polish for his hat, as well as a copy of the screenplay he wrote about Kung Lao's family legacy. Kung Lao expects it to be terrible, so he ends up shocked to find that it is a heart wrenching and emotional tale about the weight of such a family legacy and how hard every last one of his ancestors fought to defend their realm, ending with him (bc he didn't die NRS fu, or at least, he and all the other revenants get brought back with Jax Scorpion and Sub-Zero also bc fu nrs) and the acknowledgement of his skill and the pressure he's always been under nearly brings him to tears. When he gives Johnny the greenlight to make the movie, Kung Lao gets the leading role.

Kitana: A collection of Earthrealm snacks and beverages from around the world so that she can get a chance to experience it.

Jade: A jaguar carved from jade that she treasures, as it reminds her of Kotal

Kotal: Another jaguar carved from jade so that he and his girlfriend can match

Bi-Han: a nightlight, bc again, he thinks he's funny, along with all the kisses Bi-Han wants (which is a lot of them the man is Tactile)

Sareena: A bunch of Earthrealm movies bc she wants to explore the world and all the kisses she wants

Raiden: A trip to the spa in the hopes it will get the god to relax

Fujin: Also a trip to the spa, as thanks for dealing with his brother

Nightwolf: Tracks down a couple of stolen Matoka artifacts and "convinces" the collectors to return them to their rightful owners (he does this year round tho, so he also gives Nightwolf a new whetstone for his axes, just to make it a proper b-day gift)

Smoke: Smoke also doesn't remember his birthday, only that his name is Czech and he was found in Prague. Johnny gives him a book on the Czech language and offers to fly him to prague whenever he wants.

Kung Jin: A collection of Outworld delicacies bc he knows the archer misses them

Cassie: Anything she wants, she's his little princess and she Will be pampered.

Takeda: A copy of Carrie signed by steven king as it's Takeda's fav book (sudden telepathy and telekinesis + parental issues, sign him up)

Jacqui: A display case for all the medals she's earned in kombat, so that she can show them off and be proud of her accomplishments, even if Jax can't face them.

Frost: a set of throwing knives that she can terrorize people with, all in bright colours that have Kuai Liang groaning bc they're not stealthy but she is going to refuse to use anything else. Frost is Delighted by this

Lemme know if I missed anyone and I'll add them in.

Fanfic Writer Questions

Tagged by @melisusthewee, and at least another person. I'm sorry if I ignored the tag, I was away and it's a busy period, let me know ;_;

Tagging forward: @ndostairlyrium @shivunin @inquisimer and YOU who are reading and would like to do it!

1. How many works do you have on AO3? 12, right now.

2. What's your total AO3 word count? 497,183 ... I'm chatty.

3. What fandoms do you write for? Dragon Age, and a crossover with LOTR/The Silmarillion.

4. What are your top 5 fics by kudos?

Home Was Never on the Ground (long fic, concluded, it's anthological and mainly me filling blanks in DAI as inspiration stroke)

She of Many Names (ongoing, a LOTR/Dragon Age crossover. A follower on Instagram asked me if Aisling was Sauron, the idea made me laugh so much that my mind took fire.)

Saturday Prompts (a collection of prompts I posted here. I never uploaded every one of them, oops)

Death and All of Its Friends (ongoing, a DA2 collection)

The Night Before First Day (Two chapters, concluded. One it's in rhyme and illustrated. Aisling taught her daughter that the Dreadwolf is Santa out of spite. Solas tries to disapprove.)

5. Do you respond to comments? Yes, always!

6. What is the fic you wrote with the angstiest ending? I do love angst, but I don't like angsty endings all that much ahahahahah. I think the one that gets closer, in a bitter-sweet way, is One for the Road. Call me a sucker for rare-pairs, this was also prompted here and my brain took fire (LavellanxFenris)

7. What's the fic you wrote with the happiest ending? The Night Before First Day. Listen I'm not a Christmas person, I turn into a seasonal depressed Grinch at Christmas, living in a catholic country doesn't help, and that is my way of giving myself some joy.

8. Do you get hate on fics? Not that I know of.

9. Do you write smut? If so, what kind? Not any that I publish.

10. Do you write crossovers? What's the craziest one you've written? Yes I do. She of Many Names is a Dragon Age and LOTR crossover. I love it dearly, I'm slow to update it because I have the greatest love for Tolkien (with all his flaws, but my brain rewired when I saw the first movie, and the book has been my entire personality for two years. I wouldn't be the same person without it) and I do care of rendering it as I want.

11. Have you ever had a fic stolen? ... Not that I know of? I hope not, ahahahah :"D

12. Have you ever had a fic translated? If you consider that English is not my first language, all my fics are translated? xD Other than that, no.

13. Have you ever co-written a fic before? No, but I'd love to.

14. What's your all time favorite ship? EowynxFaramir, hands down. Out of pure lenght. Maybe LeiaxHan Solo (my parents are both nerds, I think my mom made me watch Star Wars the first time... I don't remember, the vhs were always around in the house. I was very, very little.)(we don't talk about the sequel trilogy.)

15. What's a WIP you want to finish but doubt you ever will? I tried to write a third chapter for the aforementioned One for the Road... But it ends up in a love triangle and I don't like love triangles that aren't a poly relationship. So, it's sitting in my folder and I'll never finish it. I was considering ditching the second chapter and rewrite it as a "Aisling as a companion in DA2" fic... But MEH.

16. What are your writing strengths? I think dialogue. I am trained as a comic artist, which means that the writing parts that get polished are dialogue. I have much more experience with that. ... I am also terrible at judging my own work in a positive way, tho, so you tell me.

17. What are your writing weaknesses? English not being my first language and leading to mis-spellings. Other than that... I started writing fanfiction after YEARS of not writing anything in prose that wasn't screenplays for comics (which follows different rules). Since I stopped because of being hurt by it, I went on to it by not planning stuff.

I'm rusty with prose, and my retelling -the first thing I tackled- clearly had little planning ahead.

18. Thoughts on writing dialogue in another language in fic? It's a no, for me, unless you specifically wants your audience not to understand what's being said and create a sense of isolation and of not knowing what's going on. A sentence here and there with a translation is fine. But if it's something long... You want the reader to understand well. Italicized text it is.

19. First fandom you wrote for? I wouldn't call it a fandom, but: Greek Mythology. I drew a parody comic of the Iliad in my first high school year, alongside friends. It had been so fun. I also wrote, still in high school, something heavily inspired by Eragon, which only my friends had the pleasure of reading. (I'm only saying it involved my now most hated trope: THE SECRET TWIN.)

20. Favorite fic you've written? The next one.

I'm very invested in Ashes and Sparks, aka the Dreadwolf AU. I'm putting ideas in it and going fully canon divergent and writing it as I would like Inquisition to have gone. No Corypheus, more crazy tevinters, and the focus ON FUCKING TIME TRAVEL.

In a modern setting because yes.

It's also tackling something I absolutely hate in fiction when it's done wrongly, which is time travel, and I'm sweating and hoping I'll do it with logic. It's something niche and not so focused on a single ship, so probably it'll interest only me, but I'm happily writing and trying to contain myself from posting chapters of more than 10k.

Blank Form Under the Cut

1. How many works do you have on AO3?

2. What's your total AO3 word count?

3. What fandoms do you write for?

4. What are your top 5 fics by kudos?

5. Do you respond to comments?

6. What is the fic you wrote with the angstiest ending?

7. What's the fic you wrote with the happiest ending?

8. Do you get hate on fics?

9. Do you write smut? If so, what kind?

10. Do you write crossovers? What's the craziest one you've written?

11. Have you ever had a fic stolen?

12. Have you ever had a fic translated?

13. Have you ever co-written a fic before?

14. What's your all time favorite ship?

15. What's a WIP you want to finish but doubt you ever will?

16. What are your writing strengths?

17. What are your writing weaknesses?

18. Thoughts on writing dialogue in another language in fic?

19. First fandom you wrote for?

20. Favorite fic you've written?

Paul Auster

Author of The New York Trilogy who conjured up a world of wonder and happenstance, miracle and catastrophe

The American writer Paul Auster, who has died aged 77 from complications of lung cancer, once described the novel as “the only place in the world where two strangers can meet on terms of absolute intimacy”. His own 18 works of fiction, along with a shelf of poems, translations, memoirs, essays and screenplays written over 50 years, often evoke eerie states of solitude and isolation. Yet they won him not just admirers but distant friends who felt that his peculiar domain of chance and mystery, wonder and happenstance, spoke to them alone. Frequently bizarre or uncanny, the world of Auster’s work aimed to present “things as they really happen, not as they’re supposed to happen”.

To the readers who loved it, his writing felt not like avant-garde experimentalism but truth-telling with a mesmerising force. He liked to quote the philosopher Pascal, who said that “it is not possible to have a reasonable belief against miracles”. Auster restored the realm of miracles – and its flip-side of fateful catastrophe – to American literature. Meanwhile, the “postmodern” sorcerer who conjured alternate or multiple selves in chiselled prose led (aptly enough) a double life as sociable pillar of the New York literary scene, a warm raconteur whose agile wit belied the brooding raptor-like image of his photoshoots. For four decades he lived in Brooklyn with his second wife, the writer Siri Hustvedt.

The fortune that drives his stories played a part in his own career. City of Glass (1985), the philosophical mystery that launched his New York Trilogy and his ascent to fame, appeared from a small imprint after 17 rejections. Though the novel helped build his misleading reputation as a cool cult author, a moody Parisian existentialist marooned in noir New York, it had a pseudonymous forerunner that shows another Auster face.

Squeeze Play, published under the pen-name “Paul Benjamin” in 1982, is a baseball-based crime caper. Its disconsolate gumshoe, Max Klein, muses that “I had come to the limit of myself, and there was nothing left.” If that plight sounds typically Auster-ish, then even more so was the baseball setting. Auster adored the sport and played it well: “I had quick reflexes and a strong arm – but my throws were often wild.” In a much-repeated tale, he failed aged eight to get an autograph from his idol Willie Mays, of the New York Giants, because he had not brought a pencil. Auster “cried all the way home”.

Auster’s work is more deeply embedded in the mid-century national culture that fuelled the novels of his elders, such as Philip Roth and John Updike, than some advocates appreciated. His fables of identity-loss and alienation have emotional roots in the mean, lonely city streets he knew when young. He once insisted, to fans and scoffers who labelled him an esoteric “French” or European coterie author, that “all of my books have been about America”.

He was born in Newark, New Jersey (also Roth’s hometown). His parents, Queenie (nee Bogat) and Samuel Auster, children of Jewish immigrants from eastern Europe, set him on a classic American path of upward mobility through education while remaining, to their son, opaque. The Invention of Solitude (1982) was Auster’s haunting attempt to imagine the life of his impenetrable father. Ghostly fathers would pervade his work. As would sudden calamity. When, aged 14, he witnessed a fellow summer-camper struck dead by lightning, the event became a paradigm for the savage contingency of life, “the bewildering instability of things”. His later novel 4321 (2017), which revisits this formative trauma, cites the composer John Cage: “The world is teeming: anything can happen.” In Auster’s work, it does.

At Columbia University in New York, he studied literature, and took part in the student protests of 1968, before moving to Paris to scrape a living as a translator of French poetry (a surrealist anthology was his first published work). He lived – literally in a garret – with the writer Lydia Davis, and returned in 1974 with nine dollars to his name. Back in New York, they married, but were divorced in 1978, a year after the birth of their son, Daniel. Poetry collections followed, but Auster’s thwarted efforts to secure a decent livelihood meant that he gave his ruefully funny 1997 memoir Hand to Mouth the subtitle “a chronicle of early failure”.

In 1982, he married the novelist and essayist Hustvedt (who recalled their courtship as “a really fast bit of business”). She became his first reader and trusted guide; they had a daughter, Sophie. Husband and wife would work during the day on different floors of their Park Slope brownstone, and watch classic movies together in the evening. Auster wrote first in longhand, then edited on his cherished Olympia typewriter.

The New York Trilogy (Ghosts and The Locked Room followed a year after City of Glass) made his stock soar, and attracted both celebrity and opportunity.

Auster wrote gnomic screenplays for arthouse films (Smoke, Blue in the Face, both 1995), even directed one (The Inner Life of Martin Frost, 2007). But it was the enigmatic, hallucinatory aura of his fiction – in 1990s novels such as The Music of Chance, Leviathan and Mr Vertigo – that defined his sensibility. Sometimes this trademark style could veer into whimsy or self-parody (as in Timbuktu, 1999, with its canine hero) although stronger novels – such as The Brooklyn Follies (2005) – always pay heed to the pulse, and voice, of contemporary America. Keenly engaged in current affairs, Auster held office in the writers’ body PEN, deplored the rise of Donald Trump, and spoke of his country’s core schism between ruthless individualism and “people who believe we’re responsible for one another”.

Auster the exacting aesthete was also a yarn-hungry storyteller. If he edited a centenary edition of Samuel Beckett – a literary touchstone, along with Hawthorne, Proust, Kafka and Joyce – he also compiled a selection of unlikely true tales submitted by National Public Radio listeners. They revealed the strange “unknowable forces” at work in everyday life. In his epic novel 4321, the formal spellbinder and social chronicler meet. It sends a boy born in New Jersey in 1947 down four separate paths in life: an Auster encyclopedia, ingenious but heartfelt too. Bulk and heart also characterised his mammoth 2021 biography of the Newark-born literary prodigy Stephen Crane, Burning Boy.

The ferocity of fate that scars his work gouged wounds into Auster’s life as well. Daniel succumbed to addiction, accidentally killed his infant daughter with drugs, and died of an overdose in 2022. Auster’s cancer diagnosis came in 2023. Prolific and versatile as ever, in that year he still published both an impassioned essay on America’s firearms fixation (Bloodbath Nation) and his farewell novel, Baumgartner. Its narrative hi-jinks dance smartly over a bass chord of grief.

Auster populated a literary planet all his own, where the strange music, and magic, of chance and contingency coexist with love, dream and wonder. In Burning Boy, he wonders why Crane’s output now goes largely unread, although “the prose still crackles, the eye still cuts, the work still stings”. After 34 books, so does his own.

Auster is survived by his wife and daughter, and a grandson, and by his sister, Janet.

🔔 Paul Benjamin Auster, writer, born 3 February 1947; died 30 April 2024

Daily inspiration. Discover more photos at Just for Books…?

Writing Resources

I've been writing all my life, and I've been saving resources I use over the past couple of years. I'm gonna post them all here, so that others can use them because some of these are rather obscure.

Resource: Character Profile Desc: a 20 page PDF file that helps you better flesh out your character. PDF is editable directly. Very useful for any type of character.

Resource: Character Sheet Desc: a very long character sheet hosted on DeviantArt. I'm not sure if it's still being updated, but it is VERY extensive and covers everything from the basics to pet peeves. Best used for the main cast.

Resource: Name Generator Desc: a site that hosts a number of name generators. You add a few variables, and it gives you a list of names. Has everything from a "quick name" generator to a "plot generator". Very useful for a variety of things (not just writing).

Resource: Worldbuilding Prompts Desc: a site with writing prompts. Pretty good for getting the basis of your world

Resource: World Anvil Desc: a site to house all of your worldbuilding. Basically acts like a wiki, but for worlds. Has a premium version, but the free version works just fine (but you're limited to 2 worlds and ~175 articles for each world). Can be used for any type of writing: creative, screenplay, even ttrpgs like DnD.

Resource: Inkarnate Desc: Map-making site. Pretty cool, and has assets that allow creation of dungeon maps, world maps, and even scene maps. The free version is a bit meh on the assets, while the pro version ($5/month or $25/year) is a lot better. Additionally, the free version limits you to 10 maps, while with the pro version, you can create ~1,500 maps. If you use pro and then cancel your subscription, any maps that you created while using pro will be locked. You will not be able to edit them. I learned this the hard way.

Resource: Gallery of Faces Desc: pretty much like the "thispersondoesnotexist" site, just under a different name. AI-generated human photos. Can edit the settings to include a specific age group, a specific sex, etc. Really good for people who aren't good artists and need/like having a visual of their character.

Resource: Fantasy Calendars Desc: Allows you to make a completely new calendar. You can choose the names of the months, weekdays, everything. It's an absolutely wonderful tool and really helps if you don't want to use a modern calendar. This is the calendar I made myself. It's just an example of what you can do.

Resource: Word Combiner Desc: a tool to combine up to 4 words together. Shows just about any and every possibility. Found this useful when trying to make a name or a language.

Resource: Fantasy Language Generator Desc: another generator, but for languages instead. There's a few variables you can mess with, and it'll generate counterparts to the 30,000 most commonly used words in English. You can save the language as a file and load it on the site at a later time. Completely free.

Resource: Word Counter Desc: Just a word-counting site. Useful if you frequent Discord & use bots like WriterBot or Sprinto (writing sprint bots), as you only have 2 minutes after the sprint ends to submit word count.

Resource: Worldbuilding Checklist :) Desc: a very extensive worldbuilding checklist. Covers everything from races to the economy to the current fashion trends. Really awesome resource.

All of these have proven to be really useful to me, so I wanted to share these. I just hope these are useful to others ^_^

Deadline: April 30th, 2024 Prizes: The GRAND PRIZE winner will be published as the featured story on the Baen Books main website and paid at industry-standard rates for professional story submittals. The author will also receive a handsome engraved award and a prize package containing $500 of free Baen Books. SECOND place winner will receive a prize package containing $500 of free Baen Books. THIRD place winner will receive a prize package containing $300 of free Baen Books. Theme: Any form of fantasy Baen Books is excited to announce the eleventh annual Baen Fantasy Adventure Award. The award recognizes the best original adventure fantasy short story in the style of fantasy greats like Mercedes Lackey, Larry Correia, Jim Butcher, Charlaine Harris, Elizabeth Moon, Andre Norton, Brandon Sanderson, J.R.R. Tolkien, and David Weber. Contest Rules Write and submit a short story of no more than 8,000 words. It must be a work of fantasy, though all fantasy genres are open, e.g. epic fantasy, heroic fantasy, sword and sorcery, contemporary fantasy, etc. No entry fee. But only one submission per person...we suggest your best one! No reprints (i.e. the story must be unpublished). All entries must be original unpublished works in English. Plagiarism, poetry, song lyrics, settings and/or characters from published gaming worlds or another author’s works of fiction will not be considered. Any AI-generated stories will be automatically disqualified. E-mail submissions only. Send entries as .RTF attachments to: [email protected] Please put BFAA SUBMISSION in the subject line when sending a contest entry and BFAA QUESTION in the subject line for questions to the contest administrator. Please include the following in the body of your email: the title of the work the author's name, address, and telephone number an approximate word-count The manuscript should be a RTF attachment, in standard manuscript format, and should be titled and numbered on every page, but the author's name MUST BE DELETED to facilitate fair judging. Click here for our standard manuscript format guidelines. Employees of Baen Books and Staff of Dragon Con are not eligible. Previous Grand Prize winners are not eligible (previous second and third place winners are eligible). Contest opens for submissions on January 15th, 2024 at 12:01am EST. (Entries sent before that date will be deleted unread.) Contest closes for submissions April 30th, 2024 at 11:59pm EDT. What We Want to See Adventure fantasy with heroes you want to root for. Warriors either modern or medieval, who solve problems with their wits or with their weapons—and we have nothing against dragons, elves, dwarves, castles under siege, urban fantasy, damsels in distress, or damsels who inflict distress. What We Don’t Want to See Political drama with no action, angst-ridden teens pining over vampire lovers, religious allegory, novel segments, your gaming adventure transcript, anything set in any universe not your own, "it was all a dream" endings, or screenplays. Judges Entries will be judged by Baen editorial staff. Prizes The GRAND PRIZE winner will be published as the featured story on the Baen Books main website and paid at industry-standard rates for professional story submittals. The author will also receive a handsome engraved award and a prize package containing $500 of free Baen Books. SECOND place winner will receive a prize package containing $500 of free Baen Books. THIRD place winner will receive a prize package containing $300 of free Baen Books. Finalists will be announced no later than July 1st, 2024 Winners will be notified no later than July 21st, 2024. (Only the winners will be notified.) The winners will be officially announced during the Baen Traveling Roadshow at Dragon Con, in Atlanta, Georgia. (We would prefer the winners attend the convention, but it is not required.) Submission Checklist All identifying information (author's name, address, email) has been removed from the manuscript and manuscript file name.

Manuscript is an .RTF file and in standard manuscript format with title and page number on every page. Guidelines for manuscript formatting can be found here. Author’s name, address, email, and phone number are included in the body of the email. Please note all times for submission deadlines are Eastern Daylight Time (EDT)! Via: Baen.

The island saga at this point can be it’s own feature length film like the trailer would be fire…

[Camera flashes to a cork board with pins and string connecting imagines of people labeled MIA. Across from it is Lemon, observing the information with a steady glare as tense music plays.] “Just what in hell’s name does she want with them…”

[Lemon slams his hand onto the desk with his teeth gritted]

[Screen goes black before a sliver is out into view by King taking out a book from the shelf in front of the camera’s few. A wideshot of the room comes to screen as he walks off. King glances over to Valentino.] “You said you were briefly part of the scheme?” [Valentino simply nods as King walks over and grabs his shoulder tightly.] ”Spill what you know.”

[The screen goes black again until Sofia turns on a light, flipping through photos with me crossing out names.] “We lost our best way of getting King…”

[I mutter bitterly, sharply looking up to Sophia] “Well, I have another plan that may work even better…”

[Sofia starts to explain her plan as his words are muffled out by the screen fade.]

[Camera flashes to Khushi then Jokest3r then Teabagtoes, all with various looks of shock or disbelief on their face] “Give him back…”

[Khushi’s words have a subtle echo as the tense music crescendos to words on the screen saying “Revolutionary storytelling & plot” by New York Times]

[Camera shows Arjun desperately trying to escape before being tied back with a rope around him. Vincent looks at him and their captors fearfully while Mayvey has a scheming look on his face. Arjun’s hoarse yelling attempts continue into hysterics as the camera shows another review “Shows a dark side with new characters.” by Activision]

“We have to get out of here!”

[Queen’s voices pierced through Arjun’s slowly fizzled out yelling as she looks between Ace and Sofia with a serious gaze. Jack walks closer and hands a letter from King to Queen.]

“Hell. On. Earth.”

[The music becomes subtle, adding a clicking noise. Ace states each word coldly as the camera shows Lemon’s board again. He turns, looking at Sergeant Kennedy] “Are you sure we can even do this?”

[Kennedy asks with furrowed eyebrows] “Shiloh… he have to at least try.”

[Lemon responds before the camera flashes white to the screen, showing a series of shots while the music becomes louder than ever; Jack setting a match on fire, Roger crying as he gives Kennedy a gentle hug, King writing a letter, Ace laying in a boat, Jokest3r & Trabagtoes talking over coffee, & Valentino pinning a photo of “The Squad” to the cork board.] [The camera zooms into the photo before flashing to a gun in Sofia’s hand that is pointed to the camera. The music stops.] “I never wanted it to end this way.”

[She says just above a whisper before the camera goes black at the piercing sound of a gunshot. The title appears on screen as eerie music plays…]

THE ISLAND SAGA: GOOSE ISLAND

[A goose walks across screen before the camera cuts out.]

God that took too long to write…

Hope you liked my trailer from a VERY unprofessional screenplay writer This all seems a lot cooler in my head 💀

what the hell..

i dont know what i was expecting but i wasnt expecting a whole ass script. hello? i can tell you that this is so well put together. like its so vivid and i can picture it clearly?? like DAMN. you even have the sound cues n shit!!

from one unprofessional screenplay writer to another, hats off to you because SHEESH??? THIS IS SO COOL?? I HAVE THE URGE TO MAKE STORYBOARDS AND A SCRIPT????

im in shock. you dropped this into my inbox for FREE??? i dont know if you have any plans for the film or entertainment industry but you should actually consider being a writer LIKE WOAH. this much creativity has so much potential.

dont worry about things sounding cool only in your head. i was told that i was a madman while i was pitching my first short film in class and three months later it became the class favourite when the finished project was presented. so dont doubt yourself. you never know if your ramblings bring you places.