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yourinnerdemons:

white-icing:

raise your hand if you have so many ideas that you’re not talented enough for

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(via anaer)

Source: white-icing
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after-crisis:

When I worked at a non-profit that handled suicide prevention, I had access to the donation records. Each month, a specific man donated 15$ to our organization. It was like clockwork.. same day, same man, he had been doing this for over 4 years. It always seemed odd to me but I never questioned it… until I saw a note attached one month. "For Noah- Dad"

his donation was once his child’s allowance.

I can promise you, they would miss you for the rest of their lives.

(via bloodxmoon14)

Source: after-crisis
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dierwolf:

2014 was one of those years that started out like “THIS IS GOING TO BE GREAT!!!” and its halfway through and we have a war going on, a deadly disease has been spread, countless shootings have happened, racism is alive, more people have been leaving living things inside of hot cars, and robin williams is fucking dead

(via haveahearttinman)

Source: dierwolf
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"When you write, you’re telling yourself the story. When you rewrite, your main job is taking out all the things that are not the story."

- Stephen King (via hello095)

(via writeworld)

Source: hello095
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Portal + Text Posts

(via fiercedeityimpa)

Source: anybodygotbullets
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maneth985:

harzilla:

fallen-angel-with-a-shotgun:

dajo42:

if you dont have me on facebook you are probably not missing out on any posts but the comment section is important too lmao

I went to the Renaissance faire dressed as a warrior.  I had a real sword with me, too.  I was standing (in character) next to a sword-fighting ring, where kids of all ages got the chance to pick up a sword and challenge the champion.  Some woman walks by, with her little girl.  The girl starts walking towards the ring, saying she wants to fight.  But the mom pulled her away hella sharply, and was like, “That’s for boys.”  You don’t want to be a BOY, do you?”    And the girl looked around and saw me.  I think she thought I was a boy; I had my hair in a ponytail, and was wearing a hood.  So she comes up to me and asks me, “Do you think girls can be fighters, too?”  And her mom looks like she’s silently gloating.  Like she thinks I’m going to say no.  So I take off my hood, untie my hair so that it flows freely, and kneel before her.  And I’m like, “Milady, anyone can be a fighter.”  I swear, the look on that mother’s face made my day.

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maneth985:

harzilla:

fallen-angel-with-a-shotgun:

dajo42:

if you dont have me on facebook you are probably not missing out on any posts but the comment section is important too lmao

I went to the Renaissance faire dressed as a warrior.  I had a real sword with me, too.  I was standing (in character) next to a sword-fighting ring, where kids of all ages got the chance to pick up a sword and challenge the champion.  Some woman walks by, with her little girl.  The girl starts walking towards the ring, saying she wants to fight.  But the mom pulled her away hella sharply, and was like, “That’s for boys.”  You don’t want to be a BOY, do you?”    And the girl looked around and saw me.  I think she thought I was a boy; I had my hair in a ponytail, and was wearing a hood.  So she comes up to me and asks me, “Do you think girls can be fighters, too?”  And her mom looks like she’s silently gloating.  Like she thinks I’m going to say no.  So I take off my hood, untie my hair so that it flows freely, and kneel before her.  And I’m like, “Milady, anyone can be a fighter.”  I swear, the look on that mother’s face made my day.

-

(via mightyenapup)

Source: dajo42
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aquestionofcharacter:

swoonreads:

maxkirin:

Joss Whedon’s Top 10 Writing Tips (Source)

1. FINISH IT

Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.

2. STRUCTURE

Structure means knowing where you’re going ; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes ? The thrills ? The romance ? Who knows what, and when ? You need these things to happen at the right times, and that’s what you build your structure around : the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.

3. HAVE SOMETHING TO SAY

This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys ?’

4. EVERYBODY HAS A REASON TO LIVE

Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue : you get soundbites. Not everybody has to be funny ; not everybody has to be cute ; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.

5. CUT WHAT YOU LOVE

Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.

6. LISTEN

When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.

7. TRACK THE AUDIENCE MOOD

You have one goal : to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.

8. WRITE LIKE A MOVIE

Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly ; if something isn’t that important, just get past it tersely. Let the read feel like the movie ; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet ?’

9. DON’T LISTEN

Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system ; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction ; it’s a homogenizing process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up : they’d started talking about a different show.

10. DON’T SELL OUT

The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie : if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skillful you are : that’s called whoring.”

Want more writerly content? Follow maxkirin.tumblr.com!

This is some excellent writing advice for all of the swoonworthy writers out there!

Especially relevant to this blog is number 4: EVERYBODY HAS A REASON TO LIVE. 

Also, shoutout to Joss for saying exactly what I was thinking when I was watching The Island. Good lord, that movie devolved quickly.

(via haveahearttinman)

Source: maxkirin