Interesting, this shows the probably of a child’s eye color based on the eye color of its parents!
Interesting, this shows the probably of a child’s eye color based on the eye color of its parents!
I am so done with this week.
Some idiot didn’t look as she backed out of her parking spot last night and hit me (IN MY THREE-MONTH OLD CAR) right in the driver’s side door.
There is now an incredibly impressive dent in the door that I have to get fixed.
Like. These things happen. But this one? Should not have. There is no way she could have missed me - but she didn’t look. Not even a little.
She was also on her phone at the time.
SO, PROTIP: don’t be on your phone while trying to back out of a parking spot. And if you simply MUST be on your phone, maybe look behind you and, IDK, use some extra caution ‘cause you’re distracted?
One of my paintings for Otakon 2013’s art auction- finally had some time to sit down and digitally repaint over all the mistakes aldjkf hahaha.
Available for 1 week at my STORENVY
Someone just pointed out to me how Anne Frank and Martin Luther King JR. were both born in the same year, but most people associate them as being in complete different points in history.
This blew my mind
holy fucking shit
Character Motivation and Consistency:
So lets take a moment to talk about character consistency. This is something that I find a lot of people have a hard time with and a lot of it has to do with the actual development of the character in itself. When making a character, we pick out traits and experiences that define our character. All of these things including flaws and talents are important but something that people tend to forget with picking out a character is what their motivation is.
Author Orson Scott Card reminds us “We never fully understand other people’s motivations in real life. In fiction, however, we can help our readers understand our characters’ motivations with clarity, sometimes even certainty. This is one of the reasons why people read fiction—to come to some understanding of why other people act the way they do.”
Why is Knowing Motivation Important in Writing?:
This essentially, explains to us why characters act the way they do. Choices are determined by the motivation of the character. They are a guide in the choices they make because where they want to go or what they want determines what choices they are going to make. Very very VERY seldom does anyone make a choice at random. By knowing your characters primary motivation, the choices that they make will remain consistent (Even if they are not the ‘right’ choices.
Basic External and Internal Motivations:
Bold-face is obverse aspect (stuff in parens = goals, effects, or other association)
- Survival/safety; Fear of the world (food, water, escape from danger)
- Physical comfort; gluttony (shelter, warmth, good food, health)
- Pleasure; hedonism (sex, great food, culture, games)
- Dominance; tyranny (power, social standing, competition, respect)
- Acquisitiveness; greed (wealth, materialism, collecting, excellence)
- Curiosity; voyeurism (learning, searching, investigating)
- Mastery; perfectionism (excellence, conquest, discipline, achievement)
- Reproduction; profligacy (children, creativity, family-building)
- Autonomy; isolation (self-sufficiency, freedom, non-confinement)
- Affiliation; conformity (security, cooperation, loyalty, clan)
- Love; lust/ownership (connection, passion, sex, mirroring, approval, giving)
- Revenge; justice (righting wrongs, recognition of grievance, vengeance)
- Guilt; denial of guilt (responsibility, shame, punishment, redemption, forgiveness)
- Identity; self-centeredness (self-esteem, self-knowledge, self-protection)
- Surcease; conflict avoidance (peace, escape from anxiety, death)
- Spirituality; fetishism (religion, transcendence, transformation)
- Growth; decay, aging (learning, maturation, wisdom)
- Ambition; insecurity/anxiety (fear of failure, inferiority, stress)
- Vindication; rationalization (success, proving self, apology)
The Difference in between a Goal and Motivation:
The goal is like the flower… the motivation is the roots.
The goal is the outward manifestation of the motivation. It is concrete, measurable, and specific.
You don’t know when you’ve fulfilled the motivation: “I want success” isn’t measurable– what’s success? But you know when you’ve achieved a goal: ”I want to be on the New York Times bestseller list–” That’s measurable. You’ll know when you reach it.
Just keep in mind that while the goal is the external manifestation of the motivation, the connection is not always a straight or clear one. You can have a goal that is destructive and against your true motivation– “looking for love in all the wrong places” is an example.
Or you can have a laudatory goal for a selfish or twisted motivation– “I want to be first in my class to show my father up!”
Motivation is the past; Goal is the future; Conflict is the present.
Distinguish between MOTIVATION and ACTION:
Remember that motivation exists to inspire the character to make choices and take actions. If you’ve been told your protagonist is “too passive”, it’s likely what’s lacking is motivation that leads to action.
Every action, however small, should be motivated. If the motivation is obvious, then you might not have to show it (we assume that she’s running from that tiger for survival).
Compare the external (obvious) motivation to the goal and/or actions. If they don’t match, an internal motivation is probably in force. What hidden desire or fear is influencing actions?
An alternative reason for motivation/action mismatch: You’re trying to make an original character act in stereotypical ways.
And keep this in mind:
Heroism and villainy are in the action, not the motivation. Heroes do heroic things, they don’t just intend to do them. And villains do bad things even if they have the best of intentions.
Taking all of these things into account, here are three exercises that I found a while back and use to help figure out character motivations:
1. Real People as a template:
Make a list of 5 people you know really well. Beside each, make notes about how they:
- react to stress
- experience happiness,
- treat other people.
After that, list what motivates each of these behaviors. Try to be as factual as possible, drawing from things you know; for things you’re unsure of, use common sense to hypothesize.
A person might make it their goal to treat others with respect because of religious beliefs, or maybe because they were disrespected in the past. Someone might react poorly to stressful situations because they have a deep-seated fear of failure, stemming from a past experience.
2. Characters from Literature:
List 5 characters from literature and what motivated their actions throughout their respective stories.
For example, Shakespeare’sHamlet. His thoughts are motivated by revenge (because his uncle secretly killed his father), along with anger, sadness and confusion (because his mother married his uncle so soon after his father’s death).
Add to this a host of other factors, and you have a well-developed character you can understand.
3. Self reflection:
Write paragraphs to describe
- your most frightening experience
- your happiest experience,
- your most stressful experience, and how you reacted to each situation.
After, list all the factors that motivated your behavior. How is your personality shaped by your motivations?
During the story (Or role play) it is important to remember these character motivations when your character makes choices. That is really what this is about; identifying the motivations that make your character act the way that they do.
During the plot, motivations may change, and should actually shift for the character to develop, but never all at once and never out of the blue. Still the back story that drives your characters motivations will always be part of them.
For instance; I write a character whose past has made her a survivalist but over the course of a year she shifts to protection of the family that she has developed. However this took a full year to happen and her motivation of survival was never put on the back burner. Instead it just expanded to protection of the group and not just herself. Her fear of lose over this new family is what really drives her.
And there you have it: Keeping your character consistent through their motivation.
Mass Effect - Garrus Vakarian Cosplay by Red Nebula
black-butterfleyes asked:Hi there! I just found this blog and I`ve never asked anything before but I have a question about point of view. My story is written in first person. However, there is one scene I want to include that the main character wasn`t there to witness, so she can`t narrate this. Is there some way to cleverly include this scene?This is what I like to call the “First Person Dilemma.” While this is a sticky situation, here are a few ways to fix the problem.Utilize the perspective of another character:In many books, such as Balzac and the Little Chinese Seamstress to A Bend in the Road, they will have another character involved portray the scene. However, the problem with this situation is that if not done right, can feel choppy and confusing with the reader. If you are going this path, try to make there be a strong stylistic reason for going this route as well. Balzac and the Little Chinese Seamstress does the first person switch to reaffirm the importance of storytelling and highlight the differences in characters. A Bend in the Road adds mystery and suspense to an otherwise gushy romance novel.Write in third person instead.Depending on the nature and plot of the story, this may actually be a good choice, as it allows for more details, easier switch of perspective, and dramatic irony. However, if your first person novel is like The Hunger Games or Divergent, two books heavily cemented in the main characters feelings and thoughts, and not books like Fahrenheit 451, a dystopian which deals with other peoples reactions, censorship, and deceit, you might want to find another option.Use the narrator’s ignorance to enhance the story.Who says that the scene has to be included THE MOMENT it happened? Instead, you can have the situation witnessed from the distance, hinted at, or even brought up at a later point! What I would best recommend doing, if the first two options don’t fit your fancy, would be to use the narrator’s ignorance to create a good bit of foreshadowing, a plot twist, or if carefully done, even both. This will add some more intrigue to your novel/story.Just have the scene explained or mentioned.While I wouldn’t recommend this, as it can make your story too telly, if done well enough, it no longer makes showing the scene essential, and can add some shock, urgency, or suspense (depending on the scene) to your novel/story.
Sci-fi creations by artist Furio Tedeschi.
We are huge fans of perfectly timed photos that capture perfect (and usually funny or unexpected) moments that come and go with a blink of the eye. The internet is abound with images shared by people who have captured images at just the right moment or from just the right perspective, so we wanted to share some more of them with you.