DANIELLE CAMPBELL photographed by Leslie Alejandro

* ⠀ 𝒇𝒂𝒄𝒆𝒍𝒆𝒔𝒔 𝒊𝒄𝒐𝒏𝒔 ⠀ 、 ⠀ red.

Keep reading

𝐕𝐀𝐋𝐄𝐍𝐓𝐈𝐍𝐀 𝐇𝐄𝐑𝐒𝐙𝐀𝐆𝐄 𝐆𝐈𝐅 𝐏𝐀𝐂𝐊 (𝒑𝒂𝒓𝒕 𝟏)

Jeanette Winterson, from Why Be Happy When You Could Be Normal

- myra molloy gif pack -

in the source link, you’ll find ONE HUNDRED FOURTEENgifs of the actress JESSICA CHASTAIN in SCENES FROM A MARRIAGE (SEASON 1). all gifs were made by me from scratch, therefore i’d appreciate if they are not edited, redistributed, added to other gif hunts or claimed as someone elses. if you enjoy or plan on using them, please like or reblog the post. if you enjoy my work, please consider buying me a coffee!

𝐁𝐈𝐀 𝐀𝐑𝐀𝐍𝐓𝐄𝐒 𝐆𝐈𝐅 𝐏𝐀𝐂𝐊 (𝒑𝒂𝒓𝒕 𝟏)

Page 09: Rosa by enbythemes preview | code | credits

After an unexpected break from an extreme lack of inspiration, I am back with a character page that I am pretty proud of.

features and options:

credits:

notes:

terms | tip jar | discord

kristin kreuk gif pack

GIF PACK IS IN THE SOURCE LINK BELOW!

Writing Motivation-reaction Units (MRUs According to Swain)

Months ago, I broke down scene structure according to Dwight V. Swain, who arguably put together the most popular approach to scene structure. Today, I’m breaking down his second-most popular writing approach: motivation-reaction units (or “MRUs”). Again, I’ve waited so long to cover this topic, in part because I wanted to study it straight from Swain’s own book–Techniques of the Selling Writer –first.

Motivation-reaction units are used at the line level of writing–they’re about getting the story written on the page properly and most effectively. Some writers have the tendency to write events in the wrong order, at the sentence level. For example, they may write:

There is nothing technically, grammatically wrong with this sentence. But on the micro-level, it probably renders the events in the wrong order. The reader is picturing Carrie screaming before Barry stabs her. To make the experience more accurate, it’d be better to rearrange the sentence:

Or you could even write it simply as two sentences:

Motivation-reaction units are all about putting things in the proper order so that the reader experiences the story the same way the character does–or nearly the same, anyway.

Motivation -> Reaction

Unless you are writing a special kind of science fiction or fantasy scene, your character doesn’t live in a void. A “motivating stimulus” is (to quote Swain) “anything outside your focal character to which he reacts.” It could be a sight, sound, smell, texture, taste–it can be almost anything in the world. In my earlier example, Carrie is our focal character. Her motivating stimulus is Barry stabbing her thigh. This leads to a reaction: she screams.

The motivating stimulus comes before the reaction. And …

Motivation + Reaction = Motivation-reaction Unit.

Simple, right?

Swain writes, “Each unit indicates some change, however small–change in state of affairs, change in state of mind. Properly presented and executed, each one moves your story a step forward. Link unit to unit, one after another, and your prose picks up momentum [and builds]… . This situation cannot but develop!”

But there’s more.

Human beings can react in multiple ways from the same motivating stimulus. But there is a chronological order in which we naturally react.

Read these sentences:

Is there anything “wrong” with these sentences?

Not technically, not grammatically.

But they don’t render the experience most accurately.

Why? Because as human beings, our bodies involuntarily react before we can speak. So, it’d be more accurate to change the arrangement.

Better.

In Swain’s approach to MRUs, he outlines the natural reactions in this order:

Feeling–“Harrison’s heart leaped into his throat” (this isn’t a literal action, it’s a description of a feeling)

Action–“He jumped back”

Speech–“‘Let’s get out of here.’”

So we move from the most involuntary reaction to the most intentional reaction. We can’t control our feelings. They are a natural response. Some of our actions are intentional, but many are more subconscious and instinctual–such as jumping back from a bear. Speech is almost always intentional. Harrison intends to say, “Let’s get out of here.”

Czytaj dalej

BUFFY THE VAMPIRE SLAYER (1997-2003) 4.08 | Pangs

a while ago i got an ask about how to write smut ( which i unfortunately never got around to answer ― sorry! ― and now i can’t find it anymore ) but i was browsing ao3 recently and came across the ultimate guide to writing smut fic by QuinnAnderson. it includes a lot of different words to use for various steamy actions and a few other tips and personally i found it quite helpful so i’ve wanted to share it here in case anyone needs a little help with writing smut as well.

in the source link, you’ll find ONE HUNDRED SIXTY-FIVE gifs of the actress DIANNA AGRON in AS THEY MADE US (2022). all gifs were made by me from scratch, therefore i’d appreciate if they are not edited, redistributed, added to other gif hunts or claimed as someone elses. if you enjoy or plan on using them, please like or reblog the post. if you enjoy my work, please consider buying me a coffee!

A nice place to start. (via http://nihilnovisubsole.tumblr.com)