Lo Que Hice Mientras Me Aburría En Clase // What I Did While I Was Bored In Class

Was scrolling through AO3 and found this gem

Enemy to parent is a trope we have to popularise lmao

Spiderman being the most relatable superhero part one

Do you guys remember this?

Has this been done yet

If not, it’s done now

Finally, the meme meme meme…

Grits my teeth. Why do people always assume I want to fuck a character when I post about them enthusiastically

Reblog if you have read fan fiction better than some published books

Help me prove a point

My Spider-Sona!!

Sorry for the bad quality of the image! I made it while I was in class.

I'm not that good at drawing, but at least I can draw a little bit, so I tried to made my Spider-Sona. I'm very indecisive and bad at superheros suits designs that almost every time I draw him, I do it with a different suit and style, plus my art style is not very stable, but this is the suit that I draw the most and I like it too, so.

Most of the concept of them and his suit is based on the inotopia superpower. So I add four extra eyes to the suit, even though he just has two eyes irl. They also draw eyes on their hands for the same reason. And I think he would carry some sticker with drawn eyes with himself, plus a pen.

I didn't colored it because I'm really really bad at that, but the suit should be black or dark grey with the web pattern as a dark red (although I'm still debating the colors).

They are a salvadorean transmasc aroace, and goes by he/they pronouns!

I still don't have a name but I will maybe named him Spider-Eye or something.

I did this mostly for fun, but feedback is always appreciated!

(I'm not that good at making image descriptions, so if I failed to explained it in an understable way, I apologized)

Common dialogue mistakes

Are you making any of these common dialogue mistakes? Read the post to find out what they are and how you can quickly fix them.

Does dialogue feel like a struggle? Here are the most common mistakes I see writers make that have their dialogue falling flat.

👉 The length of a single line

Less is more, and this is very true for dialogue. The quicker you can get your point across, the punchier the dialogue will read.

A lot of the time if you feel your dialogue dragging, you may be repeating points that you’ve already said.

👉 No unique character voices

A big web to untangle, but ask yourself this: If I left out dialogue and action tags entirely, would my readers still be able to tell who’s speaking?

If yes, that’s when you know you have a strong and unique character voice.

The worst thing you can do is make all your characters sound the same, or just like you.

👉 Exposition everywhere

Using dialogue as a means to lay down exposition or explanation can come off very cringy to readers.

Would these characters realistically say that to each other, if you didn’t need the reader to know?

When in doubt, trust that your readers can take hints and fill in gaps. Always write from the head of your character first.

👉Trying to be too realistic

Adding in too many pauses, elipses, ums, uhhs, and errs can get tiring very quickly, especially if every single character does this.

Yes, most people speak like that, but fictional dialogue is stronger the punchier and tighter you keep it.

👉 The white room syndrome

Sometimes writers get so involved in the dialogue and scene that they forget to lay out the setting or tell the readers what’s happening around your characters.

This leaves no image in your readers’ heads, and makes your writing feel non-immersive.

Use the setting, background people, and props to enhance the scene.

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Writing Subplots

Who doesn’t love a good subplot? Some of my favorites books are the ones that have super interesting subplots because who doesn’t love hearing about that secondary character development arc or those lovely side characters with the inevitably doomed romance? What’s not to like? But, subplots can often be one of the hardest to write and the most misunderstood storytelling elements. They aren’t part of the main narrative thread, so they can’t overtake it, but they also need to have their own story arc separate from the main plot. It’s a delicate balance that can be kind hard to strike, because subplots aren’t just secondary plot-lines, they have to serve a narrative purpose and engage with the story’s central conflict. 

First, let us define some different kinds of subplots

Mirror Subplot: A subplot where a side character experiences a conflict that mirrors the protagonist’s main conflict and gives the protagonist the insight or motivation they need to resolve their own conflict.

Romantic Subplot: The protagonist’s relationship with a love interest complicates their journey to resolve the story’s central conflict.

Parallel Subplot: a subplot where something seemingly unrelated occurs at the same time as the main plot and then all of a sudden the two plots collide towards the end of the book.

Complicating Subplot: a subplot where a secondary character’s actions actively complicates the protagonist’s journey with the central conflict

Foil Subplot: a subplot where a secondary character experiences the same or a very similar conflict as the protag but wants to resolve that in a different way (this contracts or creates a “foil” that highlights the protagonists qualities and characteristics)

There are a lot more different kinds of subplots, but these are some of the most common, so here are some tips for writing subplots!

Is That Necessary? 

This is the first question we should ask ourselves anytime we add anything to our stories, but especially subplots. Sometimes, authors (meaning me) will get to the end of writing their first draft and realize that they are not anywhere close to their goal word count. To remedy this, they will just throw in a cute little subplot. Unfortunately, friends, this does not work. The best, effective subplots should be integral to a story’s central conflict. If you can remove your subplot from the story without their being a big impact on the central conflict, then the subplot doesn’t really serve a strong narrative purpose. We most often see this problem arise in romantic subplots. Authors will just throw in a romance or the dreaded love-triangle as a subplot for absolutely no reason. I’m the first person to admit I love a good romantic subplot, but I also like it to be there for a good reason. That is why the Hunger Games will never go out of my top five all time books/series because despite what a lot of people think the romantic subplot in that story is essential. Katniss and Peeta’s love story is the reason they both survive the Games which is the central conflict of the book. It works perfectly, and if you want a good example of a subplot done well, look no further.

Keep the SUB in Subplot

Honestly, sometimes the subplot really is better than the main plot. That’s not necessarily a good thing, but I think we have all read a book where the main plot just drags and you just can’t wait to get back to your favorite side characters and their little adventure. But, a good subplot shouldn’t steal the limelight from the main plot. It should enhance the main plot and maybe add a layer of complexity but never overshadow. Going back to my example for the day, the Hungers Games does a really good job of this. I read something once where someone said Katniss’s romance overshadows the Games and the Rebellion, and I was like, did we read the same book? If you go back and read the books, Katniss doesn’t think about her romance with Gale or Peeta all that much. She’s mostly thinking about her own survival and the survival of her family. Both of which relate directly to the main plot. We never forget about the romance in the book because it is important, but in my opinion, it never overshadows the main plot of the Games and the Rebellion even in the first book where it’s more heavily featured. 

But, Its Still A Plot

On the flip-side of that, even though the subplot shouldn’t overshadow the main plot, it still needs to follow its own narrative arc. This is where a lot of new author’s get lost. A subplot is way more than just a short conversation or a quick event that inconveniences or helps the protagonists. All your subplots need their own beginning, middle, and end. Make sure that you definitely developed all of your story’s subplots accordingly. That includes paying attention to all of your characters’ goals, motivations, and the conflict that they experience. Generally when I’m in the development stages of the subplot, I develop it the same way that I develop one of my main plots. While they do not necessarily need the same attention or development as your main plot, developing them with the same goals in mind will only help you in the long run!

evil is a relay sport when the one who’s burned turns to pass the torch

Today is September 29th, Tadano Hitohitos Birthday!

So there's new chapter today!