fuckyeahcharacterdevelopment:

J.K. Rowling and S.E. Hinton and Mary Shelley and Ayn Rand are in trouble if that’s true.

If you write better stories and more convincing characters when your protagonists are male instead of female, then by all means, write male protagonists. Play your strengths. Female writers are not bound solely to the female voice, just as male writers are not bound solely to the male voice. Ignore anyone who tells you you’re doing your gender a disservice, because honestly? There are plenty of female writers willing and able to pick up the female protagonist slack, as it were. Write what you’re good at, and if that’s male leads, so be it.

That said, I believe well-roundedness is an important part of being a strong writer. So I will also encourage you to challenge yourself to write a handful of stories with female protagonists. They don’t have to be long stories, and they don’t have to be good; the key here is that you’re working outside your comfort zone. It flexes writing muscles and forces you into a different mode of thinking, which can work wonders for your creativity. Try it the next time you’re stuck on a main project. You’ll get to spend some time away from whatever’s frustrating you, and while you’re in that new thinking mode, you just might come up with an idea for the main work that you couldn’t have thought of while in your usual mode.

Finally, when you’re writing your male-protag stories; make sure your female supporting characters are fleshed out, developed characters. If they aren’t, or if you don’t have any female supporting characters, then you’re not doing a disservice to our gender so much as to reality. (Unless they live in a world of only dudes, which could be a thing. Or unless you’re Ira Levin.)

Hope that helps!

- Allie

thestasher:

fuckyeahcharacterdevelopment:

People don’t ‘become’ asexual. They are asexual or they are not. Someone who is unable to commit to a sexual relationship after sexual abuse has not suddenly turned into an asexual. They are avoiding sex and sexual contact for deeply personal, psychological reasons which should be explored with a therapist.

Additionally, it is perfectly possible for asexuals to have a sexual relationship. Here is a site that has a brief look at what it means to be asexual.

There is the argument that sexuality can be fluid, but I would say that someone who ‘wakes up asexual’ is just waking up to what their actual sexuality has been for a long while. That’s not to say that certain individuals aren’t justified in their sexuality ‘changing’, but I think to suggest that asexuality can be ‘acquired’ is passing it off as a ‘phase’ and not a legitimate sexuality. I would say that’s pretty offensive…

Please research before you write this character! Are they asexual or aren’t they? Perhaps your character is ‘enlightened’ to their asexuality, which might be a better idea to focus on. Sometimes, people can go a long while without truly knowing their sexual identity, which is in a lot of cases confusing and upsetting. I’m sure there will be people out there willing to give you some insight on what it’s like to be asexual if you’re willing to handle the subject with respect.

I hope this has cleared up your worry somewhat. Followers, please feel free to correct me if you think I’ve given poor advice.

enlee.

(Some helpful sources: Can one suddenly turn asexual?, Things That Are Not Asexuality)

EDIT: Oh, and I forgot to add this! We have our own article up about asexuality, so please give it a read!

This is a major thing to keep in mind when writing anything along these lines. Abuse may cause someone to become emotionally and/or physically unwilling/unable to be intimate or sexual afterward, but it does not make them asexual. There is no cause for asexuality, but there would be a cause for someone to become nonsexual in this scenario. Also, therapy has the potential to help someone who has gone through abuse (though everyone is different and some may not find therapy very helpful) but it won’t someone who is asexual, because someone who is asexual has no cause that they must learn to deal with.

nimblesnotebook-blog:

As long as the baby is born after week 34 (give or take a week), the baby should not have any complications other than those that occurred in utero during development. After 31 weeks, chance of survival is good.

Reasons for premature labor:

• Pregnancy with multiple children
• Conception through in vitro fertilization
• Using drugs
• Previous premature births
• Chronic conditions
• Infections
• Medically induced labor
• Stress
• Injury
• Cervical problems
• Kidney/bladder problems
• High fever
• Multiple abortions in the past
• Poor prenatal care

Problems for the baby:

Respiratory problems are common in premature babies because their lungs are not fully developed and are unable to expand as needed. Sometimes the baby cannot breathe on their own and will need medical help, thus making for a longer hospital stay than usual.

Problems that may occur in the baby:

• Chronic lung disease (mostly in those born before 33 weeks)
• Respiratory distress syndrome (mostly in those born before 35 weeks)
• Heart problems (mostly in those born before 30 weeks)

More:

• Premature Labor
• Preterm Labor and Birth
• Premature Labor: What Causes it
• Preterm Labor
• Preterm Labor
• Then and Now Photos: Born at 34 Weeks (33) (32) (35)
• Premature Babies
• What Happens if my Baby is Born Prematurely?

nimblesnotebook-blog:

As soon as it needs to take place.

However, you don’t want to wait too long. You want to introduce the incident and the character’s motive early on so that the reader has a reason to keep reading. You can show your protagonist’s life in just a few pages and make it effective, but I wouldn’t go much farther than that without including a motivation or at least hints of the inciting incident.

You can still write parts of your protagonist’s “perfect” life after the incident happens through flashbacks or just mentions of things that happened in the past. It can be a part of your character’s growth and development.

Write what you have planned and see how it works out. You may need to begin the story in another place, but not always. If you can pull it off, the incident can be held off for a little while longer. But your beginning would have to be really good. Another exception for holding it off would be fantasy and sci-fi worlds where world building obviously takes up more time and space than in other genres.

A paragraph presents a claim/topic, and then provides support for it

Elements of the Paragraph:

• transition
• topic sentence
• support sentences
• point sentence

Getting paragraphs to flow:

• subject alignment in paragraphs
• given-new in paragraphs

deciding on paragraph length

you don’t need to state the topic idea in words when you are continuing an idea from the previous paragraph

support/evidence

1. quotation
2. statistics
3. secondary source/research
4. comparison
5. facts
6. reasoning/common sense
7. examples
8. personal experiences/anecdotes
9. detail

transitional sentence (optional)

• should be in the first sentence to move from paragraph to paragraph
• let them know examples etc

topic sentence

• always required unless you’re continuing from the previous paragraph

support sentence

• crucial
• definitely need every single paragraph
• always

point sentence

• at the end of the paragraph
• restating your point
• amplifying or reminding of topic

should always be focused on your idea

tight

precise

stage management

may or may not involve making the production calendar

is responsible for everybody backstage

first to arrive last to leave

role is to watch the rehearsal, mark down the blocking as accurately as possible with a pencil

at ufv we have 3 ASMs

props - works with props designer/manager to make sure actors have rehearsal props, tell hem what to pull
set - work with set designer so that they can pull things
costume - works with wardrobe manager/costume designer

have to be at all the rehearsals

have to be at all the cueings

• light: technicians, director, SM, operators required for cueing + someone to walk the stage
• sound: sound designer, operator, director, SM

^ have to write down when everything happens

dress/tech rehearsal

production meetings

the entire run of the performance

set strike

ASM sometimes has to stand in for an actor

may need to prompt lines

• noting any paraphrasing

learn to anticipate the director

listen to discussion and make notes, ask questions

• makes notes
• inform anyone this involves (managers/designers)
• never let an actor take it upon themselves to change something

ASMs take notes

not your job or place to direct

• you may not agree
• you may not like it
• that’s just the job
• it’s not your problem

keep track of what’s borrowed and what’s what

make sure you know all the technical details for the set

be prepared for all case scenarios

at some point in the process take your cast and crew on a safety tour

stage crew is trained for evac

backstage should always be safe and clean and tidy and organized and quiet

make a clean up list

process during auditions need a stack of scripts and audition forms and pencils etc be nice friendly

make sure the cast is aware of the times that they have to be available

may or may not have to call the cast/not cast

during the read through

• often invite crew
• tech students
• always make sure you have pencils and paper
• may have rehearsal schedules
• may be fitted/booked for fitting/measured

make notes on audition forms whether or not your appearance can be altered

spiking out the set

start prompt book

stage manager’s kit

a variety of things

• stopwatch
• reading light
• flashlights
• pliers
• hammer
• screwdriver
• tape measure
• exacto knife
• lighter
• string
• tape
• spike tape
• duct tape
• masking tape
• electrician tape
• scotch tape
• stapler
• staples
• glue stick
• pencils
• ruler
• sticky notes
• felt pens
• rubber bands
• toothsticks
• cough drops
• tums/rolaids
• bandaids
• ibuprofen
• kleenex
• safety pins
• sewing kit
• tensers
• hand sani
• paperclips

prompt script

• 3-ring binder

ground plan

• one for every page of the script
• opposite page from that page’s copy

should have a

• title page
• key
• cast list - emails addresses phone numbers
• crew list - “ ” “ ”
• prop list
• set list
• rehearsal schedule
• calendar
• costume list
• all typed out neat and organized
• the script
• number pages according to script page
• number lines

give warning cues

script will get busy

WT 322-330

drafting instructions:

five introductory moves:

1. identify your topic (state subject/topic)
2. state your purpose (make stance, signal word, thesis statement)
3. offer background info on topic (mention information on the topic, minute summary)
4. state main point (state your purpose, what you’re going to do)
5. stress importance of topic (make them want to read)

*do all five

grabber:

1. ask interesting question
2. state a startling statistic
3. make a compelling statement
4. begin with quotation
5. use dialogue

use a lead to draw in the readers
using the state of existing research

drafting conclusions

five concluding moves:

1. signal clearly you are concluding
2. restate your main point
3. stress importance of your topic again
4. call your readers to action
5. look to future

*do not have to do all five

WT 524-528

sentence fragments

errors in which partial sentences are treated as complete sentences

1. subordinate clause fragment (dependent clause fragment): a clause (any group of words containing subject and verb) that depends on atleast another (independent) clause to complete it by creating a single sentece.

eg. Although the marriage ceremony started late.
As soon as Melissa arrives in Halifax.
Which isn’t very big.

2. phrase fragments (missing piece fragment): a group of words punctuated as a sentence but missing one or both of the essential parts of a sentece: the subject and the verb.

eg. Won an award for creativity.
The puppy under the bed.
During their lunch break.

to correct a dependent clause fragment, join it either to the sentence that comes before it or to the one that comes after it - hichever linkage makes the most sense.

to correct a missing piece fragment, add whatever is missing: a subject, verb, or both.

James wept. <- independent clause
When his dog died. <- dependent clause
> James wept when his dog died. <- corrected

dependent clause fragment

begin with subordinate cues
not a complete thought

subordinate cues

connects a dependent clause to an independent clause

coordinating conjunctions

for
and
nor
but
or
yet
so

connect independent clauses
James wept. <- independent clause
Jane gave comfort. <- independent clause
James wept, so Jane gave comfort.

comma splice

James wept. <- independent clause
Jane gave comfort. <- independent clause
James wept, Jane gave comfort. < - comma splice
> James wept. Jane gave comfort. <- corrected

phrase fragment/missing piece fragment

missing the subject or the verb or both

semicolon

separates independent clauses (weak period)

review: a writing genre that features a reviewer’s informed opinion avbout a subject

overview

• introduction
• description
• discssion
• conclusion

orgnnizing and drafting review

• the intro
• description or summary of subject
• discussion of strengths and shortcomings
• conclusion

summary in review

informed opinion about subject

summary is keeping essence

review is adding opinion

writing to someone who hasn’t seen it

assume they know next to nothing about the topic/subject

assume they are mature well educated from upper social class

harpers, atlantic monthly (high) times magazine (lower)

formal review

pitch it to the appropriate audience

back it up with evidence from the text

INTRODUCTION

• identify your topic
• basic premise of story
• background information
• establish opinion - overall assessment
• thesis statement
• 1 paragraph

going in/prewriting

• understand what the genre is
• generate a list of expectations
• be open minded
• has to do the main things properly
• need to know what it’s made up of

academic expectations

• formality
• knowledge on your topic
• originality
• advances knowledge and addresses an important topic
• shows existing knowledge in the field and compared to similar texts on similar topics
• detailed in-depth analysis and sufficient research and evidence
• make a sound argument and takes a reasoned critical stance
• terminology/jargon specific to the field
• organized

description/summary of subject

• describe/summarize the essence of the film
• length depends on depth of movie
• 1-2 paragraphs to give a sense of the movie
• more summarizing will be involved in next step

strengths/shortcomings

• main body of the review
• largest part
• topic sentence at the beginning of each paragraph
• [statement at topic] [support of claim with evidence - reference specific scenes]
• don’t go to the film world
• go into specifics

conclusion

• remind reader of thesis
• conclude