nimblesnotebook-blog:

The best would be to ask someone who is pansexual or demisexual. Anyway…

PANSEXUAL

There are a lot of definitions for pansexuality, but they all essentially mean the same thing, which is: pansexuality is a sexual orientation in which an individual finds attraction in people of all genders and sexes.

Here is a longer definition.

Here is another definition.

Some pansexual people feel they are genderblind, but it’s important to remember that gender can be a very important part of someone’s life and many pansexuals respect that. So be careful with that term if you use it for your character.

More:

• Ask a Pansexual
• Critique of Captain Jack Harkness’s Pansexuality
• Some Differences and Similarities Between Bisexuality and Pansexuality
• More Links

DEMISEXUAL

This blog has many resources, posts, and a definition at the top of it on demisexuality.

Here is another definition.

More:

• Helpful Links and Blogs

Unfortunately, that’s all I’ve got. Maybe a pansexual or demisexual (or both) person could write a guide?

It is commonly considered that a human life, no matter how new, is not something that one can just take away. 

Most people are familiar with the topic of abortion and the debate surrounding it. Less common is the debate about neonates, and whether or not it is moral to kill a newborn. In his article “Neonate Killers,” Corby Ferrin argues that one person killing another a mother killing her newborn child should not be considered murder if because the deceased does not possess certain traits of self-consciousness. However, the author presents an ineffective argument for several reasons: few credible sources are given and he doesn’t present any credentials of his own, he does not provide a cohesive balance between specificity and broadness, and he seems to rely too heavily on speaking against the emotions attached to the topic.

• Virginia in Berlin (industrial workers beating her)
• Everard and Monica (him confronting her about her lie)
• Rhoda reading the letter

Alice: Dear Rhoda, I must inform you of a matter of a desperate and urgent nature.

[lighting cue, changes from Alice to Rhoda, who is holding the letter]

Rhoda: We do not believe that Everard is who we have been led to believe.

Rhoda: Monica has just returned from a visit to the physician and he has informed us that she is with child.

Rhoda: It has come to our attention that Everard and Monica were engaged in a relationship in which he used her to sate his desires while he waited for you to open yourself to the idea of his supposed love.

Rhoda: We have strong reason to believe that Everard Barfoot is the father of Monica’s child.

Rhoda: Mary is appalled in the light of her cousin’s infidelity and we urge you to return to the school with immediacy so that we can settle this matter.

Rhoda: We are worried for you. Sincerely, Alice Madden.

steps for a single playwright:

• genesis/idea (an event that happens, word or conversation, a message)
• character
• plot
• script > reading > workshop > performance > publish
• could be written collaboratively

tombtea:

What it is:

• writing characters with 2D representations of mental illness where the only impact it has on their life and their world is to make them more endearing to the love interest
• consuming media with the above uncritically
• treating neuroatypicalities like they’re just quirky and funny and don’t deeply impact a person’s life in debilitating and othering way
• relating traits like fragile beauty, quiet dignity, etc to people with mental illness
• using people with mental illness as inspiration porn
• trying to be a savior and “fix” people or giving shallow advice- you are not a doctor

What it is not:

• talking about your mental illness
• coping with mental illness
• accepting and living with mental illness
• mental illness as a part of someone’s identity
• taking medication or going to therapy
• teenage girls writing posts about how depressed they are (calling this romanticizing mental illness without any more critical analysis reeks of misogyny)
• having multiple facets of neuroatypicality (example: being bipolar AND having depression)
• self harm
• suicidal ideation
• asking for help

*For the sake of clarity for those who may not know what neuroatypicality means, I am using the term mental illness interchangeably here though I recognize they are not necessarily the same word and that some people, myself included, have strong feelings about the term mental illness.

slitheringink:

You can take literally any existing power set and pump it up to God level. Gods don’t necessarily have to balance with all of the characters in your story, or even your world if you don’t want them to, but they should at least balance with characters of similar power levels.

As far as common power sets for Gods go:

• Omnipotence – Knowing everything, past, present and future. Honestly there’s nothing more powerful than being able to know it all because you can do anything with the power. It’s also very hard to balance. The only way I’ve found to make it work is that the gods themselves limit their own power, choosing not to use it in order to promote free will.

• Telekinesis and Telpathy –Refer to: Power Primer 2. Both sets can easily be pumped up to God level at the high end.

• Probability Control – Essentially, you can control fate, influencing the outcome of events however you wish. It’s sometimes referred to as luck control.

• Time Manipulation –Bend time to do your bidding! You can do this on a large or individual scale. Change major events in a timeline, stop time, speed up time around just an opponent to turn him to dust (if he ages), speed up time around yourself to grant super speed, pre/postcognition, teleportation, create alternate realities or rewind time. This is a fun power set to get creative with.

• Space Manipulation – Think of this power as the ability to warp what we know as reality in a fashion that would be against the laws of physics and the universe. You can control anything that exists and do anything with it. Some examples would be the ability to create pocket dimensions or portals, control people like puppets, change how gravity works, remove portions of people’s bodies, perfect awareness of your surroundings and environmental control. Say someone tried to blast you with fire. Well that fire is now a chicken, the ground your opponent is standing on is now upside down, you’re standing in mid-air, that chicken is now a dragon and you’ve manifested a bucket of popcorn to eat while your opponent gets mauled. Why? Because you can. Sometimes this is referred to as reality warping or the “Whatever, whatever, I do what I want!” set.

• Matter Manipulation – Different than space manipulation because it allows for complete control over anything in the universe that has substance/mass/a physical form. You can’t really control truly invisible and theoretical forces with this set but you can manipulate atoms, molecules and the like.

• Energy Manipulation – Control energy in whatever form it takes.

• Elemental Mastery – Complete control over one or more of the elements.

• Life Mastery – Create and control any form of life as well as the ability to completely erase it from existence.

• Invulnerability – You are immune to all or certain types of damage/powers. Being immortal doesn’t mean that you’re also invulnerable, though traditionally a lot of characters with invulnerability are also immortal.

Remember, how you limit these sets is going to determine the power level for your character. You can do everything or only certain things within each of the power sets.

I hope that was useful. :)

-Morgan

lulu-llama:

1. Absolutely certain or sure/essential/guaranteed: Someone who is certain or sure is already without doubt. Something that is essential is intrinsically absolute. A guarantee is by nature absolute (or should be). Abandon absolutely in such usage.

2. Actual experience/fact: An experience is something that occurred (unless otherwise indicated). A fact is something confirmed to have happened. Actual  is extraneous in these instances.

3. Add an additional: To add is to provide another of something. Additional is extraneous.

4. Added bonus: A bonus is an extra feature, so added is redundant.

5. Advance notice/planning/reservations/warning: Notices, planning, reservations, and warnings are all, by their nature, actions that occur before some event, so qualifying such terms with advance is superfluous.

6. As for example: As implies that an example is being provided, so omit for example.

7. Ask a question: To ask is to pose a question, so a question is redundant.

8. At the present time: At present means “at this time,” so avoid the verbose version.

9. Basic fundamentals/essentials: Fundamentals and essentials are by their nature elementary, so remove basic from each phrase.

10. (Filled to) capacity: Something filled is done so to capacity, so describing something as filled to capacity is repetitive.

11. Came at a time when: When provides the necessary temporal reference to the action of coming; at a time is redundant.

12. Close proximity/scrutiny: Proximity means “close in location,” and scrutiny means “close study,” so avoid qualifying these terms with close.

13. Collaborate/join/meet/merge together: If you write of a group that collaborates or meets together, you imply that there’s another way to collect or confer. To speak of joining or merging together is, likewise, redundant.

14. Completely filled/finished/opposite: Something that is filled or finished is thoroughly so; completely is redundant. Something that is opposite isn’t necessarily diametrically opposed, especially in qualitative connotations, but the modifier is still extraneous.

15. Consensus of opinion: A consensus is an agreement but not necessarily one about an opinion, so consensus of opinion is not purely redundant, but the phrase of opinion is usually unnecessary.

16. During the course of: During means “in or throughout the duration of,” so during the course of is repetitive.

17. Definite decision: Decisions may not be final, but when they are made, they are unequivocal and therefore definite, so one should not be described as a definite decision.

18. Difficult dilemma: A dilemma is by nature complicated, so omit difficult as a modifier.

19. Direct confrontation: A confrontation is a head-on conflict. Direct as a qualifier in this case is redundant.

20. End result: A result is something that occurs at the end, so omit end as a modifier of result.

21. Enter in: To enter is to go in, so throw in out.

22. Estimated at about/roughly: An estimate is an approximation. About and roughly are superfluous.

23. False pretense: A pretense is a deception, so false is redundant.

24. Few in number: Few refers to a small number; do not qualify few with the modifier in number.

25. Final outcome: An outcome is a result and is therefore intrinsically final.

26. First began, new beginning: A beginning is when something first occurs, so first and new are superfluous terms in these cases.

27. For a period/number of days: Days is plural, so a duration is implied; a period of ora number of is redundant. It’s better to specify the number of days or to generalize with “many.”

28. Foreign imports: Imports are products that originate in another country, so their foreign nature is implicit and the word foreign is redundant.

29. Forever and ever: Ever is an unnecessary reduplication of forever.

30. Free gift: A gift is by definition free (though cynics will dispute that definition), so free is extraneous.

31. Invited guests: Guests are intrinsically those who have an invitation, so invited is redundant.

32. Major breakthrough: A breakthrough is a significant progress in an effort. Though major is not directly redundant, the notable nature of the event is implicit.

33. [Number] a.m. in the morning/p.m. in the evening: The abbreviations a.m. and p.m. already identify the time of day, so omit in the morning or in the evening.

34. Past history/record: A history is by definition a record of past occurrences, and a record is documentation of what has already happened. In both cases, past is redundant.

35. Plan ahead: To plan is to prepare for the future. Ahead is extraneous.

36. Possibly might: Might indicates probability, so omit the redundant qualifier possibly.

37. Postpone until later: To postpone is to delay. Later is superfluous.

38. Protest against: To protest is to communicate opposition. Against is redundant.

39. Repeat again: To repeat is to reiterate an action, so again is unnecessary.

40. Revert back: Something that reverts returns to an earlier state. Back is superfluous.

41. Same identical: Same and identical are just that (and that). Omit same as a qualifier for identical.

42. Since the time when: Since indicates a time in the past; the time when is superfluous.

43. Spell out in detail: To spell out is to provide details, so in detail is repetitive.

44. Still remains: Something that remains is still in place. Still is redundant.

45. Suddenly exploded: An explosion is an immediate event. It cannot be any more sudden than it is.

46. Therapeutic treatment: Treatment in the sense of medical care is by nature therapeutic, so the adjective is redundant.

47. Unexpected surprise: No surprise is expected, so the modifier is extraneous.

48. Unintended mistake: A mistake is an inadvertently erroneous action. The lack of intention is implicit.

49. Usual custom: A custom is something routinely and repeatedly done or observed, and usual is redundant.

50. Written down: Something written has been taken down. Down is superfluous. 

nimblesnotebook-blog:

Androgynous as in fashion? Or non-binary characters?

Fashion:

If you meant fashion, here is a blog dedicated to that.

Gender:

There’s probably some stuff in my queer characters tag, as a start (there’s also tips on writing queer characters in general and what not to do). Even better would be a blog called Ask a Non-Binary. Here is another blog with tons of resources. And here is an extensive post from Write World

fictionwritingtips:

Writing about fear isn’t just about writing a scary scene or working on a horror novel. Writing about fear is about understanding your characters and what really terrifies them. Since we all don’t share the same fears, it can be difficult to get your readers to understand what your characters are going through. You need to write in a way that convinces the reader that your character is really scared by using all the senses—without flat-out telling them.

Showing fear through your writing is a very effective way to reach your audience and to write an intriguing scene. First off, let’s start off with some body language that shows fear.

• Someone who is afraid might not might eye contact with whoever they’re afraid of. On the other hand, in a more intense situation, they might have a wide-eyed stare. For example, if someone is hiding their fear of another person, that’s when they might avoid eye contact. If something scares them suddenly, they might have the wide-eyed stare and have unwavering eye contact.
• A scared character might be breathing heavily (maybe through the nostrils) and might have a clenched mouth. It’s likely that most of their body will be clenched, think tightened muscles and clenched fists, and they might be stuck in one spot.
• They might be sweating or shaking as a result of excess adrenaline. Their feet might be turned away from the person they’re afraid of, subconsciously ready to get away. Some people might hunch or slouch and other people might stand taller and become more aggressive. It all depends on the situation.
• Nervous behaviors such as tapping legs, crossing arms, or fidgeting might indicate fear. Rocking back and forth might also be from fear.

All of these body language suggestions should help you shape your character and how they experience fear. However, this is just one part of writing fear. Explaining why someone is so afraid could be just as important. Creating a back story, even if you don’t reveal it for a while, will help YOU and your readers understand why your character is so afraid. Knowing the intricacies of your character’s fear is important and it will help you translate it into your novel.

The emotional implications of fear also need to be explored in order to strengthen your novel. That fear might somehow manifest itself into their daily life, which will make your character development stronger. Someone who is afraid might have trouble dealing with that fear and might develop depression or distrust issues. Fear can often cause nightmares, trouble sleeping, or other health issues that will make their lives uncomfortable. Even after someone “gets over” a fear, there might be some residual issues. They might still be dealing with it for the rest of their lives.