ABC Of Bang Yongguk ► Q For Quotes

Tenn: Is this the guy Clem said she’d marry?

James: …

James: Clementine, can I talk to you in private please?

Clem: Sure.

James: I’m gay.

Tiefling horns that grow according to their class send tweet.

Dowoon is the confident icon we all deserve and love. That is all.

Day6 In Three Words

Jae: California chicken boy

Sungjin: He's your dad

Young K: Wild but shy

Wonpil: Walking aegyo machine

Dowoon: Is so done

Cool Tip

If you are like me and always need to be working on something to keep your anxiety under control, during this quarentine why not helping scientists by looking at pictures of some neat penguins? or even galaxies?  There’s this site call Zooniverse, where you can help on scientific projects by analyzing pictures and data!  Right now my favorite project has returned, called Penguin Watch (where yeah, you get to watch penguins, it’s amazing)

you basically have to analyse photos looking for penguins, their chicks, eggs or even predators and human interaction But there are lots of interesting projects you can help in areas such as biology, physics, history or even art: 

Oh and the best part, some institutions even accept it as volunteering/service hour requirements for graduation and scholarships!! It’s helping me a lot during this time, so I thought it was worth sharing 

beauyasha + fjorester friend support 

The Romantic Poets as people at my apartment complex

Blake: The old guy on the first floor who covers all his windows with newspaper and paints all his terra cotta pots bright red. He’s never spoken to me or anyone else, to my knowledge, but he’s been there longer than anyone. On a different level entirely.

Wordsworth: The next door neighbor with the most beautiful patio in the complex. He’s got all kinds of beautiful plants that are healthy, no matter how much everyone else’s are dying. Very chill, but don’t cross him. Has been here forever and has been known to get salty with the management when a repair takes too long.

Coleridge: That one guy a couple years back who we all thought had died because his mail was piling up outside his door, but as it turned out, he was really just asleep for two whole days (?????) and felt really bad for making everyone worry. Wherever he is, I hope he’s alive.

Byron: That young professional guy who broadly hinted that he had had sex on top of one of the washing machines in the laundry area, but wouldn’t say which one. (He may or may not have been messing with me.) Never seemed to work, but dressed really well and took Ubers everywhere. Actually pretty funny, but I wouldn’t want to go on a trip with him or anything. Sat on the balcony smoking a hookah.

Shelley: The friendly, yet constantly disheveled upstairs neighbor who worked for a local nonprofit and was always playing records at weird hours of the night. Walked very loudly and sang in the shower. Every night at approximately eight o’clock he’d laugh a singular laugh at something (”HA!”) and then he’d go to bed. He was pretty cool, just odd. Down for Nazi-punching.

Keats: That male nurse on the far side of the complex who snuck in a cat a couple years ago and probably has like a squillion of them now. Has one plant that is struggling for survival, but he’s doing his best with it. Always seems nice, but is low key intimidating. Has names for all the raccoons who forage in the dumpsters, and can be seen checking out the furniture that people discard.

Can’t believe it’s been two years...

It’s hard to be positive looking at the state of the kpop industry lately, but hopefully soon our spring will come.

♥ ♥ ♥ You did well, Jonghyun, and you will always be loved  ♥ ♥ ♥

I’m writing a book about two characters falling in love while dealing with there different mental health problems. As someone who has mental health problems, I want to be real about it but I’m also scared I’m moving my story too fast. Any tips on how to check if your story is going to fast

The general pacing of story typically relies on the depth of events, which is not to be confused with number of events. They are related, however. You can have:

A story with a lot of events that goes into depth of the events (longer story, slower pace)

A story with a lot of events that does not go into depth (longer story, faster pace)

A story with fewer events that goes into depth  of the events(shorter story, slower pace)

A story with fewer events that does not go into depth (shorter story, faster pace)

None of those are necessarily bad, but the kind of story and specific plot the writer has in mind can help determine which place on the + chart that the story should fall. Ideally, the pacing should actually vary per what the event is, but there will still be an overall trend. A story shouldn’t give as much attention to a pit stop as it would to the climax. 

Here’s a post on pacing individual scenes. (link embedded)

Checking for pacing can be a little tough, since a lot of the skill comes from general experience with many types of stories, which contributes to knowing how things should be and how to get them there. You ask specifically about checking for a fast pace, so here are some tips, but they are in no way a substitute for a beta reader who has fresh eyes and can give you an objective evaluation:

Look at the word count of your scenes, then look at the context of that word count. If your important scenes have similar word count to the less-important ones, your story may be too fast. Important scenes should naturally have more exploration which would slow them down.

Check to see if you’re telling, not showing, specifically for things that matter. Telling speeds stories up, and while it isn’t always a bad thing since some things need to be summarized, too much can make a story too fast. Showing helps make scenes more vivid and interesting, and naturally slows pacing because it takes up much more room.

A bit more about show, don’t tell (link embedded)

Three Signs That Mean You’re Telling, Not Showing (link embedded)

Do you have intermediate scenes between major events? Some stories don’t need them, particularity plot-focused ones, but a romance should be more character-focused and therefore should have intermediate scenes.They’re typically less-meaningful scenes than direct plot events, but can help show the depth of characters and help set up major events in the story, particularly if an occurrence needs some form of set-up to make sense and not seem like it’s overly convenient or coming out of nowhere.

Do you have subplots and actual obstacles? Subplots and other obstacles naturally slow down pacing, so a story without them is going to move along very quickly. The key to working well with subplots and obstacles is that they have to tie into the main plot and they actually have to provide struggle for the characters.They are not to be treated as “filler”.

What’s your ratio of dialogue-description-exposition? A well-balanced story is a well-paced one, and dialogue should only be about 40-60% of the story. Any more and it’s very likely that a story would be read too quickly and fail to . D-D-E should be interwoven throughout a story and each scene.

Can you picture the scene with what you write? Related to the previous point, description helps give the reader a mental image of what’s happening. Only read what you’ve written, not how you imagined the scene to play out, then evaluate if you can properly envision the setting, characters, and occurrences. Not enough description often means too fast of a pace.

Good luck with your pacing!

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kinnporsche in a nutshell (insp.)