A depressed guy moves into a haunted house with 7 demons, each corresponding to a deadly sin. But, they’re all trying to help him get back on his feet; Pride helps with self confidence, Lust helps him get laid, etc.
I would watch the crap outta this like wow
Envy: “Glut, back off the guy, okay?”
Gluttony: “I’m just saying he could stand to gain a few pounds! I made spaghetti!”
Sloth: “After we eat, it’s gonna be time for a nice nap. We’ve earned it!”
Pride: “Damn right we did!”
Just imagine the Catholic Church making a statement regarding this new tv show.
Wrath does nothing but encourage him to punch assholes.
“You deserve better! That was YOUR parking space!”
“He’s like three hundred pounds of muscle, Wrath.”
“And you are 165 pounds of RAGE!”
Wrath’s advice isn’t great, but he means well.
Greed spends his days trying to help him manage his budget and put money on the side
“Bro check this out i’ve got the sickest retirement plan, technically it’s tax evasion i guess but fuck those guys, right?”
This is the most hardcore sequel to Inside Out.
I wanna watch this now
Tag: writing
Write as often as possible, not with the idea at once of getting into print, but as if you were learning an instrument.
(via ariestess)
I find that, for me, the work is a safe place to put all the stuff you don’t want to put in your real life. I don’t want to be a crazy, manic asshole. I don’t want to have an affair. I don’t want to have a fucking gunfight. But! There’s a part of your brain that wants to experience everything, and so work’s a safe place to explore it all. Both in the writing and in the performing. I get to write about an affair. I get to have the guilt and the feeling of that without having to fuck my life up. [laughs]
Art is the place to safely explore all those other sides of you, because the side you want to bring home is the side that wants to be a good father and be a good husband and be a good son. In art we can be fucking nuts
Couples receive “parent points”, which they can use to purchase their children. Most parents wait for a few thousand, but you chose to buy the cheaper, 100 point child.
Shane knows what it’s like to be a 100 point child. He knows how it feels to see potential parents–potential families–come through the facilities doors, faces bright with excitement. He knows how it feels to see them reading the little plaques on the nursery doors, scanning the lists there for the right bits of knowledge and etiquette and grace that they want their baby to have.
He knows how it feels to see their faces pinch outside the window before they hurry to the next room.
Shane grew up in a 100 point nursery. They had torn, ratty, books and no teachers, and when snack time came, the tray was pushed through a slat in the door. They were called “unruly” and “damaged” and “stupid.” A lot of the other kids threw tantrums and broke furniture (and sometimes other kids). A lot of the other kids went quiet after the first few years when they realized they’d never be adopted until they were old enough (or pretty enough) to be useful. A lot of the kids cried and didn’t stop until they got taken away or were aged out.
Shane’s grown up a lot since aging out. He put himself through school, got himself a job, shed his 100 points like the torn clothes he’d left the facility in. He’s powerful now, successful, and he’s grown out of the twisted nose, big ears, and gap-toothed smile that had made him one of the less attractive 100 point babies. Or maybe he’s grown into them. Who’s to say?
It’s taken him a long time to get enough Parent Points to do what he wants. Being a man is, for once, somewhat hindering as most of society equates “parental” with “maternal.” He’s lost count of how many social workers have politely hid expressions of surprise when he told them he wanted to adopt stag, that he’s willing to take the classes, get the grades, make the oaths to get even one Parent Point.
Pete and Jane Carson were poor, so poor, and lived so far out away from town that they had trouble managing to earn many Parent Points. The points were awarded very strictly, and since their truck was…third-hand at least, well, they didn’t always make it everywhere exactly on time.
But they were so in love, and so enthusiastic about it, that as soon as they managed to reach that magical hundredth point, they practically ran to the Ward Building.
The lady took down their information and showed them all the brochures and read them all the disclaimers with a distinct air of disdain. It was obvious she thought no one had any business taking in any child worth less than a thousand points. Still, there was nothing to stop them from doing it–at least, nothing she could legally get away with–so she showed them to the hundred-point children.
It was agony making a choice. There were so many children there, and they were all so obviously in need of help. But one boy, the oldest and he was probably about seven, pointed them to a tiny child who’d been very sick lately and explained that the heat in the room didn’t work very well, and so when the little ones got sick, their tiny bodies sometimes couldn’t work hard enough to keep them warm and get them better. There was a look in his eyes that said sometimes there had been sick children who’d been eventually taken away and hadn’t been brought back.
So they took the sick child, whose name was Jakob, and gave him a home in their big, rickety farmhouse so far away from town, but they agreed. “That’s our next child.”
Note to self
Stop thinking: “I’m not talented enough to execute this concept.”
Start thinking: “I’m going to be a stronger artist when I’ve finished this piece.”
I think it’s safe to say around 90% of writers would love for you to ask them about their writing, be it OCs or plot or whatever. As for the other 10%, I think it’s safe to say they probably would not mind you asking.
So go ahead and do either of those things.
I want villains who go against the stereotypical bullshit that “evil cannot love” or whatever.
I want villains who spend months in their creepy dark lab building the death ray with their best buddy and hug each other when the superweapon is finally complete.
I want villains who fall madly in love with the other evil prince or princess they married to consolidate their power.
I want villains who tell bedtime stories to the little clone they created to be the successor to their throne and order their minions to get the clone a cup of warm milk because she can’t sleep.
I want villains hanging out with their best friends and acting like dorks while they bowl with their enemies’ skulls.
I want villains who are both evil and real, and real people have friends and families and loved ones.
Do you mean heroes?
No.
How do you get heroes from this!? What hero goes bowling
with the skulls of their enemies?I want
villains with families.I want
mad scientists helping their children with their science homework.I want villains leaving halfway though a battle because it’s
their anniversary and they are not going to leave their spouse waiting.I want villains who don’t work on Wednesdays because that’s
the day they visit their mum and take her out for tea.I want villains who hypnotise teachers to give their
children good grades.
How do you make your dialogue sound like real people talking while still managing to avoid bogging down the plot?
Dear cadencekismet,
In my first draft, I write terrible, on the nose dialog. Characters say exactly what they are thinking and the purpose of the conversation is incredibly clear. In real life, of course, it never happens that way, but if I don’t start out there, especially with high stakes conversations (i.e. fights over the tops of Volvos), I write myself around in circles trying to figure out what I actually need out of the conversation.
So instead I begin with what I need from the conversation, and when I circle back around on the next round of edits, I use observed speech patterns to fragment and color it. I often write down interesting or specific turns of the phrase when I hear them, and I always read my dialog out loud in the final rounds.
urs,
Stiefvater
How do you channel the strange, living quality of some real-life places into fictional settings? How do you go about turning the setting almost into a character in its own right? I saw you visited the part of Ireland I’m from recently; maybe it’s because I’m biased, but I’ve always thought there was some bleakly ancient quality to Donegal and I wondered how you recreate that sort of tangible personality which some places have in your fictional settings – ie the island in Scorpio Races? TY!!
Dear smellvins,
For me, writing a very atmospheric novel is a subtractive process.
What do I mean by that? You have the real world, with everything in it. Donegal, for instance, where I just was. You have every person who lives there doing every thing — the plumbers and the doctors, the cashiers and the bums. You have all sorts of buildings — cottages and clinics, grocery stores and knick knack shops. You have all sorts of days — misty one and sunny ones, hot ones and cool ones. All sorts of people — folks into the Kardashians and folks into knitting and folks into sheepdogs and folks into boats and folks into football.
Creating mood means taking away everything that doesn’t support your thesis — your desired atmosphere. So if you’re trying to lean on the ancient quality of Donegal, you pull out the pop culture references, you pull out the grocery stores with the florescent lights. You pull out the sunny, hot days. You narrow the lens until all the things you point at agree with your mood.
You can add things back in, of course, if you’re trying to balance a contemporary fantasy — you put things back in to ground you and remind the reader when it really takes place. But I add them in judiciously, and when I do, I try to lean on the same language I’d use to describe the ancient and evocative stuff. It makes it feel of a piece.
urs,
Stiefvater