(ง'̀-‘́)ง

“Obi-Wan picked up Anakin’s lightsaber. He lifted his own as well, weighting them in his hands. Anakin had based his design upon Obi-Wan’s. So similar they were. “

honestly my hc for when Anakin uses a fake name is he picks the name of someone he loves (Kitster, Sheev, Obi-Wan, etc), and then he goes with like a different last name from someone else he loves, (Whitesun, Tano, Kenobi, Naberrie, etc)

anakin put on the spot: oh um shit yeah um my name is um sheev....kenobi

employee who asked for his name to put on his star wars starbucks coffee cup: ok

anakin now thinking about his ancient old buddy sheev marrying his best most handsomest buddy obi-wan: um actually can i get a do over

employee: on your drink order?

anakin: umm on my name

employee:

anakin, sweating and now picturing sheev and obi-wan's passionate yet tender wedding night: please

employee:

anakin:

obi-wan, standing next to him holding a cup with 'ben :) ' on it, picking up every thought in anakin's head because his shields are down and he is projecting into the force: please can he have a do-over.

original character in chinese wuxia style of 旋风博文

some undercover mission doodle 🤔

they are older (Hobie is 22 and Miles is 20), so they are allowed on more complicated missions.

but they r not dating (yet), currently torturing everyone with their 5-years-and-counting slow burn 😔

In a lecture series on Youtube, #1 New York Times best-selling author Brandon Sanderson talks about the three P's of plot structure: Promise. Progress. Payoff.

Promises are particularly important in the beginning of the story, as they draw in the audience.

Progress keeps the audience invested, particularly through the middle of the story. If there is no sense of progress, then the reader feels as if the plot isn't going anywhere.

Payoff is what fulfills the promises of progress. It rewards the audience for sticking around, and if done properly, creates a feeling of satisfaction at the end of the story.

While all three can be tricky in their own right, many writers struggle to create a proper sense of progress, which can lead to saggy middles.

Luckily, Dramatica Theory breaks plot down into eight story points that essentially encapsulate progress.

If you apply them to your stories, your writing will always have progression through the middle.

1. Goal - Every story has a goal. It may be a goal of aspiration, such as becoming a top chef. Or it may be a goal of thwarting something, such as stopping a murderer. Whatever the case, a story's goal is what enables us to measure progress. If there is no goal, then what one does, doesn't really matter. We have no orientation or purpose, so there is no sense of moving forward or backward. The goal allows progress to happen.

2. Requirements - In order to achieve the goal, something is required. This can be broken down into two variations. In one, the characters must follow an order of steps, like following a set of directions. In the other, the characters must do or obtain things in any order, like a shopping list. The characters in Jumanji, for example, have the goal to restore the world to normal. The requirement is to win the game. But they must do this in a proper order--they can't skip turns.

3. Consequences - Consequences are what happen if a goal isn't achieved or hasn't yet been achieved. In some stories, the protagonist is trying to prevent the consequences, but in others, the protagonist is trying to stop the consequences that are already happening. Consequences might be thought of as overall stakes. In Ralph Breaks the Internet, if Ralph and Vanellope don't buy a new steering wheel for Sugar Rush, then its characters will be homeless.

4. Forewarnings - Forewarnings convey that the consequences are getting closer, becoming worse, or becoming permanent (depending on the story). If a dam is in danger of breaking, then a forwarning may be a crack that shoots out water. In Back to the Future, Marty's family slowly disappearing from a photograph works as a forewarning.

5. Dividends - Characters will likely receive small rewards for little successes along the journey to the goal. These are dividends. For example, on her journey to fight in the war in her father's place, Mulan is rewarded honor and a place in the military when she is able to retrieve an arrow from a wooden post that none of the men could get down.

6. Costs - Just as the journey may include dividends, it also entails costs. These have negative impacts on the protagonist's well-being. In order to win The Hunger Games, for example, one must be willing to kill others, which also includes psychological trauma. In order for Frodo to get to Mount Doom to destroy the Ring, he must suffer a loss of innocence. This is a cost.

7. Prerequisites - There are often certain essentials one must have, to pursue the goal at all. These are prerequisites. Prerequisites on their own don't bring the goal closer. This is why they aren't requirements. In Interstellar, a spaceship, equipment, and astronauts are needed to travel space to find a new home (goal). But simply having those things doesn't necessarily mean the characters are closer to discovering a liveable planet.

8. Preconditions - Preconditions do not directly relate to the goal. They are "non-essential constraints or costs placed on the characters in exchange for the help of someone who controls essential prerequisites." In Karate Kid, a prerequisite is that the protagonist must receive extra lessons from a master, but the master adds the precondition of doing chores. One does not technically need to do chores to do karate.

Some of these points are more direct--like requirements--while others are more indirect--like preconditions. The direct points will usually be more intense than the indirect. As you apply these elements to your stories, you'll create a sense of progress--especially through the middle, which will help make any story more satisfying.

Y’all think about those rare times when Batman talks about his sons before they were introduced to the justice league he talks bout his ‘babies’

Batman: ahh yes nightwing, he’s my little boy. Always is full of energy. I love him. He’s just a happy little boy. In fact I have called him here and there he is, my little boy, a bundle of joy he is.

Nightwing: *a fully grown man with the height of 6’0 and almost the size of Batman himself* hey guys :D

JL: that’s not a little boy???

Batman: *pointing to red hood* this is my baby, he’s just a precious baby and I love him so, he is fragile so please don’t make contact. He’s so cute and precious, he’s my precious baby boy.

Redhood: *a 6’2 man, absolutely covered in guns and is the size (if not slightly bigger) then Batman himself, glaring at all of them* don’t talk shit b

Batman: language.

JL: THATS NOT A BABY BOY???

Batman: this is my other son, he is my little genius. He’s so full of innocence and so pure, I love him dearly. Don’t be fooled by that stare, he’s so full of love he can hardly contain it. In fact he is friend shape.

Red robin: *staring down the JL with his Batman glare, already in a fighting stance* I will not hesitate

JL: I do not feel safe

Batman: this is robin, my son. He is very nice, though he might pick at you slightly, he is harmless. He can be prickly be warned but overall he is such a lovely baby and I love him so much

Robin: *gripping his swords, glaring at them ready to fight*

JL: oh my god we’re gonna die

The fact that i first watched the original and prequel trilogy as a kid and ive watched episode 1, 5, 6 and 4 so much but watching the remaining two still has me needing to prepare myself because ep 2 has so much cringy Anakin like goshdamn this disaster man somehow managed to seduce the most beautiful woman in the galaxy and ep3 is this messy divorce where everything is just tragic. (And yes the divorce happens two times in my mind, with palpatine being that fucking bitch).

(The actors are so great, damnit can't believe Hayden Christensen shows how perfectly disastrous this pre-Darth Vader fuckaround Jedi is, and Ewan McGregor has done a fantastic Obi-Wan, he is so wet cat, bitchy elegant slut that he is, and Natalie Portman's Padme is so wild, so tragic and so ready to throw down i still love that she could have been using the Force and in another world was ready to kill her husband)

(I still say a threesome would have solved the galaxy they all had chemistry that now i as an adult can fucking see)

based on a true story

for mia (hope you enjoy Ya Nasty)