OH YEAH, ALSO THIS

YESYESYESYESYESYES OFCCC I WOULD LOVE A FANCOMIC ‼️‼️💥💥💥 /gen /nf

Another mini post where i yap abt random things.

anyway- a few things (in my opinion) that at some point NEED to happen between the Murder Drones main cast;

A heart to heart convo between Khan and N,

A serious and long overdue father-daughter convo between Khan and Uzi,

A heart to heart convo between J and N,

And a heart to heart convo between V and N.

voll commission for @nilnaea ( : thank you for your patience!

Out of Touch

Novels are not movies.

Visual media has taken on the world by storm. It’s the next big thing in the evolution of humanity, maybe. It’s quite certainly changed the way we entertain ourselves. And with the recent spread of short-form content, visual media has also become cheap, disposable, and easily accessible to the masses—perfect recipe to make a product famous.

Alright, I’ve been a little too dramatic, lol. But for real, I’m one of those who’s severely addicted to Instagram Reels. Whenever I’m done scrolling, I feel like I’ve completely wasted my time—I could have read a novel, watched a movie, or caught up with my favorite mangas. But instead of all those ways to relax—and believe me (pwlease) that I only open Insta to relax, when I’m free—I just waste my time.

I love my novels and manga, mind ya, so when I catch myself wasting precious time that I could have instead used to consume them, I cuss myself. And then I go scroll some more Insta, because I’m an absolute idiot.

Anyway, back to the topic. Visual media has absolutely taken over our lives. I won’t go into the debate of whether this is a good thing or not, but we all can agree that it’s an undeniable fact. Video is everywhere.

Because—and lemme repeat myself—it’s cheap, disposable, and easily accessible today.

And because of such exposure to video storytelling, beginning authors forget that novels are not a visual medium. Yep, here goes my rant.

***

#01 - The Problem

The problem is simple—these kids have too much access to their smartphones. And these smartphones are filled with videos, like a dustbin with its lid hanging on because of all that garbage overfilling it. (Damn, I sound like a boomer.)

And therefore, when these new authors begin writing, they can’t help but imagine a sort of movie or a TV show as their story. And that’s where the problem is—novels are not supposed to be movies.

Movies are a visual media. That means they’re composed of pictures. Images. But guess what novels are composed of?

Text. Words.

It seems pretty basic. I mean, everybody knows this distinction. But what they don't know, however, are the implications of this distinction.

Personally, I began writing with film-novels too. And those novels are bad. Genuinely. I cringe at the fact that I could even mail editors and believe they’d accept them. Good thing they never did.

What’s a film-novel, though? Well, the idea is pretty clear—it’s a novel, but imagined in the form of a film. So, it’s like a film, but in text.

It’s like you’ve written the film as a novel, instead of writing it as a screenplay or something, maybe.

But you’d ask me—why? Why is it even a mistake? Everybody has a different writing style. And to that, I’d tell you one thing—the audience. The audience is different. The media is different. You can’t expect a cinephile to read your book. And since it’s not like a professional novel, a (Googles the correct term) bibliophile certainly won't.

So, who’s gonna read your story?

No one—because it’s neither a film, nor a novel. It’s a film-novel, an illogical mix of the two.

Everyone drinks water, and everyone likes ice-cream. But you can't… No, I’m not even completing that sentence. Ew.

Anyway, you get the idea, lol.

***

#02 - Identify

So, what does a film-novel even look like?

And for that, ladies and gentlemen, I present to you,

The lean figure was standing on the other side of the railing three floors up on the ground of the school building where children below were shouting and kicking football upon each other, wearing white football jerseys. The figures, as they ran all over the ground, seemed very small as I looked at them. The goalkeeper of the right side, who was just beneath my white shoe, kicked the ball so hard that it flew in air and went directly to the other foot of mine. The other players shouted “Whoaaa!” as they saw the ball flying. But suddenly, two of them looked upwards and saw me. One of them pointed towards me and then shouted, “Hey, who’s he?!” All the other players started walking towards that boy who was in the middle of the field with their heads tilted up above on me. Another one shouted, “Hey! What’cha doin’, eh?!” My narrow eyes, which had dark spots beneath them, looked at the boys from behind my spectacles. I then moved my head a little up and saw my shiny gakuran jacket fluttered by my shiny yellow colored buttons as the wind started blowing from my left side. I was able to feel the wind dancing upon my soft skin as I closed my eyes and turned my head upwards. I took a deep breath, and then exhaled it out with my mouth. I then again took a breath. This time, when I exhaled it out with my mouth, I was able to feel the saliva of my mouth upon my lips. I tilted my head and turned towards my arm, which was trembling a little. Both of my hands were still holding the railing of the school’s rooftop. I then turned left and then looked on my other arm. “Hey! Get down!” One of the persons from beneath shouted. I turned my narrowed eyes towards the ground, the teachers, a large gang of footballers and students, and some even workers had gathered in a circle. I turned my head towards the front. I looked at a couple of brown colored and blue-green colored houses in front of me, which stood high and mighty. Beneath them was the clear blue sky.

A wall of text!

Warning: you don’t really need to read all of it. But you probably did, lol.

Anyway, it’s the opening scene from one of my first novels. And, as much as I hate to say this—it’s pretty sh*t. It has a lot of problems—no paragraph divisions, for example, as well as a lot of grammatical mistakes too. But the biggest problem with the text is that it’s just images.

Reading this text, I dare you to highlight one single sentence that might tell you anything about the narrator.

The narrator is narrating the motions, not the emotions.

(Damn, that was a dope line to say, man.)

The narrator is only telling you about the images and actions and dialogues and thoughts. Even though it’s in first-person POV, you feel distant from the narrator. And, even in third-person POV, authors are supposed to make sure the distance between the narrator and the reader remains at a minimum.

That’s how you get a film-novel—that’s filled with scene-descriptions, actions, and dialogues. There’s no narrations in it. The readers don’t know the thoughts of these characters.

***

#03 - Is it really a problem, though?

Well, you might ask me—is it really such a big problem?

Heck yeah.

The reason is pretty simple, actually—no one wants to read a film-novel. These novels are filled with only descriptions and actions—that’s too much of mental effort. these novels make their readers keep on imagining stuff, and no reader wants to do that.

Because it’s easier to look at pictures than to imagine them based on text. And that’s why your film-novels won’t work.

See, you need to understand this—novels are different than film. Sure, novels are a form of storytelling too, and they do include visual effort, such as descriptions, action, and all that. But, all that is not the main selling point of a novel.

The main selling point of a novel is the emotions. Emotions captured in words, in situations—caught in context like a butterfly in a child’s hand. Films can display emotions, but novels put those emotions into words.

Narration is what forms the greatest part of a novel. Narration is where a novel actually shines. Narration is what the readers come to read.

And, as you could guess, films don’t narrate. Consider this,

And rain made him feel like crying. He gulped down, trying to keep the lump of his throat in check. He couldn’t cry in the middle of so many other kids. They’ll ask questions, and what will he say to them, huh?

He was sorry.

For what?

For everything he did. And for everything he didn’t.

The day had just begun. It’d be long before it ends, y’know. He just couldn't wait for it to end. There was no lifting up his mood. Not until tomorrow.

How do you display this in a film? The answer—you can't. However hard you try, you can't.

Such narrations are where the art of novels shine. Such narrations are what differentiates a novel from a visual media.

***

#04 - Is it really a problem, though? (pt.ii)

All this talk constantly reminds me of Cormac McCarthy’s The Road. It’s a literary achievement and really experimental in a lot of stuff that it does. For example, the novel has no dashes or apostrophes—and it’s not like these punctuation marks were not needed, they’re just not used. So, you’d find a lot of grammatical mistakes throughout the text.

And also, one thing that McCarthy ignored—and that’s relevant to the discussion we’re having—is that there’s literally zero narration. Zero.

McCarthy adopts a style that’s similar to a third-person POV, and is kinda like how I used to write when I was little—just with paragraphs and better scene-descriptions and action-descriptions. A lot better, as you can observe if you read his work.

Anyway, he didn’t have any narrative elements in his text. So the readers don’t really know what these characters are thinking or planning to do. They just know that these characters are somehow surviving.

I don’t wanna give away most of the plot of the novel, but the basic premise of the novel is that there’s a father-son duo who’s been caught in this apocalypse-type situation, and are traveling down the road to the south part of the country to escape the harsh winters that the north experiences. The novel doesn’t reveal a lot—the readers don’t know the names of these characters, the thoughts of the characters are hidden most of the time, and you don’t know what actually happened that most of humanity is dead and society is completely gone.

Now, McCarthy did it for a reason. A scarcity of punctuation marks reflects a form of scarcity in the scenery around them. Because most of it is, well, gone. Humanity is gone, and stuff is decaying. You don’t find fresh food anymore. Scavenge all you want—one day, all the canned food will expire, and there will be nothing to eat. Except fruits and veggies, that need to be grown somewhere. And nobody likes the latter, honestly.

And the scene-descriptions are so tough to read. They’re an actual pain. I have had a really hard time deciphering most of it, because the vocab is too high, and probably the sentences do not flow into each other easily. I can’t say anything about the sentences if I don’t understand them, y’know.

But, man, maybe that’s how it’s supposed to be. Maybe that’s why McCarthy wrote the descriptions in this way—to symbolize the mental stress that the characters go through as they experience this world, this form of reality that they were not meant to be in.

And maybe the novel is so lacking in narrations because the characters’ minds have gone numb. They’re forgetting language. With almost zero human interaction most of the time, they are forgetting how to think and interact in words. You lose the skills you don’t really use anymore, y’know. And these guys are so obviously depressed, so they don’t think about the world. They are used to the sad reality they live in. No point in complaining how bad the food is if that’s all you’re gonna eat all your life.

So, a scarcity of narrations tell you a lot about the story and its characters. It reflects something, it symbolizes something. The Road is a masterfully crafted piece of prose, please don’t get inspired to write in this style just because. This style won’t work on most of the stories.

Yeah, just because he wrote like this means you can too. Let me tell you, dear reader, that all of what we call rules are meant to be broken. Nothing is absolute. But here’s the catch—you can’t break the rules just because you don’t know how to apply them.

Authors need to learn these rules, because that’s what constitutes most of the written prose. That’s what forms the basics of the craft. So, learn them, understand them, and know how to use them. And then make a conscious decision not to use them.

See, these rules are like tools or weapons in your arsenal. And you need to keep your arsenal ready for everything. And then, you can decide which weapon to use, when to use it, and how to use it. Because you don’t know what sort of idea hits your head next and you’d suddenly need some of them.

***

#04 - Solution

So, how to make sure your novel actually comes off as a novel and not a film-novel? Unfortunately, the answer to that question… is that I don't know.

I know this sounds so absurd, but it is what it is. As someone who’s so recently started studying prose, I know this problem exists, but I still don’t know how to fix it. You could say I know my novels are film-novels, and I’m trying to fix it. But I, personally, am having a lot of trouble with it.

However, one way I can recommend is to write from your character’s POV, not your POV. You probably imagined your story as a film, but that’s now how you’re supposed to write it. Get into your characters’ head, see what they’re seeing, and write that.

But it’s tough. For me, at least. I always find myself going back to my old ways, and I think I need to re-write almost all of my scene-descriptions and actions because of it.

Lol, how ironic.

***

Conclusion

Yeah, and that’s it. I hope you liked this blog. Sorry I hadn’t posted in along while, I was going through a writers’ block. Stuff is happening these days, y’know.

Anyway, I’ll see you again in a couple of days, with something new. Bye-byee!

Random asf, but I remembered just now that one time a few years ago, I got a comment on a YT video that I posted about one of my OCs, and I showed the character’s backstory; btw, a VERY angsty one involving major character death and violence, and the commenter basically told me to get therapy. 💀

Like dawg, have you actually EVER seen other ppl’s OC backstories?? /genq

I have seen SO MANY instances of people creating characters and traumatizing the SHIT out of them CAUSE THEY CAN. That’s just how artists work lmfao- 💀 /lh

But like- genuine question for like two seconds; do I SERIOUSLY need therapy for writing an angsty backstory for a character??

And also I DO know that this person was DEFINITELY trying to be an asshole and hate on me for no reason, but like- still- bruh- 😭💀

Once again, I’m bored so imma give you a random lazily rewritten version of an SaD one shot I wrote a year ago. It was originally a comic but I’m not comfortable with sharing it.

TW: Contains angst, hurt/comfort, and probably cringe.

Btw just a few fyis, “Noah” is one of the ghosts of the missing children if you were not aware. The missing children in SaD are not the same exact kids from the original fnaf. I’m apologizing in advance for my terrible writing skills. I re-use worlds like “said” and “asked” way too much. Also I made Springtrap have claws because I said so.

Anyways here it is.

-----------------------------------------------------------

It’s almost 6 o’clock in the evening, and Harry was strangely not home from school yet. Springtrap’s separation anxiety has recently been getting worse due to his abandonment issues, and he was starting to get a little anxious. “How is Harry still not home yet??” He thought to himself. Noah was looming over Springtrap’s shoulder as usual. “You’re worried about him aren’t you?” Asked the ghost. “N-No…” Springtrap replied. Noah chuckled. “You're such a liar.” Springtrap turned around and gave Noah a very annoyed look. “Whatever…” Said Springtrap. “Chances are he probably forgot about you like Deliah.” Noah said. Springtrap visibly flinched. He remembered the time he almost hurt Deliah. This instantly triggered a panic attack. “NO HE DID NOT!” He yelled at the ghost. Noah giggled. “Wow… you’re that in denial that you’re refusing to believe that sometimes people don’t like you!”. “Shut up!!” Springtrap’s claws dug into face as he panicked even more. Just as he was overthinking everything, he heard the front door crack open. “Hey, Spring! Sorry I’m back so late.” Harry said, standing in front of the door with his backpack in his hand. He tossed his bag aside. He was going to explain his reason but was cut off by Sprigtrap hugging him. “Please don’t leave me alone that long again…” he said. Harry regained his balance and hugged back. “It’s okay… I won’t.” He replied. Springtrap suddenly burst into tears. “Hey, Hey, Hey! Wait! There’s no reason to be upset! I’m home now.” Said Harry. Springtrap could barely speak. “B-But I- I was alone… I was panicking!” he said, crying harder. “Stop being stuck on it. It's over.” Harry replied. They both pulled away. Springtrap sat down on the floor at Harry’s level and avoided eye contact. “Hey, look at me. You're okay now.” Harry reassured. Springtrap sighed. “I’m sorry…” “Don’t be sorry! Just calm down.” Harry replied. Springtrap wiped the tears off of his face. He sighed. “O-Okay…”

-----------------------------------------------------------

Thank you for reading my dumb story lmfao

ITFT Clock drawings that I drew for my sister.

Funny enough, i know ABSOLUTELY NOTHING about this show or this character. I just drew this bc I wanted to treat my sis with my dumb art of a fav character of hers. 💀💀💀

Enjoy the art ig????

GJGJHDHJFHHF TYSMMMM ‼️‼️‼️💥💥💥💞💞💞💞💞💞💞

A/N: MINI KHORI FLUFF ONE-SHOT THAT I IMPULSE-WROTE WOOOOOOOOO!!!

(I need to calm the fu*k down with the back to back Khori fics- /lh)

Uh- anyway- enjoy lol-

-ruf >:3

Silent Talk

A mini Murder Drones Khori (Khan x Nori) one-shot fan fiction.

TRIGGER/CRINGE WARNING: None!

— — —

It was a day like all of the others, and Khan wasn’t having any difference in his experience. He has times where he is completely content, but there are some days where Khan is just-- not… well. And unfortunately, today was one of those days.

He would sit and stay somewhere alone and go completely silent— sometimes staying quiet for multiple hours on end. Continuing to isolate himself from everything and everyone.

Khan has done his usual thing of separating himself from all distractions in the past, but unlucky for him, Nori saw this as an obvious sign of his current mental state.

The respective drone in question was sitting alone on the far end of the couch, with his arms folded firmly across his torso.

Nori had already met the same room where Khan was in, and sat on the opposite end of the couch from where he was sitting— not quite directly next to him, but making sure to give Khan some space.

Khan barely reacted, if not at all to Nori’s presence at first. He occasionally, using only his eyes, would glance towards Nori’s direction, before immediately putting his gaze back down on the ground.

Nori reached out and gently placed a hand on Khan’s arm.

The simple gesture seemed to work as Khan had fully turned his attention beside him.

Nori motioned something with her hands—

“You okay?”

was the rough translation.

Khan shook his head.

There was a short pause.

“I’m sorry.”

Khan signed back.

Nori’s eyes hollowed for a moment.

“Don’t apologize.”

She signed.

Another short moment of silence fell.

Nori’s expression softened.

“You want me to stay?”

She asked.

Khan blushed sheepishly.

“Please?”

Nori chuckled softly with a smile. She repositioned herself directly next to Khan.

Khan surprisingly didn’t resist the touch and scooted in closer. He leaned onto Nori’s side— practically collapsing into her.

Nori was nearly caught off guard and almost lost her balance before thankfully catching it back rather quickly.

Both sat there for a while in that position— Khan occasionally giving a gentle head-bump below Nori’s chin.

Now this is the type of affection that they can both get used to.

Fin~

Random Khan lol.

idk i wanted to draw him with a " :< " expression lol.

also please ignore how horribly drawn his helmet and goggles are- 💀😭 i'm also still learning how to properly draw the worker drone helmets lmfao- 🤠

also fun fact, im planning to do a tiny Khan redesign cause SURPRISE‼️ i am planning to make a murder drones continuation/au. i already have some ideas for the redesign planned out in my head lol.

ohhhh boi, this is just gonna end up like my SaD au where i abandon it and i have no idea when im going to touch it again isn't it? 💀🤠

ALSO BTW ‼️‼️ don't worry, i am NOT going to forget about that Khori comic that i teased. it might just take awhile because of school and life getting in the way and most of the time that makes it hard to squeeze in time for drawing. in the meantime, please be patient. it's coming soon. 😈

uh.. it's 2am where i am currently- imma crash out now BYE-

EDIT: Tumblr ruined the image quality of course- 💀💀💀

Don't Stop Practicing

i just screamed: "OH MY GOD I DID SO GOOD! >:O" because I flipped my image expecting it would need some tweaking, but was so fucking happy when immediately it just- looked perfect. Like, it doesn't matter which direction you have it facing, its great. Keep practicing y'all. The results show themselves when you least expect it.