College student. Overworked, underpaid, eternally hungry.
I like Legend of Korra, Tamora Pierce novels, the Mass Effect and Dragon Age series, and any other media where chicks kick ass and take names.
One semi-hiatus for the next two weeks
straight boys think girls can’t take compliments, and that’s ridiculous cause i’ve seen so many girls compliment each other, i’ve seen conversations & friendships blossom from girls complimenting each other in line, on the street, at school waiting for the bys, pretty much anywhere.
the problem is straight boys think sexual harassment & assault are compliments.
Hopefully you are recovering from the self hate. I’m sorry that happened to you.
I’ve dealt with this too
Sakura, a girl with no special bloodlines or chosen oneness, has been healing people left and right since the war started, charged at Madara to give her teammates an opening, kept Naruto’s ass alive long enough for Obito to heal him and now saved Sasuke’s buttocks from eternity in Tatooine.
what a boss
A step away from the more common “limited” viewpoint, omniscience places the narrator in a position of all-knowing and all-seeing power. The narration can easily jump from MC Martha to Love Interest Lucy to George the Cashier, within the same chapter and often without page breaks. As readers, we can effectively see things from the point of best perspective or the point of best action, even if the best perspective is a bird flying overhead or Generic Soldier #1. Not every character will get a complete arc, but each head you get inside should still have a distinctive personality. It’s a hard line to balance, since you’ve got the narrative voice on top of a unique character voice. It’s not difficult to give a unique voice to your main characters, but not every generic onlooker should sound the same, either.
The perspective allows you to follow the action. If Martha gets knocked out, instead of time jumping to when she wakes up, you can shift into Lucy’s head for a bit. You’re not even limited to the main characters—you can easily get into the villain’s head and let us know what they have planned. This can, however, make it hard to give a good plot twist. This will usually shift your story’s focus to not be on the twist itself, but how they deal with the results.
The narrator might foreshadow upcoming events, either of importance or not. It adds a level of dramatic irony (where you know more than the characters). And really, be careful just to hint. The narrator might already know how things end, but you don’t want to give things away if it’s important.
Often the narrator has its own voice. Many times when I see 3rd person omniscient narrators, they use their all-seeing powers to pop into the heads of random characters as an opportunity for comic relief. They might make fun of characters, or offer their own opinions on the events. The characters have no idea that this all-seeing narrator is following their thoughts and actions, so again, dramatic irony.
The perspective allows characters to inspect each other, which makes relationships and possible relationships less suspenseful. Instead of being stuck in Martha’s head the entire time, wondering if Lucy likes her or not, the narrator can very easily switch to Lucy and give an insight about her feelings towards Martha. 3rd person omniscient is very common in romance novels for this reason. It ups the tension knowing they both like each other, but neither will admit it. The tension comes in their personal struggle to act or not act on their desires.
Examples of sentences you might read in third person omniscient:
A woman across the street saw the teenager disappear into the wormhole, but paused only a minute. She blinked. A trick of the eyes, she decided. Besides, she was already late for work.
Grug the goblin scurried away to do his master’s command, pleased that his expertise would finally be recognized. He’d get a promotion for this—all he had to do was kill some overrated girl with a sword. But Grug had a lot to learn about girls with swords.
Genres typically told in this tense:
- High Fantasy, especially when there is an emphasis on fight scenes. Each fighter can react and size up the other’s movements, and appreciate each other’s skills. (The Legend of Drizzt series by RA Salvatore)
- Romance. Like stated before, there’s tension in knowing what each side wants, and then knowing why they won’t act on it. Plus, romances generally cater towards a female audience. This POV allows readers into the more familiar woman’s perspective as well as the man’s romantic thoughts towards her. You can read all the romantic things your man never says out loud, but still thinks about!
- Anything can be told in this POV, but make sure there’s a reason for it. Since the default storytelling mode is 3rd person limited, there should be purpose in straying from that.
If you want to write in this perspective, read plenty of books written in it. Here are a handful of book recommendations in 3rd person omniscient to get your started: Downsiders by Neal Shusterman, Artemis Fowl by Eoin Colfer, The Legend of Drizzt series by RA Salvatore. The first two link to book reviews with a creative writing analysis, both of which talk more about the narrative voice and ways to successfully implement a 3rd person omniscient narrative.
Meet Marvel comics’ new Thor - she’s not what you’d expect!
Learn more & see some exclusive art from the upcoming comics series: http://bit.ly/1ymF6LN
Marvel is excited to announce an all-new era for the God of Thunder in brand new series, THOR, written by Jason Aaron (Thor: God of Thunder, Original Sin) complimented with art from Russell Dauterman (Cyclops).
This October, Marvel Comics evolves once again in one of the most shocking and exciting changes ever to shake one of Marvel’s “big three” – Captain American, Iron Man and Thor – Marvel Comics will be introducing an all-new THOR, GOD OF THUNDER. No longer is the classic male hero able to hold the mighty hammer, Mjölnir, a brand new female hero will emerge will who will be worthy of the name THOR. Who is she? Where did she come from and what is her connection to Asgard and the Marvel Universe?
“The inscription on Thor’s hammer reads ‘Whosoever holds this hammer, if HE be worthy, shall possess the power of Thor.’ Well it’s time to update that inscription,” says Marvel editor Wil Moss. “The new Thor continues Marvel’s proud tradition of strong female characters like Captain Marvel, Storm, Black Widow and more. And this new Thor isn’t a temporary female substitute - she’s now the one and only Thor, and she is worthy!”
buckyoubucky, i think this is what that last ask was talkin about
Oh this is really cool actually. Okay this is much better than the little blurbs i had time to read earlier!
i love laughing about the friend zone because it’s so dumb like you know most of those dudes aren’t even IN the “friend zone” they’re in the “ugh god not this dude again” zone
aint that the mutha fuckin truth
Like, it’s totally okay if you’re not equipped to handle the issues of race and racism and colonialism and all the fuckery that follows from white supremacy and your (hopefully unintentional) place benefiting from it.
I respect your right to not have the spoons to handle shit. I respect the wisdom to realize you don’t know shit and should probably sit back and learn instead of trying to come in guns blazing, trying to take over the conversation.
No one can have a stake on every fight. No one can take each fight personally.
But don’t fucking throw us under the bus. And don’t fucking barricade yourself against criticism by flaunting your oppression credentials. Being autistic or OCD or depressed is not a fucking free pass to be a goddamn bag of racist shit. Being gay or trans or bi or poly or asexual or whatever you identify with doesn’t mean you’re automatically excused from being called out if you decide to show your racist ass in public.
I don’t care how fucking oppressed you are.
You don’t fix your oppression by shitting on a different group.
There’s no identity you can claim that gives you a free pass to be racist.
Why is this so hard to fucking understand and why are white people so fucking quick to bring up their struggles when they get called out on this shit? No one’s denying your struggles, we’re just asking you to not add to ours, you fucking jerk.
Okay so imagine the villain has captured a girl the protagonist cares about and is all like “I’ll kill her unless you give me the macguffin!”
And the hero’s like “that will never happen! I love her and she loves me! Right?”
And the girl’s like “um…this isn’t the best time.”
And the protagonist screams she’s a friendzoning whore and abandons her.
And the villain’s like “fuck that guy” and teaches her how to walk in thigh-high leather boots.
Amazing posters from the Australian Human Rights Commission’s “Know the Line” campaign which aims to prevent and reduce the harm of sexual harassment in Australian workplaces.
Check their page out at https://knowtheline.humanrights.gov.au/
"Men’s Rights" activist and self-proclaimed philosopher Stefan Molyneux pretends to be a woman posting a positive comment on his own video “debunking” Frozen but completely fails at account switching
“One of the best examples,” Jackson said, “ is that at the end of WWII some librarians decided that they wanted to put books on tape for people who lost their vision. Those were the first audiobooks. And today, there’s Audible.com, there’s Amazon, there are so many uses for audiobooks outside of those who are visually impaired.”
There are dozens more examples. Under Armor recently acquired the patent for a one-handed zipper. NPR added transcripts to their site for the hearing-impaired, and their traffic increased 7%. Inclusivity is a good business move.
Fractions are taught as some bullshit magic where you do special rituals for no reason. This is ridiculous. Fractions are really obvious.
Step 1: The names are not arbitrary collections of syllables. The “numerator” (the one on top) tells you how many there are. The “denominator” (the one on the bottom) tells you what size they are. When you first encounter these words, you probably don’t know words like “denomination” so they’re just arbitrary names. But no, they have meaning. A “denominator” is telling you what the units are that you’re using; if you have “1/3”, the units are “thirds”. A “numerator” is telling you how many of those units you have. “1/3” is “one thing, which is a third.” “2/5” is “two things, which are fifths”.
Step 2: You can write whole numbers with a /1 on them, and it makes it easier to see what you’re doing sometimes. For instance, you can write 5 as 5/1. Why would you want to do that?
Step 3: Multiplying and dividing are inverses. The “reciprocal” of a fraction (swapping the two parts) is also an inverse. (Note, “reciprocal” is another word that actually means something and is not just random syllables.) For instance, the “reciprocal” of 1/5 is 5/1, and the reciprocal of 5/1 is 1/5. They have the same relationship to each other; that’s why they’re reciprocals.
Step 4: Multiplying by 5 is really multiplying by 5/1. Dividing by 5 is really multiplying by 1/5. See how those are related? See how much easier it is to see the relationship when you write “5” as “5/1”?
Step 5: Why do we multiply by the reciprocal when we want to divide by a fraction? Because two inverses cancel out. Since 1/5 is the inverse of 5/1, and multiplying is the inverse of dividing, multiplying by 5/1 is the same as dividing by 1/5. And the individual steps of taking reciprocals and multiplying are both easy, whereas trying to work out how to divide some other way would be more confusing.
Step 6: The reason that 4/6 is 2/3 is that twice as many things half as big is the same amount.
None of this should be hard, and honestly, if the schools wanted to explain things instead of teaching memorization, they wouldn’t have to spend as much time on it. The reason they don’t is that most of the teachers don’t really know either.
(Disclaimer: I just wrote this in like five minutes, it’s probably not nearly as clear as it should be. Feel free to ask for clarifications.)