I Got The 'written Animatic' Idea From One Of @blueteller 's Stories So Thank You For That-

A More Compassionate View: The Red Soul is Here to Help

Or “Gaster invited The Red Soul in to save the world of Deltarune, and he specifically wanted a Post-Pacifist Red Soul for the job”.

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How refreshing was it for Alberu, who lived his life being disrespected and ignored, to writhe in the fake-politeness of scammers, living beneath his third and second brothers, to fight so hard for respect-

To have his life then be manhandled into a position of power and have a guaranteed spot as the next in line for king, by a man who talks disrespectfully and becomes petulant at the slightest inconvenience

He’s not disrespectful because of Alberu’s political standing and he’s not whiny because he’s incompetent. He’s honest.

He’s disrespectful because- well, he’s just that way with everyone he’s comfortable with. If he acts respectful, it’s probably because he’s pretending in order to get something he wants.

He’s petulant, but only when it’s something that can be fixed. Oh your highness, can you pay my travel expenses? Oh your highness, can I have a gold plaque for my hard work?

The man wants money!

He’s not greedy for fame nor power, he doesn’t want a spot right next to the Crown Prince when he becomes king. He wants money, he wants to fix the problems that disturb his life, and he wants to be a slacker. The Crown Prince has all the resources to do those things! That’s his job. To create a peaceful kingdom that can still survive in war and chaos.

Cale just keeps dumping a bunch of resources on his head in order to do that.

Incessantly.

Like, he really doesn’t stop giving him information and allies.

Hah, but seriously.

He doesn’t stop.

He still hasn’t stopped.

Cale and Alberu are tools for each other. That’s their relationship. They use each other because what one person lacks, the other does not. Cale has information and connections, Alberu has influence and money.

It’s a ✨symbiotic relationship✨

Susie and noelle.... gay people...

HOW TO START WRITING ORIGINAL FICTION AFTER BEING A FANFIC WRITER

hello hello, it's me again!

i've been a fanfic writer for a long time! i started writing on wattpad when i was about 12 years old and continued writing there for a few years, switching from one fandom to another. but deep down, i really wanted to start writing my own novel, with everything created by me. at first, it was quite challenging, and i had to do lots of research, like everyone else. but eventually, i figured it out, and now i love writing original fiction!

if you're a long-time fanfic writer who's ready to dip their toes into the world of original fiction, you're in the right place. while it can be quite intimidating to move away from the familiar worlds and characters you love, writing original fiction can be an incredibly rewarding experience. here are a few tips to get you started:

start with what you know just because you're writing original fiction doesn't mean you have to start from scratch. draw inspiration from your favorite genres, characters, and settings to create something new and unique.

create your own characters this is your chance to explore new personalities and relationships that won't ever come to life unless you decide to! take the time to really develop your characters and give them distinct voices and motivations. [check this out: build a character (masterpost)]

focus on world-building unlike fanfic, where the world and its rules are already established, in original fiction, you have to build everything from the ground up. take the time to create a rich, detailed world that your readers can get lost in.

embrace the freedom fanfic can be restrictive, as you're bound by the expectations of the fandom. with original fiction, you have the freedom to tell any story you want. take advantage of that freedom and let your imagination run wild. [check this out: free Notion template for writers]

don't be afraid to make mistakes writing original fiction is a learning process, and you're bound to make mistakes along the way. embrace those mistakes as learning opportunities and keep pushing forward. [check this out: useful resources & tips for writers]

i hope this was useful! if you have any questions, feel free to dm me or send an anon message! <3 have a nice day

related posts:

how to start writing original fiction

character development : a collection of resources

Cale is so ready to take on everything.

I’m rereading the heart scene and, just- his life as Kim Rok Soo had such an impact on how he handles pressure, it’s actually sad. When he was KRS, people relied on him. Heavily. As the team leader, people saw him as a life line.

He never took breaks, he put himself in danger and sacrificed his well-being by using his abilities (for example, Instant), and as we hear later on- he had a 0% mortality rate. When people around him were weak, he became strong in order to overcome it. Nobody died when he became the Team Leader.

And in the world they lived in- yes! I’m not surprised at all that people latched onto him. No matter how much they care about him, they couldn’t help but allow him to save them. Over and over again.

So Cale had this expectation for himself too! When others give up -> he does not. In front of impossible tasks, he rises up, because that’s how it should be. How could someone who had so little as a child- no parents, no friends, no stability or safety or reliability- how could he possibly give up what he’s managed to attain? How could he let his friends get hurt when he knows that he could be hurting instead?

And then he becomes Cale, and he relaxes. His new companions are strong, and he’s not going to be with them for very long anyway. He will slack off, chill out, and take his hands off the wheel.

But he can’t- he just can’t stop helping them. Like an addiction, he helps Choi Han get a connection to Ron and Beacrox. Then he saves Raon. He helps Lock, Amiru, Mary, Alberu, Queen Litana. It’s fucking impulsive. It’s for his own benefit but he tangles himself into the story because tampering with Fate is a fucking side hobby for him.

Then he develops relationships and friends- and when he sees danger approaching he stands up against it like a solid wall. Over and over again.

And, what? He naturally expects the people behind him to stay behind that wall. To listen to him and help, but to stay safe in the long run. He expects them back off when something looks impossible. Because- well, he’s right here isn’t he? Overcoming the impossible is second nature for him!

But the people around him… aren’t standing by passively, like they did when he was KRS. When he was KRS they let him protect them for 15 years. Then he’s Cale Henituse and they don’t. They learn from him. They learn to stand up against the unpredictable and the indomitable. They see him and learn.

They aren’t happy about his sacrifices, but he tells them to be full and content and to eat well… so they listen. For a while. They understand wisdom and they take his words and learn their limitations.

Right until he stabs himself in the heart. What the fuck?! Biggest hypocrite in history right??! Can’t trust this guy to not bleed and sacrifice himself for shit!!!

So they angrily push aside his worry and their limits and they decide that it’s THEIR turn to protect him. Even against a GOD, Cale has shown them that nothing is impossible so they’re going to turn the tables and THEY’RE going to be the ones to cough blood!!

This scene is so heart wrenching, but it’s Cales disbelief that hurts the most. He’s fucking stunned. He’s someone who can’t even imagine the lengths that a person would go for him. He’s a person who protects without ever expecting to receive that same effort.

Sure, he knows he’ll be protected. He’s not naive. But he puts 200% and expects 50-100%. He goes above and beyond, but prepares for average. Prepares for lackluster.

So when everyone tries to push him aside to protect him? He- he doesn’t even notice their efforts! It’s like looking for a leaf in a forest, but he’s supposed to be looking at the entire forest. Why would he think that they would give him a forest’s worth of leaves? He’s oblivious. So he looks for a single leaf.

Then they really do push him back and protect him- they defend against the orb that’s exploding and it’s like they’re screaming “It’s the forest! It’s always been the forest!”

And he’s lost. Absolutely, utterly lost. It’s heartbreaking, how distressed he is that his friends are hurting and they won’t let him handle it for them. He’s not even hurt, after all! He hasn’t fainted, he’s still useful! He’s ready! What he’s done so far hasn’t even been too difficult! Why won’t they let go and give it to him?

Everyone is so angry at him, or busy pitying him, that he’s left alone with this. While reading this scene I’m filled with a strong disconnect. He is surrounded by his friends but everyone is far away from him. Their goals have never been farther apart than this moment.

He’s always been one step ahead.

He’s always been ready. He’s always waiting.

And then he stabbed himself in the heart, and everyone but him felt the shift in the stars.

And then the next scenes are his friends trying to wrestle the responsibility out of his white-knuckles hands. They fight for it! Yet all the way until the orb’s time to explode, he holds onto it with an iron grip. I don’t even think he realized they were trying to take it out of his hands.

He kills the White Star, he Embraces the Ancient Powers, and he even manages to Embrace the Sealed God into the book and take over the temple in one move. We get to see everyone’s reactions to his stubbornness too.

So they become twice as stubborn. They cough up blood, they faint, they do 200% of what they’re naturally capable of. Why?

Because they saw Cale do it first. Because they refuse to let him do it again.

And Cale?

He can’t say anything.

Ralsei’s Astral Projection habit - it’s not about us.

It’s about Susie.

Twice now, Ralsei pulls Kris aside and asks them to think about what Susie’s doing.

People have theorized this is to “get alone time away from the Player”, but I think he actually does this because he’s trying to communicate something about Susie to Kris.

“Astral Projection”?

Both Kris and Ralsei act like they’re viewing/have viewed Susie’s scenes.

In Chapter 2, Ralsei is alright with Kris not viewing Susie’s scene if they’re not interested.

 If doing the Snowgrave route, Kris will skip Susie’s scene by themself, and Ralsei, after initially being flustered, will say, “As long as Susie’s happy”.

So that’s why - what?

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Story Structures for your Next WIP

hello, hello. this post will be mostly for my notes. this is something I need in to be reminded of for my business, but it can also be very useful and beneficial for you guys as well.

everything in life has structure and storytelling is no different, so let’s dive right in :)

First off let’s just review what a story structure is :

a story is the backbone of the story, the skeleton if you will. It hold the entire story together.

the structure in which you choose your story will effectively determine how you create drama and depending on the structure you choose it should help you align your story and sequence it with the conflict, climax, and resolution.

1. Freytag's Pyramid

this first story structure i will be talking about was named after 19th century German novelist and playwright.

it is a five point structure that is based off classical Greek tragedies such as Sophocles, Aeschylus and Euripedes.

Freytag's Pyramid structure consists of:

Introduction: the status quo has been established and an inciting incident occurs.

Rise or rising action: the protagonist will search and try to achieve their goal, heightening the stakes,

Climax: the protagonist can no longer go back, the point of no return if you will.

Return or fall: after the climax of the story, tension builds and the story inevitably heads towards...

Catastrophe: the main character has reached their lowest point and their greatest fears have come into fruition.

this structure is used less and less nowadays in modern storytelling mainly due to readers lack of appetite for tragic narratives.

2. The Hero's Journey

the hero's journey is a very well known and popular form of storytelling.

it is very popular in modern stories such as Star Wars, and movies in the MCU.

although the hero's journey was inspired by Joseph Campbell's concept, a Disney executive Christopher Vogler has created a simplified version:

The Ordinary World: The hero's everyday routine and life is established.

The Call of Adventure: the inciting incident.

Refusal of the Call: the hero / protagonist is hesitant or reluctant to take on the challenges.

Meeting the Mentor: the hero meets someone who will help them and prepare them for the dangers ahead.

Crossing the First Threshold: first steps out of the comfort zone are taken.

Tests, Allie, Enemies: new challenges occur, and maybe new friends or enemies.

Approach to the Inmost Cave: hero approaches goal.

The Ordeal: the hero faces their biggest challenge.

Reward (Seizing the Sword): the hero manages to get ahold of what they were after.

The Road Back: they realize that their goal was not the final hurdle, but may have actually caused a bigger problem than before.

Resurrection: a final challenge, testing them on everything they've learned.

Return with the Elixir: after succeeding they return to their old life.

the hero's journey can be applied to any genre of fiction.

3. Three Act Structure:

this structure splits the story into the 'beginning, middle and end' but with in-depth components for each act.

Act 1: Setup:

exposition: the status quo or the ordinary life is established.

inciting incident: an event sets the whole story into motion.

plot point one: the main character decided to take on the challenge head on and she crosses the threshold and the story is now progressing forward.

Act 2: Confrontation:

rising action: the stakes are clearer and the hero has started to become familiar with the new world and begins to encounter enemies, allies and tests.

midpoint: an event that derails the protagonists mission.

plot point two: the hero is tested and fails, and begins to doubt themselves.

Act 3: Resolution:

pre-climax: the hero must chose between acting or failing.

climax: they fights against the antagonist or danger one last time, but will they succeed?

Denouement: loose ends are tied up and the reader discovers the consequences of the climax, and return to ordinary life.

4. Dan Harmon's Story Circle

it surprised me to know the creator of Rick and Morty had their own variation of Campbell's hero's journey.

the benefit of Harmon's approach is that is focuses on the main character's arc.

it makes sense that he has such a successful structure, after all the show has multiple seasons, five or six seasons? i don't know not a fan of the show.

the character is in their comfort zone: also known as the status quo or ordinary life.

they want something: this is a longing and it can be brought forth by an inciting incident.

the character enters and unfamiliar situation: they must take action and do something new to pursue what they want.

adapt to it: of course there are challenges, there is struggle and begin to succeed.

they get what they want: often a false victory.

a heavy price is paid: a realization of what they wanted isn't what they needed.

back to the good old ways: they return to their familiar situation yet with a new truth.

having changed: was it for the better or worse?

i might actually make a operate post going more in depth about dan harmon's story circle.

5. Fichtean Curve:

the fichtean curve places the main character in a series of obstacles in order to achieve their goal.

this structure encourages writers to write a story packed with tension and mini-crises to keep the reader engaged.

The Rising Action

the story must start with an inciting indecent.

then a series of crisis arise.

there are often four crises.

2. The Climax:

3. Falling Action

this type of story telling structure goes very well with flash-back structured story as well as in theatre.

6. Save the Cat Beat Sheet:

this is another variation of a three act structure created by screenwriter Blake Snyder, and is praised widely by champion storytellers.

Structure for Save the Cat is as follows: (the numbers in the brackets are for the number of pages required, assuming you're writing a 110 page screenplay)

Opening Image [1]: The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.

Set-up [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?

Theme Stated [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.

Catalyst [12]. The inciting incident!

Debate [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action.

Break into Two [25]. The protagonist makes an active choice and the journey begins in earnest.

B Story [30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.

The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.

Midpoint [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.

Bad Guys Close In [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.

All is Lost [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.

Dark Night of the Soul [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)

Break into Three [85]. Armed with this new information, our protagonist decides to try once more!

Finale [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.

Final Image [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.

(all information regarding the save the cat beat sheet was copy and pasted directly from reedsy!)

7. Seven Point Story Structure:

this structure encourages writers to start with the at the end, with the resolution, and work their way back to the starting point.

this structure is about dramatic changes from beginning to end

The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.

Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.

Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.

Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.

Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.

Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.

Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.

(all information regarding the seven point story structure was copy and pasted directly from reedsy!)

i decided to fit all of them in one post instead of making it a two part post.

i hope you all enjoy this post and feel free to comment or reblog which structure you use the most, or if you have your own you prefer to use! please share with me!

if you find this useful feel free to reblog on instagram and tag me at perpetualstories

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I'm late, but Happy 4 years of LCF!! 🥳

To celebrate, I redrew one of the first pieces I've ever made for this fandom! Both the novel and I have come a long way TvTb

There will BE no friendship. (And yes I'm still not dead and still have intents on coming back here)

Kris...?

Without eye highlights...