𝑲𝑯𝑶𝑹𝑵𝑨𝑻𝑬 𝑭𝑨𝑼𝑵𝑨 - 𝑾𝑨𝑹𝑯𝑨𝑴𝑴𝑬𝑹 𝑭𝑨𝑵𝑻𝑨𝑺𝒀

wizard hat cowboy brim

by Damir Šnajder

I won't lie when I say I'm kinda disappointed in the quality of animation for this. It's just kinda "okay" lol, instead of being excellent like Astartes was or some of the trailers for new Warhammer+ content is. Like what was the point of hiring all those new incredible fan animators if you're gonna end up using animation that looks worse than Dawn of War 3 did, damn even Dawn of War 2. Feels like they just phoned this one in despite it being a HUGE launch.

Warhammer 40,000 New Edition Cinematic Trailer

How To Write Good Dialogue (Part 1)

I'm gonna start this by saying I'm not trying to sound like a know-it-all. I am just tired of posts like these being absolutely fucking useless. I am aware this is basically me screaming into a void and I’m more than okay with that.

This guide is meant for intermediate screenwriters, but beginners are also absolutely welcome. :)

(about me)

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I've noticed a rise in film students who want to make films that have no dialogue. Probably after your professor showed you Doodlebug, right? Fuck that.

I'll make another post about writing a short film, but all you need to know is: Don't waste the audience’s time. Most of these no-dialogue shorts have very little substance and take way too long to tell the shortest possible story. Not a good idea.

Useless Dialogue

Plain and simple, don't write useless dialogue. Useless dialogue is dialogue that just doesn't fucking matter. Dialogue matters by having ✨subtext.✨

What is subtext? Subtext is the meaning behind the action. That's it.

If I tell you that I love you and I got big doe eyes while I say it, it means I love you. If I tell you I love you through a clenched jaw without looking at you, I don't necessarily love you right now.

Simple, right? Great.

Now think about the subtext behind every line. Does your character mean what they're saying? Are they doing it to get what they want? What is going through their mind as they say it? As long as you know your character, you’ll have these answers ready to go. If you don’t, you’ll figure it out eventually. Just keep writing.

When you write your character walking into a Starbucks and saying, "One venti iced coffee," does that do something? Why do I need to see someone's boring Starbucks order? Do I need to know that your character's boring? Why are you writing a boring character? [Of course, in the rare situation where this is some revealing clue to the massive crime investigation, then it makes sense.]

Useless dialogue is any dialogue that has no meaning or purpose in your script. Delete and move on. You don't need to write entire conversations or scenes that bore us, just write what we care about.

I took a class once where my professor called a version of this "trimming the fat." Get us into your scene and out of your scene in as little time as it takes to have it achieve its full purpose in the script.

[P.S. You don’t “inject” subtext into your lines. Idk who started that vernacular in subtext teachings but I hate it.]

Show vs. Tell

I remember a glorious fight I got into with a Redditor last year about show vs. tell… TL;DR: Dialogue is “show” if you write it with intention and subtext. If someone says that dialogue is inherently “tell,” they’re wrong and can go fuck themselves.

Dialogue that is “tell” is expositional dialogue. But, hot take: Exposition isn't just in dialogue. It’s also those annoying clichés that make you roll your eyes in the theater (which we just call clichés and not exposition). I’m sure every professor I’ve had will disagree with this and then get me into a long conversation about it, but let’s ignore that for right now.

Have you ever seen a movie where a character rubs an old, worn-out photo of a young girl while looking depressed? That's exposition. That character has a dead daughter. No shit.

Clichés are incredibly annoying. We all know that. Assume that any cliché you see - in this context - is exposition and try your best not to write it. (Tropes are different and sometimes necessary, so I’m not talking about that.)

Point blank: When you have subtext in your lines, they are "show,” not “tell.”

Before moving on, I'll bring up that while technically the dead daughter photo is subtextual, it is as close to the character saying “My daughter is dead,” as you can get. Don't treat the audience like we're fucking stupid.

The First 15

If you don’t know what the Inciting Incident is, please look up “3 Act Structure” before reading this.

The first 15 pages of your script is the part that comes before the Inciting Incident. This is the part you want to get right because, although people probably won’t leave the theater, they will absolutely find something else on the streaming service they’re using. The people making said movie will also just toss your script in the trash before it’s even produced, so it's best to get it right.

Dialogue in the first 15 generally follows the same rules, but carries a heftier additional rule. All dialogue in the first 15 minutes must, must, must tell us something about your character.

Remember when I talked about that boring Starbucks order? Why is your character boring? Don’t write that. Don’t write nice characters. Or pleasant characters. Or friendly characters. No one cares.

You want empathy. This does not mean “relatable.” It means “empathetic.” There is a difference.

I personally relate to Vi in Arcane, but I empathize with Theo in Children of Men. Both are excellent, but one personally resonates a bit more with me. You cannot write a character that deeply resonates with every single person, it is impossible.

With each line of dialogue, you must be saying something about your character that generates the empathy. Instead of telling you how to do this, I’ll direct you to a movie that will do better than an explanation: Casablanca.

Watch how Rick interacts with the world. What kind of man is Rick? Watch what he does, what he says, and how he treats people and himself. Watch that empty glass on the table. Watch his contradictions. Everything. Those things matter and it’s what makes you want to watch Rick for the entire duration of Casablanca.

“Realism”

This is maybe more directorial, but make your characters human enough, not too human.

Too human is when you’ve tried your best to capture all those little life-like speech patterns. You know, the ones that no one fucking cares about.

If your character coughs, they’re sick. If they clear they’re throat, they’re uncomfortable. If a bruise isn’t going away, they’re going to die. Simple.

Every moment on screen matters. Everything the audience sees is meant to lead them to a conclusion. Not the conclusion, just a conclusion.

The realism you want is in the choices your character makes, not how many times they say “Uh,” in a sentence.

Conclusion

Dialogue matters and should not be treated lightly or without care. Once you have this all engrained in your mind, dialogue should become effortless.

If you want an excellent way to think about this, Robert McKee's Story has an excellent chapter that helped clarify this all for me. Here's an excerpt and the context.

Warning, spoilers for Chinatown.

"If I were Gittes at this moment, what would I do?"

Letting your imagination roam, the answer comes:

"Rehearse. I always rehearse in my head before taking on life's big confrontations."

Now work deeper into Gittes's emotions and psyche:

Hands white-knuckled on the steering wheel, thoughts racing: "She killed him, then used me. She lied to me, came on to me. Man, I fell for her. My guts are in a knot, but I'll be cool. I'll stroll to the door, step in and accuse her. She lies. I send for the cops. She plays innocent, a few tears. But I stay ice cold, show her Mulwray's glasses, then lay out how she did it, step by step, as if I was there. She con-fesses. I turn her over to Escobar; I'm off the hook."

EXT. BUNGALOW-SANTA MONICA

Gittes' car speeds into the driveway.

You continue working from inside Gittes' pov, thinking:

"I'll be cool, I'll be cool ..." Suddenly, with the sight of her house, an image of Evelyn flashes in your imagination. A rush of anger. A gap cracks open between your cool resolve and your fury.

The Buick SCREECHES to a halt. Gittes jumps out.

"To hell with her!"

Gittes SLAMS the car door and bolts up the steps.

Story by Robert McKee, pg 156

The context of this page is McKee's way of explaining how to write characters. I found it very helpful.

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Thanks for reading! I probably forgot something, so I made this a “part 1.”

I hope this helps someone since I’m really tired of finding short films on YouTube that are all fucking silent. The few who have done it well have been copied to death, so please write some dialogue. I promise you it’s so much better if you do.

Asks are open! :)

I've been said to have "mom friend" vibes by at least 3 people, two of which affectionately call me "Ashmom."

Just yesterday I had a discussion with my husband about my fashion as a trans girl. He's witnessed so many mtf transitions, because he's been in the community much longer than I have, and his general observation is that trans girl clothing fashion tends to be any combination of young, showy, slim, and thin. My husband was reflecting on this because I gravitate to items he calls "grandma fashion". He wondered why I wasn't the same as other trans women he's seen/met. The thing is, I don't really know. I enjoy what I enjoy.

Now. That being said. On the same day, my Mom, Dad, and little brother, all separate of one another, said I look like a Grandma when they noticed my new glasses chain from the queer market yesterday.

Is this my fate? To be the Grandma trans? I love being motherly and I enjoy caring for the people I love. But grand-motherly? I don't think so.

I might've added the BG3 Art Book to my dnd assets stash

It' 100% does not have things like the 5e players' handbook + 5e’s character sheet, several gm guides, critical role's explorer's guide to wildmount, baldur's gate and waterdeep city encounters, 101 potions and their effects, volo's guide to monsters, both of xanathar's guides, a bunch of other encounters, one shots, and class builds

In no way are there any pdf’s relating to any wizard who may or may not be residing on any coast

(Edit that I’ve moved the folder to the new link above! So if you catch a different version of this post that link won’t work anymore!)

I would like to reiterate. High collared supermans are evil Supermans. Low collars or necklines that show some of the clavicle are good superman fashion. This is simply how it is >:) this is my 1 law of Superman design and it is universal. If u wanna make your evil Superman believable he must have a high collar otherwise it doesn't work

young kryptonian prince

VTM character concepts that I am compelled to share as they have completely taken over my brain: Part 2, Electric Boogaloo!

So since my last VTM character concept post BLEW UP and my brain is once again back on its bullshit, here are some more ideas! As usual, feel free to use these to your heart’s content! I’d love to hear about your characters too, so feel free to message me about them! Now, on to the main event: 1. A Malkavian researcher obsessed with statistics who hunts down “statistical outliers” in order to make sure their data is “pure and untampered with.”

2. A Ventrue who has created an up and coming adult toy empire (pun fully intended). They currently are in the midst of a fierce battle with the local Setites over who can cash in on the pleasure business the most.

3. A Brujah who was a successful athlete pre-embrace. Unable to participate in their sport and driven by extreme bitterness and jealousy, they now strive to turn the public against this particular as a whole by ghouling athletes and ordering them to discover, leak, and in some cases create, scandals. All the while, they rage against the sport they once loved under the thin disguise of false activism. 4. A dance instructor and head of a renowned academy known for producing performers who constantly seem to be breaking the limits of what the human body can do, much to the delight of audiences. What these audiences (and many newer students) don’t know is that this instructor is a Tzimisce and the performers have been carefully tweaked and trained during “private lessons” using a combination of Dominate and Vicissitude. Additionally, the Tzimisce is in search of a prospective childe worthy of being their dance partner, and has been carefully monitoring select students. 5. A Gangrel cryptozoologist who aims to be able to eventually master Protean to the point where they can turn into mythical beasts.  6. A Gangrel veterinarian who was embraced after attempting to transport what they thought was an injured dog to their hospital, only for it to have actually been their hurt and very annoyed future sire. 7. A fledgling Baali abandoned after their embrace who thinks they are just some weird Caitiff. 8. A Banu Haqim who was traumatized after they were almost diablerized by a Sabbat vamp. Thoroughly disgusted by the practice, they now hunt diablerists, all the while attempting to ignore the cravings and habits of their bloodline. 9. A Hecata “fixer” who makes their living by disposing of bodies, whether turning them to ashes through the use of Oblivion or by adding them to their collection of undead servants. I’m a little tired, so these are all I have for now, though I plan on dreaming up some more. In the meantime, I hope you enjoy these!

The classic betrayer

This is where everyone subtly knows that this guy's going to turn the other way.

The betrayer puts on a show for our heroes - kind, compassionate and supporting at first.

it just so happens that the villainthinks the heros are the bad guys.

make them actually likable.emotionally ruin the hero upon betrayal.

The remorseful traitor

whether he had bad intentions from the start or was deceived by others, the betrayer regrets his choices.

when he realizes his mistakes, it's too late to stop the evil, which introduces guilt.

throw the guilt and shame on the character.

even the protagonist can be a traitor! will others forgive him?

The Double Agent

this type of traitor will keep the readers wondering whether this guy is truly on your side.

keep your readers guessing. is that an evil smirk or a genuine smile? does he really love drinking, or is he just trying to get the hero drugged?

Snape in Harry Potter is a great example.

The guy can be good or bad - just keep balancing the two

Unrealiable narrators

these characters are not entirely betrayers, but horribly misinformed. they can make others appear like traitors - when in truth, they just have it wrong.

pit your narrow-minded narrator against his allies.

these characters are great for misunderstanding plots.

have your narrator do irreversible damage to the hero. would they forgive him?

Tragic betrayers

these are characters, due to their past wounds and trauma, cannot help but betray the group.

they confess the hero's secrets under physical/mental torment and doesn't have the backbone to do otherwise.

these characters can either be pitiful or frustrating would the hero still fight for the betrayer?

Play around with pov

you can have the readers know about the upcomong betrayal by switching points of view, building up anticipation to the moment of realization.

on the flip side, you can change povs in a way that the reader doens't see what's happening at the hero's back.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

I had a fucking wonderful conversation with a Director who is a trans woman today.

I originally responded to an ad of hers looking for a transfem video editor for a documentary about trans people, but I was several months late. I specifically responded knowing I may not get the gig, but I wanted to work with her on this project that I felt was so important. It was important to me as a person developing a career in film, it was important to me as a trans girl hoping to engage and give to a community I want to be a part of, it was important that a project get made that could help people like me figure out what the fuck is going on with their identities.

So I waited for a response. Eventually one came. We set up a meeting for this afternoon, and the conversation we had was euphoric. I was so anxious and in my own head about the whole thing, but when it came time to talk, I felt like I was unapologetically myself while talking to her. I didn't need to mask, or change how I behaved for her. I just was. It felt wonderful. I've never had that with another person before, I think.

We talked about film work, trans experience, and MOTHERFUCKING TTRPGs!!!!!!!!! She called me "girl" in conversation and that was butterflies in my tummy. When I mentioned I was only 3 months on HRT she unashamedly and excitedly exclaimed that my chest was going to start hurting soon, and that lack of timidity about the subject was so fucking refreshing.

She mentioned how she enjoyed taking on the role of teaching younger trans people and being motherly. I added that my friends say that I'm the same way, but that I don't really have someone to be that way for me. It was a strange feeling to realize mid-conversation that I may need something like that at all. I never felt like I wanted a motherly force in my life, but maybe as I find myself in femininity that's something I need. My husband can only do so much to help me, and he's not exactly the posterchild for this sort of thing.

Nearing the end of our conversation, she told me to keep in touch and ask any questions if I need. But then she mentioned that we could go to get our nails done together sometime soon (I'd mentioned my experience with hand/nail dysphoria from a few days ago). I shut down. I stared at my screen through to her silently for a moment. I then stuttered, trying to answer. She asked if I was okay and if she overstepped any boundaries. I admitted that I needed a moment to restart my brain. Then I explained that I don't have any feminine friends to do "girl stuff" with. I've never been able to before. The idea excited me beyond belief. I said yes emphatically. I almost started crying a little, to be completely honest.

We said goodbye, and I closed the call.

Im doing a little tiny cry now, I feel so fucking good. I feel so proud of myself for trying for this and sticking with it. Proud of myself for not canceling because of my anxiety. Proud of myself for allowing me to be me unapologetically with absolutely no fabrication for the pleasure or comfort of another person.

Writing this now in bed. No other plans until later tonight. That call took a lot of my energy. Time to rest.

Night night💜