Risingstarling - Inner Ramblings

“It might not be a popular thought… but not everyone wants to be alive.”

Happy Birhtday Jason Todd🎂 (August 16)  

How To Adult

For those of you who need the nudge, here are some resources that’ll hopefully help you. 

Organization

Things to include when setting up a new planner

How to organize your day

The best pens for planning

Login & password tracker printable

2015′s most popular planners

Questions to help you de-clutter

Brilliant organizing solutions

Career

How to look good in a group interview

An introvert’s guide to self-promotion at work

Career planning 101

36 career tips no one will actually tell you

Best resume tips

What to do if you don’t know the answer to the interview question

A guide to cover letters

Mental & Physical Health

How to become a morning person

Why you feel tired everyday

Water intake and your diet

Finding happiness when life gets hard

Books to read when you need a laugh

Books to read in your twenties

What your gyno really wants you to know

How to wake up happy

Become a morning person

Your guide to medical check-ups (extremely important!)

When you need to get checked by a doctor timeline

Relationships

Free weekend date ideas

9 conversations every serious couple should have

Date ideas for $10 and under

Summer couple’s bucket list

Fall couple’s bucket list

50 things to do besides watch a movie

Miscellaneous 

How to make small talk

Use the Internet when there is no Internet

Which glue should you use?

How to properly tip

Expiration dates of beauty products

How to increase cell phone storage

Clothing care / laundry symbols

A guide to dealing with hangovers

Do I need a photo ID to do this?

Documents you need before you die

100+ things to throw away

How to buy a car

Cooking / Food 

Using your hand to find portion control sizes

How to cut a recipe in half

Grocery shopping like an adult

Kitchen measurement cheat sheet

Meals on the go

The shelf life of food infographic

Helpful kitchen cheat sheet

What pasta goes with what sauce?

How to pair candy with alcohol

Foods that are hazardous to dogs

Home / Apartment

Apartment inspection checklist

Planning a move in advance

Make moving easier

How to keep a clean home

Cleaning schedule printable

Car cleaning hacks

Things to do before moving out of your home

Checklist for changing your address

How to take care of your car

First place checklist

Things you can clean in the dishwasher

Finding an affordable apartment

Rental walk-through checklist

What to handle first after moving

Finances

Making and living on a budget

How to start couponing

Making a budget binder

Credit score basics

Save money on utilities

Financial habits to start right now

Get help with medical bills

How to save money every week

When airline tickets are the cheapest

Couponing for beginners

Budgeting in your home

Create a calendar budget

Get your finances under control

Ciel naming Sebastian (.◜ω◝.)

**Please  do not reupload  here/on other sites**

3 Study Methods You Should Use More Often

This was originally for an article writing assignment, but I thought “why not write something I can also post on my blog?” so here are three study methods that I haven’t seen a lot of in the studyblr community but are definitely worth mentioning.

The Leitner System

          Flash cards have remained one of the most popular ways to study. Some people use them to memorize vocabulary, remember answers to specific questions, or even associate dates with events. Although the use of flash cards is convenient, their effectiveness has been reduced due to most people’s habits of prioritizing each card equally and therefore spending too much time memorizing the information on them.

          The Leitner System, created by a German popularizer of science named Sebastian Leitner, is a more efficient method of studying that implements the concept of spaced repetition. All the cards start off in one pile. You would first scan through these cards, then test yourself. Each card you answer correctly goes to a second pile, while those you answer incorrectly should be revised then placed at the bottom of the pile. When you review the cards in the second pile and get them correct, they will be promoted to a third pile. An incorrect card will always get demoted to the first pile, even if they had previously been promoted to the last pile.

          The reason why this method is so effective is that you end up reviewing the first pile of cards more frequently—the cards you don’t know very well. Some people choose to review their Stack 1 cards every day, Stack 2 cards every other day, Stack 3 cards once every three days, and so on.

          Once all your cards have been promoted to the highest box, study them thoroughly and then start over. The continuous revision trains your speed so that you may reach fluency, which allows you to recall the information faster.

Timed Memorization

          The name tells it all: you memorize a certain text within a time limit, normally around five to ten minutes depending on your fluency and memorization abilities. When the timer starts, you begin memorizing. When time is up, you flip to the next page, even if you haven’t finished the previous page yet. Continue until you’ve gone through all your material.

          Timed memorization helps you to discipline yourself because your brain thinks that there’s no time for messing around; you have to do this here and now. Make sure to repeat the things you missed and revise everything frequently. This method is actually one of the most effective for cramming as it gives a better coverage than if you spend a whole half hour memorizing one subtopic.

The Memory Palace or Mind Palace

           Sound familiar? In BBC’s Sherlock, the ‘highly functioning sociopath’ uses this method to remember vital information and facts. A mind palace is a systematic arrangement of information, each detail corresponding to a specific object in a familiar place. To ensure that you really remember everything, the objects have to appear shocking and conspicuous.

           Here’s an example: if I wanted to memorize “crimson, 11, delight, petrichor (the smell after rain)”, aside from imagining Amy Pond or the Doctor saying it, I would first choose a place, let’s say my school. I’d imagine myself walking up to the front gate and seeing that the entire building has been painted the color of blood—crimson. The building would then rise as though it were lifted from the earth and crumble into rubble, controlled by Eleven, the character from Stranger Things. Now, since I can’t really picture delight specifically, I’d probably end up visualizing a colossal sign that simply reads “delight” posted in front of my school. As for petrichor, I’d imagine curves rising out of the puddles on the asphalt after a rainy night, a visual representation of the smell of the rain. Of course, these visualizations have been created to suit my memory. (I wouldn’t know if you watched Stranger Things.)

           I used this method when memorizing case studies for geography, although I chose to visualize fictional places from television series and cartoons. Some people do opt to create artificial places, but these often become blurry and are easily forgotten.

           As with any study method, repetition is vital to storing the information in your long-term memory. Visit your “palace” as often as you can. Soon enough, you’ll remember the data as well as you remember the place associated with the data.

So there you have it, three lesser known methods of studying that have proven to be immensely efficient. Now, there is no “correct” way to study, but there are methods that can ease your learning process.

A visual glossary of braid types

More Visual Glossaries (for Her): Backpacks / Bags / Beads / Bobby Pins / Boots / Bra Types / Belt knots / Chain Types / Coats / Collars / Darts / Dress Shapes / Dress Silhouettes / Eyeglass frames / Eyeliner Strokes / Hairstyles / Hangers / Harem Pants / Hats / Heels / Jackets & Coats / Lingerie / Nail shapes / Necklaces / Necklines / Pants / Patterns (Part1) / Patterns (Part 2) / Plaid / Pleats / Puffy Sleeves / Scarf Knots / Shoes I / Shoes II / Shorts / Silhouettes / Skirts / Skirt Silhouettes / Tartans / Tops / Underwear / Veil Lengths / Vintage Hats / Waistlines / Wedding Gown Silhouettes / Wool

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences.Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.

-Michi

This blog is supported through Patreon. If you enjoy our content, please consider becoming a Patron. Every contribution helps keep us online, and writing. If you already are a Patron, thank you.

Cat Behavior

http://sevencamels.blogspot.ca/2008_12_01_archive.html

Scene Transitions

An important part of structuring your story in any format is the transition between scenes. When not handled properly, time and/or location jumps in a narrative can become disorientating and confusing, making it harder for the audience to keep up with the action. There are three important things to focus on when transitioning between scenes: where the first scene ends, where the second scene begins, and how to connect the two.

It’s important that each scene have closure. When you leave a scene, you need to know that the goal of that scene was reached. If you leave the scene too early, before you receive that closure, your audience will be left hanging, feeling unsatisfied and off balance. You need to ‘cut away’ when the scene comes to its natural end, when everything is understood and the audience is ready to move onto the next idea. If you leave the scene too late, it drags your story, and makes it feel like the scene is longer than it is.

As with the end of a scene, the beginning of a new scene must feel natural. If you have to backtrack immediately after starting your scene in order to explain whats going on, then it means you’re not starting at the beginning of the scene. You can sometimes get away with doing this, if the reflection is placed naturally in the writing, but you shouldn’t try and push your luck. If all of your scenes start with an immediate backpedal to explain where everyone is, how they got there, and when it takes place, then you need to go back and fix some things.

Information about the change in time and location are important to include. If you didn’t, then it would be impossible for the audience to tell if, when or how these changes occurred. The most widely accepted way of transitioning between scenes is to detail the things done by the characters to go from scene A to scene B. They can do so by showing the transition between locations (“They walked the distance to the theatre, laughing the whole way”), points in time (“hours passed as she sat reading in her favorite chair”), or combinations of the two (“they drove for days, the grassy hillsides of home growing into a looming mountain range”). The information in the transition must do everything to set up the new scene that’s starting.

I am going to use a segment from “These Shallow Graves” by Jennifer Donnelly as an example of what not to do when transitioning between scenes. In chapter thirty-four, a scene is ending where the protagonist and her love interest meet secretly during a ball and make a plan for her to sneak out later that evening. The scene ends on an angsty moment as they both watch her almost arranged fiance dancing with the competitor for his affections. Chapter thirty-five immediately begins with the two of them having met up and halfway to their destination. It is then explained how the protagonist had left the party early, snuck out, and made it to the meeting point.

Feels kinda jenky huh? Here’s how we could smooth this out.

Their plan for meeting up that evening involves the protagonist telling her uncle (who an attendee) that she is feeling faint and using that as an excuse to leave the ball early. This would make more sense as a place to end the scene as it signals the beginning of the transition between locations. When she sneaks out the house is a good place to officially begin the next scene, as it signals another change in locations. Because the time spent at the protagonist’s home is not important to the overall story (her waiting for everyone to fall asleep) this could serve as the transition between the scene of the first and the scene of the second meetings. The cab ride from her house to the meeting place is also its own small transition, and is a good place to reflect on past information without interfering with anything else going on (such as dialogue and bonding between love interests).

Remember! All of the important things to keep in mind when writing scene transitions are: Know where to end a scene. Know where to begin a scene. Know how to connect the scenes.

What if tho.....

Dumbledore: This is the mirror of Erised

Harry: *looks in it*

Phantom: I AM YOUR ANGEL OF- Oops wrong mirror

Harry:

Dumbledore:

Phantom: Sorry