Its something I see frequently on tumblr, this strange phenomenon where people write a screenplay length essay detailing every single ailment they have, usually self-appointed, in their intro post when it's not relevant at all to the blog content and it never crops up again.
It could literally be an entirely unrelated blog and in their pinned they'll be like "hey how's it going, I'm xyz, I have seven personality disorders, DID, both types of Bipolar, every single type of anxiety, Autism, ADHD, IBS, POTs, EDS, scoliosis, I frequently experience fainting spells, I'm incontinent, etc."
Obviously it's their blog, they can post about what they want, but... I can't help but wonder if they genuinely think people care at all. Like the only information I can think of that people need to know is your name, your pronouns, and what your interests are. Do people forget what school teach them about internet safety? It's generally not a very smart idea to air every single vulnerabity you have for millions to see.

Dear Colleagues and Friends,
We are putting together a book for game makers that aims to show how we can sustainably make games for sustainability. All perspectives and authors are welcome and we can offer support with writing as well as potentially expand the deadline somewhat. There is less than one week left until the deadline for the cfp below right now.
Patrick

Call for Abstracts – Towards Sustainable Game Design: The Game Needs to Change
Book chapter for an edited collection
Publisher: CRC Press (Taylor & Francis Group)
500 word abstract deadline 15th of June 2024.
There are NO submission or processing fees for accepted manuscripts.
Mission:
Join us in contributing to a groundbreaking collection of research and white papers aimed at exploring the intersection of games and sustainability. We invite abstract submissions from both industry professionals and academics passionate about effecting positive change in the gaming sphere. Together, we’re making a book about moving beyond mere greenwashing to collectively work towards systemic solutions. Let’s make games toward a sustainable world, sustainably!
In this upcoming publication, we seek to distinguish genuine sustainability efforts from mere green-washing tactics prevalent in the industry. Our editorial team will meticulously review abstract submissions, selecting those with potential to offer substantive insights and practical solutions to the pressing challenges of sustainability in gaming and a compelling vision for how we can achieve a sustainable future.
Our goal is to empower individuals and organizations across the games industry who are eager to make meaningful contributions towards sustainability. Through a blend of industry expertise and scholarly research, our book aims to provide actionable strategies and real-world examples to guide readers in integrating evidence-based sustainability principles into their professional endeavors and work for real, systemic change.
Possible Topics Include but are not Limited to:
• Systemic approaches to sustainability
• Production, processes and material conditions
• Telling Stories for a Sustainable Future
• Integrating Environmental Messaging and Learning into Game Mechanics
• The unique challenges of games
• Stories and visions of a sustainable game industry and future
• Discipline-specific methods and practices
• Impact-focused research on games and sustainability
• Analyzed experiences or stories of designing for sustainability
• Retrospectives on industry practice for sustainability game design
• Collaborations between research and industry teams
• Design theory or design practice theory
To have your essay or research considered, please submit a 500 word abstract by 15th of June 2024. Email abstracts with the title “book submission” to Clayton_Whittle [at] outlook.com
The Book:
For industry professionals, this book is a way to highlight both the challenges you are facing and your approach to them, to connect it to evidence-based research. For researchers, organizers, and activists, this offers the possibility for real-world impact and a chance to apply your findings in a concrete and impactful way. For all of us, it presents a chance to work with like-minded individuals on suggesting pragmatic solutions and to build a community for sustainability in the games industry.
As a book aimed at advising practice, essays and research will be organized into topic-focused sections. The editors will work with authors to organize essays appropriately. Editors will also provide a structure for each topic-focused section that frames the work of authors in the context of real-world stories, practical examples, and actionable advice. To facilitate this connected organization, and to also make sure that each contributor knows what is being said in the chapters before and after their own, we are planning a digital meeting between the editors and the contributors for each topic. In this meeting, we will give feedback to each other’s draft texts, find connecting points, and strengthen the argument of the book, while meeting the people who are working in our exact field.
In order to respect your time and work, and to make such a meeting possible within the time-frame of the editing process, the editors are aiming for a fast turn-around for submissions within 2-3 weeks.
Contributions:
Chapters will be max. 8000 words written in accessible language. Shorter contributions, especially practice-based and design work, are also explicitly welcome. Specialist terms and concepts will be explained and there will be no assumption that the reader is a researcher or specialist in a given development field. That said, it will be possible to use scientific and other references. About 50 illustrations in black and white are available for the entire book. We accept submissions with multiple authors as well as more than one submission per author.
Given that we are expecting contributions from a variety of fields, chapters can look quite different from each other. Some might be academic text while others can be an explanation of a successful organization process or advice for impactful design. We strive to accommodate these differences in the structure of the book and encourage submissions with practice-based topics. The editors offer support to contributors who are not necessarily used to writing in order to support such submissions and help you tell your story. What exact form this support will take will be based on the need of contributors in collaboration with the editor team.
We’re very interested in contributions and perspectives from those actively working on game development projects, and we also recognize that game industry professionals may not have as much experience with the writing and editing processes involved with this project compared to contributors with a more academic background. As a 15-year game industry veteran who has more recently learned to research, write, and publish work in this space, editor Trevin York is on hand to support contributors who are similarly interested in sharing their processes through these types of written projects.
Editors and Publisher:
The book is to be published by CRC Press, in the Tyler and Francis Group, in 2026 with a release during GDC. The printed book will have the following ISBN: 9781032836195. It is edited by Dr. Patrick Prax, Dr. Clayton Whittle, and Trevin York. Patrick is Associate professor of Game Design at Uppsala University and has been working with sustainability in game design education and the game industry. Clayton is the co-chair of the IGDA Climate SIG and Ph.D. research consultant for transformational games. Trevin is the founder & director of Dire Lark, a game design for change studio. Clayton and Trevin are also the first authors of the Environmental Game Design Playbook by the IGDA Climate SIG.
Timeline:
• Submission deadline for abstracts: 15th of June 2024
• Submission format: 500 words excluding literature
• Editor feedback: acceptance within three weeks, 7th of July
• Peer feedback on in-progress chapters: 15th of October, submission 10th of October
• Full chapter submission deadline: 2nd of December 2024
• Feedback within six weeks, 15th of January
• Final submission deadline to editors: 15th of March 2025
• Final Print Deadline: 01 May 2025
• Publication: GDC 2026
Abstracts with the title “book submission” to be emailed to: clayton_whittle [at] outlook.com
Please do not hesitate to contact us if there are any questions at all!
Thanks,
Patrick, Clayton, and Trevin
Editors
Patrick Prax
Associate Professor at the Department of Game Design
Uppsala University, Sweden
patrick.prax [at] speldesign.uu.se
Latest Publication:
From Talking about Loot Boxes to Discussing Political Economy: Conceptualizing Critical Game Literacy
gamevironments No. 17 (2022): Special Issue "Social Justice"
https://journals.suub.uni-bremen.de/index.php/gamevironments/article/view/180

Hello So for my transfer essay I plan to write about how my current school only offers a bs in psychology on 5e pre med track and I want to transfer to this new one (NYU CAS) bc they offer a ba in psych of the pre med track. I want to do a ba in psychology bc after undergraduate I can get a job as a counselor / other job opportunities that I need a ba for. I still want to go to med school but I also want to not only get a better job in the field but also be able to gain good experience (I want to be a psychiatrist)
That’s the main point of my essay and I have one small paragraph dedicated to what clubs / research labs I plan to join at nyu.
Side question: I included another paragraph about how I love the city life and New York is the epitome of city life and nyu is at the heart of that blah blah. And at the end of the paragraph I said nyc is a hub for healthcare and organization such as nyu langone there are opportunities to work as a student intern which I’d want to take up, the question is -should I remove this paragraph it feels quite silly and out of the blue but I just looovvveee New York and I wanted to express that
My question is do I need to include a section where I talk about what I can offer NYU. If so I’m not exactly sure how to go about doing that. All my job ecs, volunteer ecs, research lab ecs will already be listed on the application right . Do I go further on that ? I was told that it’s not good to write about your achievements on the essay bc it’s already gonna be listed and there’d be a description for tasks done.
Please let me know and thank you so much

[EST]

• Kuidas mängis traditsiooniline eesti rahvamuusika ja -kultuur laulev revolutsioon rolli?
• Kas see sündmus mõjutas oluliselt teie elu?
• Kuidas mõjutas Laulva revolutsioon Eesti rahvuslikku identiteeti?
• Kirjeldage, milline oli laulev revolutsioon.

Tänan Teid, see on essee jaoks, mida ma kirjutan.
(Ma olen selle tõlkinud, seega vabandust, kui see on raskesti mõistetav.)
[ENG]
I have some questions for those who witnessed the Singing Revolution (feel free to send this to someone who participated):

• How did traditional Estonian folk music and culture play a role in the revolution?
• Has this event significantly affected your life?
• How did the Singing Revolution influence Estonian national identity?
• Describe how you witnessed/participated in the Singing revolution.

Thank You, this is for an essay that I am writing.

IDK, I'm not really great at write-ups, unsurprisingly I'm kind of awkward.
But yeah, introducing myself:
I'm a 23 year old dude, born and bred in London, I currently work in education while pursuing a degree (a bit on the older side for that I know, but it's kind of a restart for me as I droppped out of school when I was 16 due to family issues).
I'm generally a fairly reticient person, I don't usually talk much but I like to chat freely with those I'm close to. I like working out, books, cats, the outside, learning, playing cards, eating good food yadayadayada...
Things I'd say are good about me - I'm well mannered, steady tempered and fairly reliable, I tend to be horribly open so ask me questions but please don't ask too many.Things I might self-critique - I'm not the most observant, I can have a bit of a short attention span, I tend to be a bit chaotic and disorganised.
Laying the cards up, I'd say I can be a bit of a dull person, when I'm in a relationship I do like to do things and try new things, but on my own I'm honestly just as happy sitting at home reading a book as I would be surfing on the waves. Not really a loud lights and noises type guy either, I can go to a party and have fun but wouldn't go to one unless someone asked me along. Don't drink either. On the upside, I am generally down for just about anything (any activity that is, I avoid most drugs) and am not the type to say no often.
What I'm looking for:
I don't really know, I haven't been in many relationships, and none of them really during a particularly stable part of my life.
Been fairly solitary for the last couple of years, which isn't really much of an issue for me, I'm a fairly introverted person, but it'd be nice to have someone to do things with, keep company, enjoy time together etc.
I believe every relationship is about making a friend who you can truly connect with heart to heart. Someone I can trust, who I can rely on, who I like like to be around and so on.
Obviously I'm looking for something IRL, but not expecting to dive headfirst into anything. I want someone who I can take things slow with, get to know each other without judgement or impatience, be that someone who's there for you on the days that all you want to do is spend time with someone you like, and yknow, let it develop over time.
A couple of things I don't like is people who are flakey and aren't honest or straightforward. I can appreciate all kinds of personality traits, but people who just waste your time or pull you through an emotional kaleidoscope are my nightmare.
Not to say I don't get that there are different ways things can go, sure I could be dating you for a week, two weeks or a month etc. and one of us could decide that we want different things, but I want someone who can be honest and direct about that.
Basically one of the things I value most is people who can be straightforward, and always be upfront and forward about their expectations, feelings and emotions.
Wow, I really rambled on over that last part, hope I don't sound bitter or weirdly aggrieved, I just found it's something that's best to be laid out from the start in my shallow experience in relationships. I want someone who I can always be upfront and straightforward and vice versa, I think it engenders the kind of communication that is at the heart of any good relationship.
Besides that obviously I want the general things, someone who's kind, caring, well tempered, and so and so but really I'd say I get to like individuals as the people they are holistically rather than based of specific traits (fluck, that sounds kind of pretentious doesn't it?) anways, I'm never really sure how to conclude a piece of writing unless it's an essay (I lie, I'm not really good at concluding those either), so I just tend to ramble on a bit... besides that I just checked the posting rules for this sub and it says 300 characters not 300 words, so I'm just going to end this here.

I've dedicated myself to watchint as many Ghibli movies as possible so I can see what all the hype is all about. I'm someone who REALLY enjoys discussing / critiquing movies and whatnot so I thought I'd ramble about my impressions of each movie here...
Grave of the Fireflies - solid 20/20. I couldn't begin because I wouldn't be able to stop. I'm someone who loves more grounded, emotionally driven stories (and more melancholy ones at that), so I really feel like this movie was made for me. I've rewatched it so many times, and each time I am swayed all over again. First and foremost the animation does the characters so much justice - the perfectly realistic, age-appropriate mannerisms. There's something special in a story where kids *get to act like kids*, but aren't reduced to a "brat" or a narrative annoyance / burden. They are both just so sweet and innocent, and well mannered... Despite the struggles of the war they manage to approach the world around them with so much hope. They make the time for joy, and fun, and love. You can't help getting attached, you want to see them succeed... I truly feel like this is Ghiblis best in terms of getting the audience invested in it's characters.
Howls Moving Castle - definite 20/20!!! I have a lot less to say about this movie but it's overall just a treat to watch. I really feel like this film is Ghiblis best - gorgeous animation, wonderfully charming characters, and a plot you can't help being invested in... It has it's twists, but manages to avoid becoming confusing or convoluted. Theres the typical Ghibli vagueness, but it never leaves you feeling as though you've just ran past a giant plot hole - in other words, the world/setting actually feels alive. Theres a world beyond the lives of the main cast, and you can feel it. Not every single little thing (between characters) is explained to you, but with enough context clues things begin to make sense in it's own time. I just love rewatching this movie and letting all of the pieces fall into place. Also props for doing time travel in the least confusing way possible
Ponyo - 20/20. Subject to change because I JUST watched this movie and I still need to gather my thoughts - but as of right now I have no complaints! It's just a sweet, lighthearted movie. The perfect mix of childlike innocence, adventure, love/connection, and fantasy. I think this movie is Ghiblis peak in terms of balancing out those themes. Ponyos friendship with the little boy (sorry bad with names) is the HEART of the movie, of course, and it's a joy to see them run around and goof off! But Ponyos parents.... Oh my gosh... they were such a treat. I really really loved their dynamic, even if it wasn't the key focus. Before watching this movie I would see people frequently comment things like "how did that weird wizard bag the goddess!?!?" but like.. Guys.. It makes sense. I get it. Despite swearing off his humanity, it's pretty clear that the father still exhibits some emotionally driven... Irrational... Imperfect behaviors. He's still very much human, on the inside. I think that's why they work. You can tell she adores him for these traits. I'd bet shes quiet fond of humans, despite how gross they can be, and that's exactly why she doesn't mind Ponyo experiencing their life for herself. JUST MY THOUGHTS THOUGH...
Princess Mononoke - 19/20. This was my very first Ghibli movie (I went in COMPLETELY blind, not even a trailer)... As someone who is very passionate about nature and biology, I obviously fell in love with the environmental message within this film. I think it was done oh so perfectly well. I think what I love most of all is the nuance. There is no strict villain. The animals kill people just trying to make a living, but you can't call them evil for it, for they are just trying to defend themselves. And the exact same can be said vice versa. Two sides fighting for survival, their mere existence - at least in the beginning - is inherently harmful to the other. I think that's fascinating. To say the only reason this movie is not a 20/20 is because I had a difficult time connecting the main characters curse to the overall environmental plot, the jump from "I need to do something about this curse!" to "I need to stop these people from beefing!" kind of gave my whiplash as I genuinely did not understand the correlation ...... It's one of those things I only get in hindsight, but alas, these are my first impressions
The Tale of the Princess Kaguya - 18/20 I cannot write an essay about this movie because my hands will fall off, and honestly, what even is there to say? The animation was beyond what words could describe. I LOVED the slow, personal, down to earth story / pacing. Some people may consider it a "boring" movie but I was personally very invested. I mean, she just randomly came out of a bamboo! And now shes growing! How could I NOT want to know what happens to her?.... To say... the only reason this movie is not a 20/20 is because the ending, personally, was not up to par to me. Do I think they should have *changed* the ending? No, actually. To me, the ending just didn't feel like it should have happened when it did. I enjoy sad endings don't get me wrong - but what makes or breaks a sad ending is if they feel *deserved*. Just narratively speaking. If I end things now, in this manner, will the audience walk away feeling as though they'd completed the story.... Or as though they'd been cheated out of one?
The Boy and the Heron - 17/20. I saw this movie in theaters when it first came out, my second Ghibli movie ever! I couldn't write an essay about this movie even if I wanted to, tbh. The only reason this movie is not a 20/20 is because the plot/pacing was... Well... A little too abstract. I don't think I consider it a FLAW as much as I consider it a barrier, though - I knew I was watching something good, but I couldn't for the life of me fully access it. It's not the abstract storytelling that gets me as much as it is the failure to connect narrative plotpoints, really. It felt like I was watching eye candy, and every 10 minutes I'd have a "I get the plot!" moment of clarity, before plunging into the unknown again. LMFAO I could pick up on the main characters dynamic with his step mom, the loss of his mom, and how it effects his behavior. Boy beyond that I felt kind of lost. I couldn't understand what, exactly, the fantasy aspect was trying to teach me... I really enjoy stories that are vague/abstract but this one stumped me dawg
Castle in the Sky - 17/20. I'M TRYING MY HARDEST NOT TO WRITE GIANT ESSAYS ABOUT EACH MOVIE. I feel like this movie is a little rough around the edges, you can definitely tell this is Ghiblis earlier works. But I was invested in the story, and quickly grew very fond of the characters! I wouldn't personally consider it the best of Ghibli, but it's an incredibly charming, enjoyable watch. This is worth putting on when you just want to see something cozy, and a little funny, with just the right amount of action!
Spirited Away - 14/20. OKAY I'M SO SORRY people are so shocked when I say this but.. Spirited Away, at the current moment, is the Ghibli movie I've taken the least interest in by far. And I'm just going to break it down why because so many people I know have asked me. first and foremost, the story... I thought the story was okay, not bad, but just average. It genuinely just feels like the usual ‘kid gets lost in another world' movie, but with a fantasy twist to it. In terms of characters, none of them seriously stood out to me!! I don't know if i'm just going crazy here, but I don't feel like I had the time to get to know ANY character. Which stems into my biggest issue with the movie.... Investment. I, honestly, just wasn't invested in this movie! I tried so hard, but I seriously didn't care much for any of the characters, and a good plot can only do so much when you have 0 reason to care about the characters. Just when I was beginning to take interest in a character, the story would shift focus and move on to someone else! I literally felt like I spaced out and missed a quarter movie by the end of the movie, because the whole River Spirit thing felt like utter randomness to me. am I seriously going crazy? Like when was this ever brought up? When did Chihiro ever mention falling in a river??? This was never hinted. There was no mention, or a flashback - they just showed a frame of Chihiro underwater like 10 minutes before the reveal and expected me to register that as adequate foreshadowing or something. WHAAAT! And when Haku remembered his true identity, I couldn't tell you what I was supposed to feel in the moment, because I seriously did not care about him or his relationship with Chihiro at all. I couldn't even tell you 3 facts about him besides "almost died" and "is dragon". Overall... Good movie, but I wouldn't watch it again
Later I'm going to either watch The Wind Rides or My Neighbor Totoro. Let's see where they stand...

Hi there,
I've never really used this subreddit before, so I'm not sure whether this post will get somewhere or not. So here goes.
Starting in a couple of months I have an extensive project I need to work on for my education. It involves an essay, a presentation describing my process of completing the essay and some other bits and bobs which I haven't really got into yet. Naturally, having a love for history my whole life, I want to impress, and as such want a quite obscure topic I can write about, one which is rich in sources and things like that so I can write in detail both about the topic and how I researched it.
Some ideas have come to my mind already; I was thinking potentially writing about a person, such as Boris Savinkov or Aisin-Gioro Puyi. Additionally, I was thinking about a period in history with lots of rich information that is often overlooked - the Civl War period in Russia comes to mind, with its dozens of factions and infighting involved on the White Side. Finally, I was even wondering whether to risk looking at alternative history, or perhaps that is a little too far-fetched... if any of you had any further information on that topic in particular, it would be really helpful!
I hope this post isn't overlooked. The help would be a great boon to my research, and ultimately, the way my project does turn out in a year's time. Thank you in advance to those who do reply, and hopefully, I get a wider range of ideas from this!

Dear Broadchurch fans, I have posted a series of rewatches of season 1 (https://en.wikipedia.org/wiki/Broadchurch\_series\_1) of Broadchurch. Now I find it is time to review some of the prevalent themes within the series. Please be aware that I will discuss season 1 as a whole, so there may be spoilers ahead.
If you enjoy reading this essay, feel free to stop by my AnalysisVault to see if you find some more of my work to your liking. Please note that this subreddit is read only and comments should be made with the original posts rather than the cross-posted ones.

Egotism vs Altruism
One of the more prevalent themes in Broadchurch is the question of egotism vs altruism. I will give you a short overview of both concepts as well as the spectrum they represent, then speak about their implementation in the series and finally make a statement about why the makers chose to make it a central theme.

Wikipedia states:

Egotism is defined as the drive to maintain and enhance favorable views of oneself and generally features an inflated opinion of one's personal features and importance distinguished by a person's amplified vision of one's self and self-importance. It often includes intellectual, physical, social, and other overestimations. The egotist has an overwhelming sense of the centrality of the "me" regarding their personal qualities.

In essence, egotism is the personal philosophy of “me first”. A person with strong egotistical tendencies will make sure their own needs are met before those of others. Think, if you will, of the people who will take the best slice of cake for themselves or drive a gas guzzler out of convenience or cut the line at the airport to get the best seat. All of these are egotistical actions. On the other hand, some egotism is warranted for self-preservation. The parent who gives their all for their children but runs themself ragged in the process may need to exercise more egotism. The health care professional who routinely skips their break to care for never-ending patients may want to be more self-preserving by being more selfish. Things like that. In general, society views egotistic action and unfavorable while oftentime people with egotistical traits tend to be more successful in certain areas of life.

Altruism is the principle and practice of concern for the well-being and/or happiness of other humans or animals above oneself. While objects of altruistic concern vary, it is an important moral value in many cultures and religions. It may be considered a synonym of selflessness, the opposite of selfishness.

In essence, altruism is the personal philosophy of “others first”. A person with strong altruistic tendencies will make sure the needs of others are met before their own. Think, if you will, of the people who will hand out food to others happily but forget to get any of their own, take great strides to pick up trash in a local park or offer up their seat for a disabled person on the bus. All of these are altruistic actions. In general, society views altruism as beneficial and a trait to strive for while oftentimes people with altruistic traits tend to be less successful and may feel taken advantage of.

Basically, egotism vs altruism is the Captain Kirk vs Mr Spock discussion. Spock says: “The needs of the many outweigh the needs of the few”, goes into a highly irradiated engine room to save the Enterprise and dies in the process. Kirk says “The needs of the few outweigh the needs of the many” and risks war with the Klingons because he can’t live without his buddy.
However, every action has aspects of both in them. Each action every person takes has both egotistic and altruistic nuances to them. The interesting part is where the balance falls. I will let you decide for yourself which way the pendulum swings on the following examples.
Some examples:
The healthcare worker who overworks themselves acts in an altruistic way because they support patients and help them get better. But they are also egotistical in their own way because being “the supportive one” strokes their ego.
The person who drives the gas guzzler acts in an egotistic way because they pollute the environment unnecessarily, take up a lot of space with their vehicle and probably stink up the place with their fumes. But they might also have an altruistic aspect because they need to move large groups of people, feel they are supporting an industry that gives jobs to workers or even further the economy by spending money.
The person handing out food but not taking any for themselves can be very altruistic but depending on the person they can be very egotistic instead, for example when they decide to hog the table, demand ever-lasting gratitude for their “sacrifice” and/or post their actions on social media for clout.
Finally, a person who writes lengthy analyses and posts them on Reddit may appear altruistic because they attempt to enrich the lives of others with their observations and (hopefully) witty posts. They may also be egotistic in an attempt to garner attention and positive reinforcement through the community they choose to post in.

Implementation in the series:
One of the great things about the series is the fact that they are aware of the different sides of egotism and altruism and allow the viewer to form their own opinion. Hardly ever is anything said bluntly, most of the time we are left to figure out things of our own. We see the way the characters act, we see the way they interact and are interacted with and we are left to make our own decision. Hardly ever are things black and white, hardly ever are we given the one true answer ™.
This is one of the main reasons the series is as emotionally impactful as it is. Because life is messy. Life isn’t neat. Life isn’t simple. Stories with simple and clear answers are not realistic because life doesn’t work that way. Think about it. In the last decade or so there were a lot of shows and movies looking deeper into the question of fairy tale villains and whether they were villains at all. Star Wars does this masterfully by looking at Anakin Skywalker’s arch. He seems like a clear-cut villain in episode 4, the first to hit the screens, but as more of his story is revealed, he becomes much less cartoonishly evil.
In fact, the idea of egotism vs altruism is the driving factor in the various aspects of the investigation the detectives conduct. Look at the different suspects, if you will. All of them have (at the very least) some very egotistical behaviors. Steve Conelly, con man and maybe psychic is getting a feeling of importance when passing on his “messages” to the great expense of Beth Latimer, among others. Mark Latimer is so very much wrapped up in his selfishness he neglects just about everyone around him unless caring for them fulfills his needs. Nigel Carter engulfs himself with righteous anger against Jack Marshal, not for the community but seeking Mark’s approval. Paul Coates revels in the attention he and his church gain from the case. Susan Wright is so eager to protect herself, she harms others pre-emptively. Jack Marshal, the man who slept with a child, then married her. No 40-year-old man would do that for selfless reasons.
All of the suspects we are presented in the show are – in one way or the other – selfish. And that’s perfect. Murdering a child is an inherently selfish action. The true joy of the show comes with finding out that the murderer is a man who we are made to perceive as deeply selfless.
Let’s take a look at Joe Miller and how he is portrayed on the show. As I have stated in the various rewatch posts, most of the time Joe Miller is shown as loving, caring and genuinely supportive parent and partner. As u/Vioralarama stated so well in my post about episode 5, “He's got the plot armor of the supportive spouse who handles all the emotional work for the person working the crime.” On the surface, he does. Every time we see Joe Miller, he is seen with a member of his family. And every time he is seen he is doing some sort of supportive work for them.
Case in point, when Joe and DS Miller invite DI Hardy to their home for dinner, Joe does it all. Puts the kids to bed, prepares dinner, does the dishes. He tries to mediate between DI Hardy and DS Miller, too, and makes a great effort to lighten the mood.
Once you look below the surface, though, things look entirely different. We see glimpses here and there that things are not what they seem, mostly through things we DON’T see rather than the things to DO see.
Joe Miller shows some worrying signs of being a neglectful parent and partner quite early on in the show. To pick up the example of the dinner experience, when DS Miller leaves the room, Joe Miller uses the time he has alone with DI Hardy to probe him for information. If he truly were the supportive husband the show wants us to believe, he would’ve used that time to help both find common ground in their working relationship. DI Hardy is the one who brings that up and asks about whether DS Miller likes him. The conversation is cut short though as Joe Miller filled the narrow time slot with questions about the case and didn’t leave DI Hardy enough to ask about how to improve his working relationship with DS Miller. Case in point, DS Miller keeps complaining that DI Hardy addresses her as “DS Miller” instead of “Ellie”. This would have been a great talking point for Joe Miller in that moment, asking “why” and mediating between them. Also, did Joe Miller make a dinner invitation to help DS Miller and DI Hardy form a working relationship or did he do it to garnish information?
More examples:
When DS Miller and Joe Miller tell Tom Miller about Danny’s passing, both leave him alone in his bedroom. Neither offer a shoulder to cry on. Sure, DS Miller is just as responsible as Joe here but Joe is the stay-at-home parent and therefore the more direct caretaker than DS Miller. Also, over the course of the show we never see Joe actually engaging with Tom, there is no attempt at comforting him, not even when he is obviously distraught. Joe Miller lets Tom out of his sight at the Arcade in episode 5, right in the middle of the “pedophile panic” surrounding Jack Marshal. Just in general, Tom spends a LOT of time wandering the town alone. This image doesn’t sit well with the façade of caring, loving, altruistic father.
Indeed, the filmmakers are pulling one over our eyes with Joe, who turns out to be one of the most egotistic persons in the town. Joe spends time and family money on Danny, he breaks into a holiday hut to do so, manipulates the boy with abuser language and, when threatened to be deprived of his attention, gets so angry he strangles the boy. Whom he still believes to be his son’s best friend. And who is his best friend’s son. The same best friend he then begs for praise because he didn’t drop the body into the ocean so he didn’t have to spend years wondering what happened to the boy.
But why do the filmmakers do this? The series REVELS in red herrings, side plots, dead ends and misdirection. The greatest misdirection they can give us is showing us the “perfect” man and making him turn out to be the most terrible one of all. It’s an emotional gut punch and the type of storytelling that works really well with the type of story they want to convey. Because the story of Broadchurch is not about Danny’s murder, it’s about the fallout that follows. A community like this learning that one of their “best people” is indeed a child murderer has to have a terrible ripple course through it, upsetting it deeply.
With so many other characters filling the “egotism” bill, we are offered a view beyond the picturesque coastal town in Dorset, England, where things look perfect, harmonious and just lovely. The series revels in showing us this image and dissecting it piece by piece, looking deeper and deeper into the cesspool of secrets and bad decisions. As such, the viewer is given the change to observe the deep hurt inflicted upon the more altruistic characters – most of which happen to be women – by the egotistic characters – many of which happen to be men. It is the direct and even more terribly indirect hurt that is inflicted upon the altruistic ones that gives the story the emotional impact it has.
Case in point, Beth Latimer and DS Miller both are exploited by their husbands and end up not only dealing with the direct fallout of their respective actions but hurt to a point they cannot even rely on each other anymore. They are both stripped of the delusion of happiness and family being their haven. They are also both stripped of a friendship which could supply each with a friend who “gets it”. Heck, just for the fun of it the makers toss in Susan Wright, a woman who has been so terribly hurt by her husband that she became jaded enough to “join the other team”. She has become the egotistic abuser her husband was simply because she (probably) used to be altruistic. Her experience with her husband, the police and the loss of her kids have kicked her to the other side of egotism simply out of a deep need for self-preservation.
Before the question comes up, no, the series is not about men vs women, or men = bad, women = good. And neither is this post. There are egotistic women in the story, like Karen White, Susan Wright or Becca Fisher. There are altruistic men in the story, too, like DI Hardy. But the trend is quite distinct. In my own personal experience this comes from the general societal expectation that women should be altruistic and work for the group. An expectation that is not socialized as thoroughly in men. The show picks up on this and showcases it to great effect, placing a great emphasis on the price some women are made to pay for following this expectation.
Finally, the question of egotism vs altruism is a thinking point the viewer is left to ponder with beyond the end credits of the last episode. The discussion of who is what and how much can keep the viewer’s mind busy for some time. Several people on this sub posted they hated Mark Latimer’s selfishness, and many commenters agree. If you ask me, this is a great result for a series, making the viewers contemplate things such as this beyond the actual viewing experience.

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3rd: Sandra Diaz-Twine 1.0 (Pearl Islands - Winner)

we're not worthy.
u/SMC0629:
Sandra 1.0 is my favorite winner of the show, and while that could change (since her, Chris D, and Fabio are all super close), I still think she's flawless. Pearl Islands Sandra has this rawness in both her humor and emotional moments that I honestly don't think any other season with her can replicate. In her following seasons, you can tell she's slightly playing a character in the back of her mind, but in her first season, it's all fresh. Her rivalry with Jon is spectacular, her relationships with Lill, Burton, Rupert, and Christa are great, and her journey to the end is incredible. Such a fantastic character and as of now, my favorite winner.
~
u/Zanthosus:
Her rivalry with Fairplay is legendary. Add onto that the fact that she’s the undisputed star of every scene she’s in and you have the recipe for a bonafide icon. No matter if it’s her haggling in the village, stealing the tarp, dumping out the fish, or getting loud too, she’s just incredible to watch. I may have mixed feelings towards what her legacy has become following her second win, but there’s no denying that Sandra 1.0 is absolutely incredible.
~
u/Tommyroxs45:
I CAN GET LOUD TOO, WHAT TH-. There’s a reason Sandra is the most quoted Survivor of all time, every time she is on screen she is an iconic queen and I will always love her for the entertainment she brought. Even though I would have Sandra 2.0 here over 1.0, I’m still glad at least one of them made it.
~
u/Regnisyak1:
Sandra is the ultimate subversion of a “hero” on Survivor, and I adore her for that. A quote machine (I CAN GET LOUD TOO, WHAT THE FUCK!), Sandra delivers the entertainment factor of the season and makes it an incredible time. While I do think Pearl Islands is a wee overrated, I can’t deny Sandra’s incredible role in the season, her bickering with Fairplay, her friendship with Rupert and Christa, and her absolute decimation of Burton led to some of the most entertaining parts of the season. She is the queen, and she will stay in that position until the end of Survivor.
Personal Rank: 15/821. 10/10.
~
u/ninjedi1:
Sandra is a really great winner, although not my favorite. She's an amazing personality and has great chemistry with Rupert, Christa, JF, and so many others. There are so many great lines that she says like "I CAN GET LOUD TO WHAT THE FUCK" and so many more, plus her able to overcome everything to make it to the finale and win is great. Also, love the most iconic opening confessional she has.
~~~~~
u/DryBonesKing:
This one… I've started this writeup over and over, trying to figure out precisely what I want to say. Because, honestly, what is there to say that hasn’t already been said? Sandra Diaz-goddamn-Twine (her full, government name, btw. Check it out) literally speaks for herself. She’s honestly probably the safest person to say is one of your favorite Survivors of all time because of just “how” much she can appeal to anybody! Are you a narrative person? Sandra’s got that in spades, with two back-to-back revenge narratives that feel genuinely fresh. Are you here for the funny? SHE CAN GET LOUD TOO, WHAT THE FUCK, and she’ll make you laugh as she does so! Are you a strategy fan? Well, the masterclass UTR gameplay and the two-time winner status sorta speaks for itself. Are you a Facebook-casual type of fan? Well, while you are the type to most likely dislike her, she is Rupert’s buddy so you can definitely root for her for that reason at the very least! Again, there’s something about her for everybody!
It becomes hell trying to think of what to actually say about her that hasn’t already been said about her in the past. A part of me is tempted to do a long-form essay on why specifically Pearl Islands Sandra is better than her HvV version - and that was my original plan - but I definitely am a little burnt out at the moment to do a super in-depth version of that writeup, and I worry that a “not fully perfect” write-up of that will just come across mean-spirited regarding my Heroes vs. Villains take. So, I’ll save those thoughts for a later date. As for what else to possibly write about… well, her narrative has been dissected to death in previous rankdowns. A lot of her best moments are just common knowledge to Survivor fans. Is there any unique perspective I can provide about Sandra?
Well… yes. And quite frankly, it’s probably the most important one to me, as it is what keeps Sandra in my top five of all time and in rotation for occasionally being my favorite player of all time. And it’s specifically what her win means to me.
Like, Sandra’s Pearl Islands win is just grand, okay? Her getting revenge for Rupert? Her outlasting and overcoming both Burton and Fairplay? Her playing a near perfect game and almost shutting-out Lil? Her being this personification of hero and villain and the perfect type of winner to best represent Pearl Islands? Like it’s all great on a superficial storytelling level. Pearl Islands would be a weaker season with literally any other winner, and that’s an incredible feat when you consider the caliber of that cast!
But like… to me, the thing that truly feels the most central about Sandra is just how unapologetically Latina she is. While Sandra’s opening confessional where she drops a “shit” to open the season is iconic, her first “moment” is that village scene where she shines as Drake’s hero completely setting up their tribe for success. And she does so with her Spanish. She hustles. She barters. She jokes about Trish being loved in a sexual way. She gets Fairplay to give her the only compliment he will ever give her in the entire season. And this energy is something she just continues with.
In her later seasons, there is definitely an aspect of Sandra that definitely feels “grander”. Like, she’s the two-time winner, “Queen Stays Queen” persona with much more of an ego and a general feeling that Sandra the character is there and being the best in any given scene. And, like, I’m not trying to shoot down on the authenticity of her in Heroes vs Villains, or Game Changers, or Winners at War, but it’s just objectively a fact that she now has an idea of who she is in Survivor lore and is presented to fit that viewpoint.
But in Pearl Islands, she’s just a normal woman. She’s just “Changa”. There’s no filter, and it just feels so much more humane. And then when you put her up against these larger than life figures like Rupert “the pirate” and Jonny Fairplay “the scientifically-designed Survivor heel”, Sandra just feels even more powerful that she is able to scream and shout and scheme and keep her character on their level. And she’s doing this while also being such an amazing representation for the Latino communities!
Jessie Camacho may have been the first, but she essentially was a non-entity in Africa thanks to her sickness/early boot. To us Latino viewers, Sandra really was the very first prominent Latino representation. From the focus on her Spanish-speaking to the fact that in the loved one visit challenge that she said her favorite food was Arroz con Gandules to just her mannerisms and the way she carries herself… Again, I’ve talked about this multiple times already in my write-ups, but I felt so seen.
Seeing her become as big of a character as she did was already amazing. And then seeing her ultimately end up winning… I’ve already mentioned this in my Yam Yam write-up, but I cried. Like, a lot. Because Sandra just felt unlike any other character on Survivor before. I truly felt like I could know her, that she was like a tia that I probably could have, a prima I’d have visited on the weekends… that’s the impact she had on me. And seeing this more relatable person end up being the winner of easily the best season of Survivor I had ever seen up to that point… my younger self could barely contain it.
Does Sandra deserve a much longer, more story-focused write-up? Possibly. But honestly… my love for Changa is a lot more personal. So any attempt over the past almost-month of working on these final write-ups, nothing just felt right to me. I’m not sure how fitting of a read this will feel to someone else, but to me… it just seems right. Sandra is my third favorite of all time. She’s occasionally my favorite of all time depending on my mood. She was my favorite for the longest time ever. And ultimately why? Because when she won, I cried my eyes out because I was so happy.
Literally, a perfect Survivor player. Thank you, Sandra Diaz-Twine. For making Survivor that much more important and transformative to me.
SMC0629: 4
DryBonesKing: 3
Zanthosus: 11
Tommyroxs45: 16
Regnisyak1: 11
DavidW1208: 2
ninjedi1: 11
Average Placement: 8.286
Total Points: 58
Standard Deviation: 6.651 (9th Highest)

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Hi all,
I'm a university student graduating in a few months with a computer science and philosophy degree. I've done everything I was "supposed" to do - get good grades, do internships, network - but I still feel so lost in what job I should do in the future. I have interned at various companies in various types of roles (software dev, data analyst, currently a consultant intern), but I haven't truly enjoyed any of them. For example, as a software dev, I get really frustrated when I can't figure out how to fix a bug, and I'm just not that interested in keeping up with new technology. I did enjoy most of the courses I took (logic, operating systems, machine learning etc.), but it never clicked naturally for me and I had to study really, really hard to get decent grades.
In university I found an interest in philosophy. I really enjoy thinking about different philosophical concepts, reading the arguments presented by different philosophers, and writing essays where I motivate and form my own thoughts. I found it much easier to do well in my philosophy classes than my CS classes (though I'm not sure if it's because the CS students at my uni are just way too smart). At the same time, I don't see myself pursuing a PhD and becoming a professor or "professional philosopher."
I have considered going to law school, but I've heard mostly negative things about being a lawyer, and it is a big commitment that would put me in a lot of debt.
My current plan is to apply for software developer new-grad roles. However, given the current tough job market (especially in tech) and AI's (possible) takeover of tech roles, I'm really worried that I'm heading towards a dead-end (for me). I want to enjoy my work and be successful in my career, and while some people say that "follow your passion" is bad advice, I think there is some truth to pursuing a career that you are interested in. I just don't know what that is. I feel really lost, and any advice would be appreciated. Thank you!

Demographics: Male, Asian, NY, Mid-size public (1000), no hooks (URM, first generation, legacy, athlete, etc.) Single parent lower middle-class family (75k income)
Intended Major(s): Neuroscience/Biochem/Computational Bio or Computational Neuro (Pre-med)
ACT/SAT/SAT II: 1460 super score (700rw,760 math) retook in June but doubt it increased
UW/W GPA and Rank: 95% UW, no weighted or ranks at my school.
Coursework: AP/IB/Dual Enrollment classes, AP/IB scores, etc
ok so there's some context here
I am a domestic applicant with a green card, but I moved from Canada to the US (New York) last July before my junior year, which affected my ECs a lot.
My old HS had no honors/APs, mostly an athletics-focused school. Academics there were terrible, no real science classes until 11th grade, and Algebra 1 was taught in 10th grade. When I moved to the US, I was extremely behind due to this, so my classes this year are overloaded with classes I have to do to take APs, and I took 1 this year (CSA). I have 7 APs scheduled for senior year due to this (calc bc, lang, macro, gov, chem, bio, stats).
Junior year course load: bio honors, chem honors. geometry honors. alg2 honors, ap csa, english11 honors, us history regents, phys ed
Senior year course load: AP calc bc, AP lang, AP macro, AP gov, AP chem, AP bio, AP stats, phys ed, health
Awards: 5th place sci oly medal at regionals, 3rd and 6th place medals at sci oly invitationals, JV football city champions gold medal
Extracurriculars: Include leadership & summer activities
US ECs:
-22 hrs of community volunteering (US) (getting more this summer and throughout senior year)
-Science Olympiad 1 year - 5th place medal in Microbe Mission at regionals, 3rd place medal in Microbe Mission at invitationals, 6th place medal in Geo Mapping at invitationals
-150+ hours of Online Volunteering (moderating an online community of students of around 50k+ members)
-Member of Model UN, Medical Outreach, Math Club, all 1 year
Canada ECs:
-20 hours of hospital volunteering (planning on getting some more in the US this summer)
-1 year of JV football, won JV football city champions gold medal (highest award for my school's JV league) )
-Self-taught myself Web development in 10th grade (HTML, CSS, JS), but didn't really do anything with it.
Essays/LORs/Other: Optionally, guess how strong these are and include any other relevant information or circumstances
Geo honors teacher: 8/10 This is just a prediction, but I think that she likes me a good bit considering how she talks about me outside of class in the math office, Also has no other letters to write this summer bc she only teaches freshmen and seniors so I might get a high-quality letter.
Alg2 honors teacher: 7.5/10 Same explanation as Geo teacher, but I think he has a lot more letters to write. But I'm also going to be taking pre-calc this summer with him, so he might have more to say.
Schools I'm looking at: SUNY UB, SUNY Stony Brook, URochester, Brandeis, UPitt, UW Seattle, CWRU, Cornell, UMich,
What types of schools can I get into given my stats, EC's, and circumstances?

This post will repeat weekly through the month of December. Please repost or cross post as a way to promote this subreddit. Or ignore this one and check out our others! I apologize if it's cramping your style, but when I work hard on certain posts I want to be sure they are useful! I also am working on making these shorter so they don't get lost in the madness....
Scroll down for the Character Questions and create a thoughtful and empathetic profile of your main characters for your projects!
As always please use these as sparks to create and feel free to post your responses and ideas in comments or separate post! This is YOUR subreddit so go ahead and post away!
Prompt: Imagine a dystopian world where an oppressive government has successfully erased all forms of personal identity and history. In this society, individuals are assigned generic roles and are forbidden from expressing their unique thoughts, emotions, or experiences. Write a short story or reflective essay exploring the life of a character who discovers a hidden underground community that encourages self-expression and reignites the importance of personal narratives.
In your response, consider the following:

1. Character and World Building:
   • Describe the protagonist's background, their assigned role, and their initial perception of the oppressive world they inhabit.
   • Develop the hidden underground community, including its purpose, structure, and the means through which it safeguards personal stories.
   • Create a contrast between the protagonist's initial world and the underground community, highlighting the impact of personal narratives on shaping identity and resisting oppression.
2. Plot Analysis:
   • Outline the protagonist's journey of discovery, including their initial skepticism, the influential encounters they have within the underground community, and the personal sacrifices they make to preserve their identity.
   • Explore the challenges and conflicts faced by the protagonist, both externally (e.g., encounters with government authorities) and internally (e.g., the struggle to confront their identity).
3. Deep Introspection:
   • Prompt the protagonist to reflect deeply on the uncomfortable subjects that the government's erasure of personal narratives seeks to suppress. These could include topics such as individuality, memory, trauma, and the power of storytelling as a tool for empathy and resistance.
   • Encourage the protagonist to evolve their thoughts and perceptions throughout the narrative, considering the consequences of silence and the potential for personal growth through self-expression and sharing.
4. Requirements for Responses:
   • Conduct research to explore real-world examples of societies that suppress personal narratives or attempt to erase collective memory.
5. Prompt: In a post-apocalyptic world, a devastating pandemic has wiped out most of humanity. The survivors are forced to live in isolated communities, each with its own set of strict rules and customs. Write a short story or reflective essay exploring the life of a character who questions the existing order and embarks on a journey to unite these fragmented communities. Consider the role of unity, diversity, and collaboration in rebuilding a shattered world.
6. Prompt: Set in a future where advanced AI technology has permeated every aspect of society, write a story or reflective essay following a protagonist who begins to question the boundaries between human and machine. Delve into the ethical implications of human-AI relationships, the erosion of human emotions, and the potential consequences of blurring the line between artificial and genuine experiences.
7. Prompt: Imagine a world where climate change and environmental degradation have irreversibly altered the planet. Write a story or reflective essay from the perspective of a character who is part of a group striving to restore balance and heal the damaged Earth. Explore the connections between personal responsibility, collective action, and the intersections of social and environmental justice.
8. Prompt: Transport yourself to a society where strict social hierarchies are based on a person's genetic makeup. Write a short story or reflective essay following a character who challenges this system and advocates for equality and inclusivity. Examine the role of genetic determinism, discrimination, and the power of individual agency in reshaping social structures.
9. Prompt: Imagine a world where art and creativity are considered illegal, seen as tools of subversion and chaos. Write a story or reflective essay from the perspective of an artist who risks everything to defy this oppressive regime and reclaim the power of artistic expression. Analyze the significance of art as a form of resistance, its ability to inspire change, and its impact on personal and societal transformation.

Remember to consider the following for each of the prompts to insure a well rounded and thought out premise that will engage the audience and allow room for growth in the plot.
Prompt 1 - Post-Apocalyptic Community Building:

• Consider the unique customs, rules, and societal structures of each isolated community.
• Explore the protagonist's motivation for questioning the existing order and their vision for uniting the communities.
• Analyze the challenges and conflicts faced in the journey of uniting fragmented communities and the potential benefits and drawbacks of unity.

Prompt 2 - Ethical Implications of AI Technology:

• Reflect on the protagonist's personal experiences and interactions with AI, including the blurring of boundaries between human and machine.
• Explore the ethical dilemmas and consequences of advancing AI technology.
• Analyze the impact of human emotions, genuine experiences, and the potential loss or transformation of human qualities in a society heavily influenced by AI.

Prompt 3 - Environmental Restoration and Social Justice:

• Consider the protagonist's role in the restoration of the damaged Earth and their motivations for taking action.
• Explore the intersections of social justice and the environment, including the disproportionate impacts of climate change on marginalized communities.
• Analyze the challenges of collective action, personal responsibility, and the potential for transformative change in healing the planet and addressing social inequalities.

Prompt 4 - Genetic Hierarchy and Social Change:

• Reflect on the protagonist's experience within the rigid social hierarchy based on genetics.
• Analyze the implications of genetic determinism and discrimination in shaping social structures.
• Explore the role of individual agency, activism, and the potential strategies for challenging and reshaping the genetic-based hierarchy.

Prompt 5 - Artistic Expression as Resistance:

• Consider the protagonist's personal experiences as an artist within an oppressive regime.
• Reflect on the significance of artistic expression as a form of resistance and its power to inspire change and challenge societal norms.
• Analyze the risks, sacrifices, and potential outcomes associated with defying an oppressive regime through art.

1. Chick Lit: Write a chick lit novel or short story following a relatable protagonist navigating the challenges of love, career, and self-discovery. Explore themes of friendship, personal growth, and finding balance in a fast-paced, modern world.
2. Young Readers' Adventure: Imagine a group of young friends who stumble upon a hidden portal to another realm. Write an adventure novel or short story as they embark on a quest to save a magical world from darkness. Delve into themes of friendship, bravery, and the power of imagination.
3. Historical Fiction: Set in a time of significant historical events, write a novel or short story highlighting a lesser-known figure or group of people. Research the historical context meticulously and emphasize the character's resilience, struggles, and contributions during that tumultuous period.
4. Fantasy: Create a fantastical world filled with mythical creatures, magic, and ancient prophecies. Write a novel or short story following a young protagonist who discovers their extraordinary abilities and must navigate a treacherous journey to fulfill their destiny. Explore themes of self-discovery, heroism, and the blurred lines between good and evil.
5. Mystery/Thriller: Write a gripping mystery or thriller novel following a seasoned detective or amateur sleuth investigating a perplexing crime. Develop complex characters, suspenseful plot twists, and an intricate web of clues and red herrings that keep readers guessing until the very end.
6. Science Fiction: Set in a future where technological advancements have transformed society, write a novel or short story exploring the ethical and societal implications of groundbreaking inventions. Examine themes such as artificial intelligence, genetic engineering, or virtual reality and their impact on humanity's future.
7. Romance: Craft a heartwarming romance novel or short story centered around two individuals from different backgrounds or opposing sides. Explore themes of love, forgiveness, and the triumph of the human spirit in the face of adversity.
8. Coming-of-Age: Write a coming-of-age novel or short story following a young protagonist's journey of self-discovery, identity formation, and navigating the complexities of adolescence. Explore themes of friendship, personal growth, and the challenges of transitioning into adulthood.
9. Psychological Thriller: Create a psychological thriller novel or short story that delves into the intricacies of the human mind. Focus on a protagonist who becomes entangled in a web of deception, manipulation, and paranoia. Explore themes of trust, perception, and the blurred lines between reality and illusion.
10. Family Drama: Write a novel or short story exploring the dynamics and complexities within a multi-generational family. Include themes of love, secrets, and conflicts that arise as family members navigate their relationships, face past traumas, and strive for reconciliation.

Considerations for each prompt:

• Genre-specific elements: Ensure your story incorporates the defining characteristics and tropes of the chosen genre, such as the tone, pacing, and narrative conventions.
• Character development: Develop dynamic and relatable characters who undergo significant growth or transformation throughout the story.
• Plot structure: Create a compelling plot that introduces conflict, builds tension, and resolves in a satisfying manner, adhering to the common structure of the chosen genre.
• Themes and messages: Select themes that resonate with the genre and explore them through the characters' experiences and narrative development.
• Reader engagement: Craft a story that captivates the intended audience, keeping them invested in the characters and eager to uncover what happens next.

1. Historical Romance: Write a one-page historical romance set in a lavish ballroom during the Victorian era. Focus on the forbidden love between a spirited debutante and a mysterious gentleman from a different social class.
2. Science Fiction Comedy: Craft a one-page comedic story set in a futuristic space station. Follow the misadventures of a clumsy maintenance technician who unwittingly saves the day against all odds.
3. Paranormal Mystery: Pen a one-page mystery story set in a haunted mansion. Introduce a skeptical paranormal investigator who must solve the mystery of a ghostly apparition that has been terrorizing the inhabitants.
4. Literary Fiction: Write a one-page literary fiction piece centered around a character's contemplation of the fleeting nature of life and the importance of cherishing the present moment.
5. Action Adventure: Craft a one-page action-packed adventure story set in the jungles of an unexplored island. Follow a daring archaeologist's quest for a hidden treasure while battling against treacherous obstacles and rival adventurers.
6. Psychological Drama: Create a one-page psychological drama following the internal struggles of a troubled artist as they grapple with their inner demons and seek redemption.
7. Magical Realism: Write a one-page magical realism story set in a sleepy coastal town. Explore the extraordinary occurrences that happen when an enigmatic mermaid washes ashore and disrupts the mundane lives of the townsfolk.
8. Thriller: Craft a one-page thriller story involving a race against time. Follow a determined protagonist as they try to decipher cryptic clues and prevent a citywide disaster.
9. Fantasy Adventure: Pen a one-page fantasy adventure story set in a whimsical realm. Follow a young hero's quest to retrieve a stolen artifact and restore balance to the land, encountering fantastical creatures and overcoming obstacles along the way.
10. Historical Fiction Mystery: Write a one-page historical fiction mystery set during the Roaring Twenties. Follow a quick-witted detective as they unravel a web of deceit and intrigue surrounding a glamorous underground speakeasy in the heart of the city.

Considerations for each prompt:

• Engaging Beginning: Choose a compelling starting point that grabs the reader's attention and hooks them into the story from the very first sentence.
• Concise Plot: Craft a tightly woven plot that can be fully developed within one page, with an introduction, rising action, climax, and resolution.
• Strong Characterization: Develop distinct and memorable characters, even within the limited space, by providing key details that bring them to life and make them relatable to the reader.
• Descriptive Language: Use vivid and sensory language to paint a clear picture of the setting, engage the reader's imagination, and create an immersive reading experience.
• Resolution or Twist: Provide a satisfying resolution to the story or introduce an unexpected twist that leaves the reader intrigued and wanting more.

Protagonist Character Profile:

1. Name:
2. Age:
3. Gender:
4. Physical appearance:
5. Background:
6. Personality traits (list at least five):
7. Core values and beliefs:
8. Motivations and goals:
9. Biggest fear:
10. Internal conflicts:
11. External conflicts:
12. Strengths:
13. Weaknesses:
14. Childhood experiences and their impact:
15. Education and professional background:
16. Relationship status and dynamics:
17. Quirks or peculiar habits:
18. Psychological disorders, if any:
19. Familial relationships and dynamics:
20. Support system (friends, mentors, etc.):
21. Traumatic experiences and their effects:
22. Coping mechanisms:
23. Emotional vulnerabilities:
24. Resilience and determination:
25. Personal growth throughout the story:

Protagonist Character Questions:

1. What drives the protagonist to take action and pursue their goals?
2. How does the protagonist's childhood shape their behaviors and choices?
3. What values does the protagonist hold dear, and how do they influence their decision-making process?
4. What inner conflicts does the protagonist face, and how do they attempt to reconcile them?
5. How does the protagonist's education and professional background contribute to their strengths and weaknesses?
6. What traumatic experiences has the protagonist overcome, and how have these experiences shaped their worldview?
7. How does the protagonist cope with stress or adversity?
8. What relationships and dynamics are most significant to the protagonist, and how do these relationships evolve throughout the story?
9. In what ways does the protagonist exhibit resilience and determination in the face of challenges?
10. How does the protagonist approach personal growth and self-improvement?
11. What psychological disorders, if any, does the protagonist struggle with, and how do these disorders impact their thoughts and actions?
12. How does the protagonist's physical appearance contribute to their self-perception and interactions with others?
13. What unique quirks or habits does the protagonist possess that make them stand out?
14. What are the protagonist's primary desires and aspirations?
15. How does the protagonist's internalized fear drive or hinder their actions?
16. How does the protagonist navigate and resolve external conflicts?
17. What coping mechanisms does the protagonist rely on during times of stress or emotional turmoil?
18. How do familial relationships and dynamics influence the protagonist's actions and decisions?
19. What significant life choices or dilemmas does the protagonist face throughout the story, and how do they respond?
20. In what ways does the protagonist's support system impact their growth and resilience?
21. How does the protagonist's personal development and self-discovery contribute to the overall narrative arc?
22. How does the protagonist's background and experiences shape their perception of the world?
23. What are the protagonist's core beliefs and values, and how do these impact their interactions with others?
24. How does the protagonist handle setbacks or failures, and what lessons do they learn from these experiences?
25. What external influences or societal pressures affect the protagonist's decision-making process?

Antagonist Character Profile:

1. Name:
2. Age:
3. Gender:
4. Physical appearance:
5. Background:
6. Personality traits (list at least five):
7. Core values and beliefs:
8. Motivations and goals:
9. Biggest fear:
10. Internal conflicts:
11. External conflicts:
12. Strengths:
13. Weaknesses:
14. Childhood experiences and their impact $ Go on

1. Education and professional background: 16. Relationship status and dynamics: 17. Quirks or peculiar habits: 18. Psychological disorders, if any: 19. Familial relationships and dynamics: 20. Support system (friends, mentors, etc.): 21. Traumatic experiences and their effects: 22. Coping mechanisms: 23. Emotional vulnerabilities: 24. Strategies for achieving their goals: 25. Methods they employ to antagonize the protagonist:

Antagonist Character Questions:

1. What drives the antagonist to oppose the protagonist and act as an obstacle in their journey?
2. How does the antagonist's background and upbringing contribute to their negative behaviors and motivations?
3. What core values and beliefs does the antagonist hold that align with their antagonistic actions?
4. What personal goals or desires does the antagonist seek to fulfill?
5. What is the biggest fear or insecurity that drives the antagonist's actions?
6. How does the antagonist's internal conflicts manifest and impact their decisions?
7. What external conflicts arise as a result of the antagonist's actions, and how do they handle these conflicts?
8. In what ways does the antagonist exhibit strength and power, and how do these traits affect their interactions with others?
9. What are the antagonist's weaknesses or vulnerabilities that can be exploited by the protagonist?
10. How have childhood experiences shaped the antagonist's worldview and motivations?
11. How does the antagonist's education and professional background contribute to their methods and strategies?
12. What familial relationships or dynamics influence the antagonist's actions and choices?
13. What unique quirks or habits does the antagonist possess that make them distinct or memorable?
14. Are there any psychological disorders or conditions that contribute to the antagonist's behavior?
15. How does the antagonist cope with stress or emotional turmoil?
16. What strategies or tactics does the antagonist employ to achieve their goals and antagonize the protagonist?
17. How do the antagonist's actions impact their relationships and interactions with other characters in the story?

18.How does the antagonist perceive and justify their actions, even if they are considered morally or ethically wrong?

1. What external influences or societal pressures contribute to the antagonist's motivations or actions?
   
2. How does the antagonist's physical appearance contribute to their demeanor and portrayal in the story?
   
3. What significant life choices or dilemmas has the antagonist faced, and how have these shaped their character?
   
4. What is the antagonist's reaction to setbacks or failures, and how do they adapt their strategies?
   
5. How does the antagonist's support system or lack thereof impact their actions and decisions?
   
6. What past traumatic experiences or events have influenced the antagonist's worldview and behaviors?
   
7. How does the antagonist's emotional state or emotional vulnerabilities influence their actions and interactions with others?