to be completely honest *starts lying
AnasAbdin

@theartofmadeline

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Aqua Utopia|海の底で記憶を紡ぐ
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★

titsay

Love Begins
almost home
TVSTRANGERTHINGS
$LAYYYTER

Product Placement

blake kathryn

oozey mess
🪼

pixel skylines
Three Goblin Art
tumblr dot com
Misplaced Lens Cap
ojovivo

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@anonymousroach
to be completely honest *starts lying
every time I see someone act rude, entitled or disrespectful towards a fanfic writer and/or the fics, I think the writer should be legally allowed to kill them
Happy pride month to the tiny cowboy and tiny Trojan man from Night at the Museum
This hands down the best comment in the notes, I will not be taking criticism.
happy pride to the gay people in my computer <3
Imagine that one day as you're walking on a hot sunny path, your hat jumps off your head and lands into a muddy ditch. And you look at your muddy hat and ask it: "What did you do that for?"
"I don't want to be a burden anymore", your hat answers. "You are always carrying me around, and I can't carry you. That's not fair."
"I don't mind carrying you, little idiot", you tell your hat, "you hardly weight anything at all, and you shelter me from the sun."
"But that's different", your hat protests. "I don't mind the sun scorching on me. That happens anyway. It's literally no trouble for me to shade you too."
"Just the same it's no trouble for me to carry you. But now, because you wanted to stop inconveniencing and bothering me, I am now hatless and you are in the dirt."
hello Aesop; how's the underworld been?
Every day I wake up and Hades kicks me in the nuts.
Executive dysfunction is when there’s gas in the tank but no fuse. Either that or the engine is fine but the breaks don’t work. Or somehow both.
[x to doubt]
i DO believe that a good writer can make mischaracterization work. oh there's a character who doesn't normally cry? figure it out!! disect the character. make the situation cryable for them. make that character cry ugly tears even if it goes against their very nature. YOU CAN MAKE IT WORK!!!
2nd Person POV writing tips
Hiya, a couple of friends recently expressed their frustrations with writing 2nd person POV and I promised to share a couple of tips. I’m sure there are other people out there who might benefit from these so here goes:
The biggest pitfall with 2nd person is that you are forced to use the word ‘you’ a lot, and this can feel very unnatural (both to read and write). 3rd person allows you to use all sorts of different words for your subject and object in a sentence, e.g:
The blonde yawns as she takes a seat by her brother. She picks up her book, turning it towards a dogmarked page. The girl begins to read.
However, when you take this into 2nd person it becomes:
You yawn as you take a seat next to your brother. You pick up your book, turning it towards a dogmarked page. You begin to read.
Oooh nooo… taking even the most basic sentence into 2nd person strips a lot of colour from the language and adds unintended rhythm in the form of you you you. And this is just one sentence! Now you have to make every single paragraph like this—yikes!
So what do we do? Well, there are a couple of techniques we can employ to add variety to a sentence, both in and out of 2nd person, by playing with sentence structure and interiority.
The first, most important rule is to avoid having the word ‘you’ at the beginning of consecutive sentences.
Let’s rearrange the sentence a bit:
Yawning, you take a seat next to your brother. You pick up your book, turning it towards a dogmarked page. Then, you begin to read.
Already this is a bit better, but we can abolish a few more you’s by messing around with unnecessary the possessive pronouns.
Yawning, you take a seat next to Michael. You pick up the book, turning it towards a dogmarked page. Then, you begin to read.
Neato. Right, so, that’s the most basic way to trick the brain into finding 2nd person more palatable, but it’s still a bit sterile.
But! Hold on!! There is another important lever we can pull: interiority. When I say interiority, I am talking about abstract statements that forgo ‘you’ as a subject, because it is already implied by the POV we have chosen. That sounds a little complicated so let me show you what I mean:
Yawning, you take a seat next to Michael, book in hand. The page is still dog-eared from yesterday—its upper corner slightly torn. Setting it on your lap, you begin to read.
We use interiority here to imply a lot of actions that would normally have ‘you’ as the subject. By making the subject the page instead, we are telling the reader that the POV character is interacting with the book without saying it directly. We are also adding padding between the first ‘you’ and the ones that we are putting together in the final sentence. Having that nice big gap followed by a tiny one creates a pleasing rhythm.
So let's look at our starting sentence and our final sentence again together, side by side:
You yawn as you take a seat next to your brother. You pick up your book, turning it towards a dogmarked page. You begin to read.
Yawning, you take a seat next to Michael, book in hand. The page is still dog-eared from yesterday—its upper corner slightly torn. Setting it on your lap, you begin to read.
As you can see, the second sentence feels much more dynamic, but ultimately they are saying the same thing! This is how I approach writing 2nd person in my work, I hope some of you find it useful <3
reblog if you love ao3 exactly how it is and you don’t want it to “update” or change in any way♡
Also applies to "AI" "artists" and "musicians."
PSA: stuttering in fics
as someone with a speech impediment, all of the people saying that only one type of stuttering is valid are wrong.
stuttering CAN look like this: "t-this is a-an example s-s-sentence"
OR this: "this-this is an example sen-sentence."
OR this: "t-t-t-th-..t-ttttthis is an example sentence."
OR this: "this is, uhm, an example, uh, sentence."
OR this: "this is an example sssssss-sentence."
OR this: "this is an examp-...this an example sentence."
sometimes the sentence won't even come out of your mouth at all.
there are probably many examples i'm forgetting, but that's the point! it usually is a mix of a few of these, but some people do one of them more often than others! some people with speech impediments have certain sounds that they almost consistently have trouble with (for me it's "st").
people with speech impediments also rarely-if ever-stutter whilst they're singing or whispering.
most importantly!!!! people with speech impediments are capable of saying a sentence without stuttering!! it can just be a gamble sometimes.
and if more people could portray the frustration that comes with stuttering and not being able to get words out, i'd be a very happy girl.
(fun fact: sometimes when my mouth won't let me say what i want to say, i get so annoyed that i just yell or grumble out "WORDS.")
this was your speech impediment PSA!!!!
How to Fix Underwriting
1. Slow down at emotionally important moments.
Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.
2. Add reactions, not explanations.
Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.
3. Ground every scene in the senses.
If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.
4. Let thoughts interrupt action.
A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.
5. Expand consequences, not events.
You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.
6. Strengthen setting where emotion peaks.
The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.
7. Add specific details instead of general ones.
Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.
8. Let dialogue breathe.
Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.
9. Show transitions between scenes.
If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.
10. Clarify stakes early in the scene.
If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.
11. Use the “what are they feeling right now?” check.
After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.
12. Expand scenes that feel “too clean.”
If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.
Writer brain is genuinely just having two tabs open at all times. Tab one: the actual conversation you are having with a real human person who deserves your full attention. Tab two: a completely separate scene between two people you invented, playing out in real time, with dialogue you cannot write down because you are currently at a birthday dinner and that would be weird. The real conversation suffers. The invented one is going incredibly well actually