give yourself a break

 trying to focus on how my life ~ feels ~ not how it looks

[fluffyartbl0g]

GREETINGS EVERYONE!!! I've spent the last couple of months working on a full length comic adaption of @goodlucktai's beautiful 'fishbowl' fanfic!!! Below you can read the fruits of my efforts :) Enjoy!

This comic takes place before Dressrosa

CONTINUE >>>

[hunnismokah]

FASHIONISTAS AAAAA

inspired by @/wisdm8 on tiktok and @/wisdm on insta!!!

[where-does-the-heart-lie]

An analysis of the straw hats’ devil fruits! I just think its cool how they’re all based around being human :) This is meant to be a part two of this analysis of this Mera Mera no mi I made a little bit ago.

Thanks so much to @badly-drawn-doflamingo for writing all this with me, they’re so much more eloquent than I am, thank you so much🙏🙏🙏🙏🙏🙏

Closer pictures and transcription of the text in keep reading

Hana Hana no Mi Flowers bloom under certain conditions, be it weather, sun or care, and the same can be said for humans. What conditions did it take you to bloom, tears, time or the sun that laughs about you?

Hito Hito no Mi Do we get to choose when humanity blossoms within us, or do memory and choiceful guidance allow us the chance to walk, to run, to flourish as man.

Yomi Yomi no Mi: A chance at life through death, allowing that chance demise to be the seeding place for a continuing promise. Does the hoary earth need more than a body to revive the soul, or should sunlight come by its side?

Nika The heartbeat that carries your dreams beside it’s own humanity creates a hopeful beat. A drumming sensation that allows these two ideals to dance together, discordant like a ball of lightening, snapping and sparking in place. These conduits create the building desire of liberation, opening the heart’s windows to the sun above. What happens when the sun itself becomes filled with that very human need of liberation, when its flames begin to cast new light on our faces.. All you can do is laugh!

[pastperfectcontinuous]

"Bill Bernhardt has an article called, 'A Short Course in Writing' which, far more than anything I have ever seen, offers really helpful advice and suggestions to the many people, some very good students, some very bad, who find it an agony to get their thoughts down on paper. People had been asking him for a long time where they could go to take a course in "just writing." Only after many years did he see what they really needed and wanted, and that none of the usual writing courses or textbooks could offer it to them. Out of his thinking about his own writing, and some seminars he took with Dr. Caleb Gattegno, he worked out a short course of exercises to help people, however unskilled, to write more easily and effectively. His short course comes in five short pages. He asks his students to read and do Page 1 first; after that, they can take the others in any order they want. He says, in part:

Page 1 —Which comes first when you speak, knowing that you have something you want to say, or the words? Test yourself to find out. —Make a short statement out loud. —Write down the same words you said. Are you sure that you wrote the same words? How can you tell? Can you make a much longer statement and write down the words accurately? (It doesn't matter if you misspell). —Think of something else you could say but, instead of speaking, write it down without speaking. —Can you think of something to say and write the words down as they come into your mind without taking the time to say them to yourself first?

With respect to that last question, sometimes I can, sometimes I can't. Very often I have to say something over and over again a great many times before I find a way of saying it that I like enough to want to write it down. At other times the idea, and the words to say it, appear appear together. Sometimes they please me so much I have to get them down on paper right away. Bernhardt continues:

Page 2 —Take a pencil and piece of blank paper and write continuously for three minutes without removing your pencil from the paper [...] Pay no attention to whether what you write makes sense or is spelled correctly. If you can't think of anything to say, just write down all the words you can think of. When you finish, turn the paper over without reading what you wrote. —Write for three more minutes on the reverse side of the paper, following the same directions. —Write for three more minutes on a second sheet of paper. Count how many words you wrote each time. Did your output increase the second and/or the third time? Have you written more than you usually write in the same amount of time? Read what you wrote aloud and listen to yourself. Does it make sense? Does it sound like the English you speak? [italics mine]

Page 3 —Complete the following sentence by adding one word at the end: [italics mine] As they turned the corner they saw Copy the completed sentence onto the top of a blank sheet paper and continue by writing a second sentence which begins with the following word: Maybe Add a third sentence to the story. Add five more sentences to the story. End the story. How much of the story was given to you and how much did you have to provide? [...] Could you see in your mind what was happening in the story? If so, was it like a picture or a movie? Did you see all of it at the beginning or did more come into your mind as you continued? Can you see it all again when you read the story over? —Close your eyes and picture in your mind a difficult or embarrassing situation which you would not like to find yourself in. Describe in writing what the situation is. Write what you would say to get yourself out of that situation.

Again, as a way of putting the fearful writer in touch with his own real powers of imagination and expression and making them available to him, these instructions are a work of genius. I am lost in admiration of them. All the would-be writer is asked to do at first if add one word to a sentence. Anyone can do that. But as soon as he does it, he is, benignly speaking, hooked. His creative powers are already at work. In his mind's eye he must see that corner, and the characters he created, who have just turned it. With this beginning he can easily fill in after the "maybe." By then the story is on its way. It has a life of its own, and has taken possession of the writer, which is what stories do, and what it feels like to be a writer. The next instruction is just as clever. Most people have waking nightmares, dreaded scenes they play over and over again in their mind, and know well enough so that they can easily write about them. (We might also suggest that the writers imagine a very pleasant situation that they would like very much to find themselves in.)

Page 4 continues to explore and develop the writer's power to imagine and describe. On Page 5 Bernhardt gives writers more sensible and usable, and, as the Appendix shows, more effective ways to judge and improve their writing:

Page 5 —Write rapidly for 10 minutes without stopping or pausing to make corrections. When you have finished writing, put the paper aside, without reading what you wrote, for at least 20 minutes. —Read what you wrote aloud, making sure you do two things: (1) Read exactly what is written on the paper. (2) Listen to yourself reading and catch the points when what you hear fails to make sense or sounds "funny." If you find anything which doesn't make sense, change the words so that it does make sense. If you find anything which sounds funny, change it so that it sounds right. When you finish, read the corrected copy over again to see if you need to make further changes. —Is it easier to make corrections and improvements at the same moment you are writing down what you want to say or at a later time? —Do writing and making corrections require the same state of mind? Different states of mind?

The simple ideas and exercises in these few short pages would do more to help most people to write better, and to enjoy writing more, than all the things I ever did in my own work as an English teacher, and probably, than all the work of all English teachers put together. As a way to show the pupil his own powers, and ways to use and develop them, and above all, to free him more and more from his need for outside correction and judgment, it is a superb example of the teaching art.”

—John Holt, Instead of Education

[bakwaaas]

one day I woke up and realised all the waiting and yearning was actually me living my life and it’s happening right now and it’s still good even if it’s not perfect and there is no moment when all your dreams get fulfilled and everything makes sense. like… this is it. this is life. you’ll waste away your youth waiting for some imagined future if you don’t love life for what it is now and make the most of it

[kitschens]

Comic by @shhhitsfine

[fluffyartbl0g]

luffy IS selfish. By @ace-no-isha

[sea-mists]

literally though if you feel like your life is slipping through your fingers and every day goes too fast… try doing hard things, not just taking the easy route, like reading and making art and exercising and cooking a meal from scratch and journaling, doing these things without distraction, without being absorbed on a screen… the time will stretch and you’ll be reminded that life is long and beautiful if you make it so.

[luffyismss]

happy episode 1071 day !!

[theitcharchives]

Writing, 5% of the time:

Writing, 95% of the time:

[ad-wills]

[sunlitwaterscape]

[hallownest-archive-deactivated2]

imo the best way to interpret those “real people don’t do x” writing advice posts is “most people don’t do x, so if a character does x, it should be a distinguishing trait.” human behavior is infinitely varied; for any x, there are real people who do x. we can’t make absolute statements. we can, however, make probabilistic ones.

for example, most people don’t address each other by name in the middle of a casual conversation. if all your characters do that, your dialogue will sound stilted and unnatural. but if just one character does that, then it tells us something about that character.

[jauntylittlefrillyboy]

[homunculus-argument]

One thing I’ve learned about writing is ”give everything a face”. It’s no good to write passively that the nobility fled the city or that the toxic marshes were poisoning the animals beyond any ability to function. Make a protagonist see how a desperate woman in torn silks climbs onto a carriage and speeds off, or a two-headed deer wanders right into the camp and into the fire. Don’t just have an ambiguous flock of all-controlling oligarchy, name one or two representatives of it, and illustrate just how vile and greedy they are as people.

it’s bad to have characters who serve no purpose in the story, but giving something a face is a perfectly valid purpose.

[tlbodine]

This is the real heart of “show don’t tell”

[peng-guin]

My film teacher always says “write visually” and people are so confused what he means. I take it as “don’t explain the events/theme/emotion, write something that exemplifies the events/theme/emotion” ex) I am angry vs I throw the beautiful pot my grandmother made for me on the ground, and it works for me!

[slfcare]

five recipes for an exciting life (in my opinion)

spending enough time creating things with your hands (baking, drawing, scrapbooking, doodling, crocheting, journaling and so on)

keeping track of things like pretty skies, milestones, happy memories, appointments you're looking forward to

listening to music that genuinely makes you feel happy and energetic

making a habit of reaching out to people in a way that's comfortable to you (i send my dad songs he might like, my friend sends me monthly life updates)

being kind to all your five senses → like investing in a scented candle or essential oil dispenser or body mist, having a soft blanket or socks (or a soft animal to pet), listening to birdsong or the rain, looking at the sky more often, and having your favorite foods enough times

[lupinsuniverse]

🐇 🥦 vs class A

[artemist-y]

an enemies to lover playlist -- a classic

spotify link 

[10sim]

study "date" (deku is oblivious)