bebe's resources

just a place to dump writing and graphic design resources · curated by bebewrites

[luna-azzurra]

Astronomical Names!!

˙⋆✮ Vega ˙⋆✮ Lyra ˙⋆✮ Cassia ˙⋆✮ Altair ˙⋆✮ Carina ˙⋆✮Solaris ˙⋆✮ Orinthia ˙⋆✮ Cepheus ˙⋆✮ Calypso ˙⋆✮ Nebula ˙⋆✮ Andromeda ˙⋆✮ Rigel ˙⋆✮ Thessaly ˙⋆✮ Corvus ˙⋆✮ Elara ˙⋆✮ Seren ˙⋆✮ Halcyon ˙⋆✮ Caelum ˙⋆✮ Vesper ˙⋆✮ Phaedra ˙⋆✮ Aludra ˙⋆✮ Mirach ˙⋆✮ Thalassa ˙⋆✮ Zephyra ˙⋆✮Eridani ˙⋆✮ Solene ˙⋆✮ Nashira ˙⋆✮ Cressida ˙⋆✮ Alaric ˙⋆✮Ianthe ˙⋆✮ Celeste ˙⋆✮ Lucida ˙⋆✮ Astraea ˙⋆✮ Oberon ˙⋆✮Pulsar ˙⋆✮ Achernar ˙⋆✮ Selene ˙⋆✮ Mira ˙⋆✮ Zenith ˙⋆✮Alnitak

[luna-azzurra]

A List of VOICE QUALITIES!!

₊˚⊹⋆ Raspy voice

₊˚⊹⋆ Smooth voice

₊˚⊹⋆ Gravelly voice

₊˚⊹⋆ Honeyed voice

₊˚⊹⋆ Silky voice

₊˚⊹⋆ Husky voice

₊˚⊹⋆ Breathy voice

₊˚⊹⋆ Nasal voice

₊˚⊹⋆ Melodic voice

₊˚⊹⋆ Monotone voice

₊˚⊹⋆ Scratchy voice

₊˚⊹⋆ Throaty voice

₊˚⊹⋆ Whisper-soft voice

₊˚⊹⋆ Booming voice

₊˚⊹⋆ Crisp voice

₊˚⊹⋆ Musical voice

₊˚⊹⋆ Warm voice

₊˚⊹⋆ Cold voice

₊˚⊹⋆ Sharp voice

₊˚⊹⋆ Lilting voice

₊˚⊹⋆ Drawling voice

₊˚⊹⋆ Tinkling voice

₊˚⊹⋆ Thunderous voice

₊˚⊹⋆ Delicate voice

₊˚⊹⋆ Commanding voice

₊˚⊹⋆ Timid voice

₊˚⊹⋆ Trembling voice

₊˚⊹⋆ Steady voice

₊˚⊹⋆ Crackling voice

₊˚⊹⋆ Brittle voice

₊˚⊹⋆ Rich voice

₊˚⊹⋆ Thin voice

₊˚⊹⋆ Reedy voice

₊˚⊹⋆ Sonorous voice

₊˚⊹⋆ Whiny voice

₊˚⊹⋆ Cigarette-worn voice

₊˚⊹⋆ Youthful voice

₊˚⊹⋆ Weathered voice

₊˚⊹⋆ Crystalline voice

₊˚⊹⋆ Rough-edged voice

[midwinterhunt]

hot artists don't gatekeep

I've been resource gathering for YEARS so now I am going to share my dragons hoard

Floorplanner. Design and furnish a house for you to use for having a consistent background in your comic or anything! Free, you need an account, easy to use, and you can save multiple houses.

Comparing Heights. Input the heights of characters to see what the different is between them. Great for keeping consistency. Free.

Magma. Draw online with friends in real time. Great for practice or hanging out. Free, paid plan available, account preferred.

Smithsonian Open Access. Loads of free images. Free.

SketchDaily. Lots of pose references, massive library, is set on a timer so you can practice quick figure drawing. Free.

SculptGL. A sculpting tool which I am yet to master, but you should be able to make whatever 3d object you like with it. free.

Pexels. Free stock images. And the search engine is actually pretty good at pulling up what you want.

Figurosity. Great pose references, diverse body types, lots of "how to draw" videos directly on the site, the models are 3d and you can rotate the angle, but you can't make custom poses or edit body proportions. Free, account option, paid plans available.

Line of Action. More drawing references, this one also has a focus on expressions, hands/feet, animals, landscapes. Free.

Animal Photo. You pose a 3d skull model and select an animal species, and they give you a bunch of photo references for that animal at that angle. Super handy. Free.

Height Weight Chart. You ever see an OC listed as having a certain weight but then they look Wildly different than the number suggests? Well here's a site to avoid that! It shows real people at different weights and heights to give you a better idea of what these abstract numbers all look like. Free to use.

[palemoonpersephone]

Writing Advice: Riding/Horses

Following the popularity of my ‘Writing Advice: Archery’ I thought it might be useful to do a similar piece about horse riding. I’m not claiming to be an expert in the area but I have been riding/around horses for many years, and again there have been several misconceptions on this subject in literature/TV/movies. So here are a few tips if you’re including horse riding in your writing.

Riding

It is not easy, or simple, and takes a lot of practice (Norman knights would begin training at 5 years old, for example). Anyone can sit on a horse and kick it ‘til it goes but this is most definitely not riding - think of it as sitting in the passenger seat of a car and claiming you’re the one driving. 

A connection with your horse is extremely underestimated. You need good communication and to trust one another. Respect your horse, they’ll respect you, and work with them. Trust me, if you try and fight a horse for dominance, you will lose. 

Be familiar with riding equipment, saddles, bridles, boots/leg wraps, helmets, body protectors, boots and chaps etc. and what they’re used for, and tailor to your setting. It would be slightly amiss to have a dressage saddle in a battle setting, or a Western/cowboy saddle in a medieval setting. There are many variations of riding equipment and should be fit to both horse and rider. For example, martingales are useful for horses that tend to lift their heads beyond the point of the bit and/or for horses who are young and strong and need a bit more guidance from the rider.

Know what kind of riding your character is going to be getting involved with. What’s their endgame Are they a dressage rider, a show jumper, a soldier, a messenger, are they training a horse to work well? You don’t gotta worry about looking pretty and essentially doing horse-ballet if you’ve got to get that urgent message delivered asap! 

Do research on riding theory, if you’re not a rider yourself, maybe watch videos/tutorials to visualise it more easily.

Know your aids. These are, basically, physical pressures to manoeuvre the horse. There are five different types: artificial (i.e. whips/spurs), voice, hand, leg and seat. There are lots of good sites to research aids and how to use them. (Half-halt ammirite?) 

Riders tend to always mount from the left side. This is because in the past, typically, a rider would be right-handed and therefore their sword would be on their left side. It was far more practical to swing your right leg up and over and not risk getting your weapon in the way, and it’s one of those things that have just sort of stuck.

Horses

Horses are not stupid. They can suss you out in a heartbeat. If they know you’re not serious, they will mess with you, they will know they can get away with not working and plod ‘round like a giraffe with their hind legs slugging along about a mile behind :P 

While not stupid, they can be skittish and highly strung. They have personalities. Take a bit of time to consider what kind of horse you have - are they experienced/inexperienced, responsive/unresponsive, are they gentle and relaxed or do they spook easily, are they aggressive, are they cheeky? Also there are huge differences between wild and domesticated horses.

There are many different breeds of horse (god, so many) so, again, take this into account. It might not be the best idea to ride a big ploddy cart-horse into battle, or use a thoroughbred for plowing a field. 

Be familiar with their body language. For example, blowing softly through their noses is their way of saying ‘hello’ - do it back! A few signs that your horse is happy include: a loose lower lip, soft round nostrils, a relaxed loosely swinging tail, if they’re happy to feed with you close by. The most classically known sign that a horse is unhappy/angry is having their ears back, and this is true but don’t mistake upright and alert ears for this signal. Alert and upright is good, especially when riding since it means they’re listening to you. It’s when their ears are pinned flat back against their heads. Also if they swivel their back legs towards you then step the fuck back. 

They’re a big responsibility. They need feeding, grooming, maintenance, a warm/dry place to sleep etc. and, most importantly, they need love!

If you’re in doubt about anything, research it!

Hope this was helpful! If you found this useful then feel free to check out my other writing tips/advice/prompts :) 

[pantserspen]

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.

[novlr]

I’ve been told my prose is ‘too plain’ and that I should make it more lyrical, but I’m not really sure what that means. Can you help?

Firstly, I want to start off by saying that using plain language is absolutely fine. Clarity should always be your aim when writing, so if your natural style is to use plain language, then there is absolutely nothing wrong with that.

Language doesn’t need to be complicated or flowery to be effective. How lyrical or sensory your prose gets should depend both on the type of writer that you are, and on the type of book you are writing.

With all that said, lyrical prose certainly has a place in the written word. I’m sure we’ve all read books that had writing that seemed to sing off the page and lingered in our minds long after we’ve finished reading. But writing lyrically without sacrificing clarity and moving into the dreaded realms of “purple prose” is something that’s very easy to struggle with. But like any part of the writing journey, it’s a part of your skill set that can be learned and refined.

What is lyrical prose?

Lyrical prose borrows techniques from poetry, like rhythm, imagery, sound, and emotional resonance, while remaining firmly in the prose camp. It’s a style of writing that prioritises the musicality and beauty of language to illustrate meaning. Someone who writes lyrically writes in a way that feels poetic but still promotes the clarity of prose.

You once told me that the human eye is god’s loneliest creation. How so much of the world passes through the pupil and still it holds nothing. The eye, alone in its socket, doesn’t even know there’s another one, just like it, an inch away, just as hungry, as empty.” - Ocean Vuong, On Earth We're Briefly Gorgeous

The most important thing to remember is that lyrical prose isn’t just pretty writing. It’s writing where form and content are inseparable. How something is said deepens what is said, and when done well, the reader feels the emotion through the very texture of the language itself.

The core elements of lyrical prose

Rhythm and cadence

Just as poetry has meter, prose has rhythm. Varying your sentence length and structure creates a natural flow that carries readers through your work. Short sentences punctuate, and longer sentences allow readers to settle into a thought, following its contours. The interplay between them creates music.

Sound

Poetry uses alliteration, assonance, and consonance to create a texture of words that affects how we experience them. In lyrical prose, you might not use these devices as obviously as a poet would, but paying attention to how your sentences sound when read aloud can show you how they sing.

Imagery

Show, not tell, is at the heart of lyrical prose. Concrete, sensory details that evoke a feeling rather than explain the scene are the heart of lyrical writing. Rather than telling readers what to feel, lyrical prose shows them through carefully chosen ideas that resonate on an emotional level. The best imagery grounds readers in the physical world while suggesting something deeper beneath the surface.

Compression

In lyrical prose, every word earns its place. This means writing with intention. Each word should carry meaning, and cutting what doesn’t serve the reader often reveals a stronger, more resonant version underneath.

Emotional truth

Perhaps most importantly, lyrical language should match the intensity of the moment. The prose rises to meet significant emotional beats.

When to use lyrical prose

Lyrical prose works best in moments of heightened emotion, reflection, or plot significance. It’s the natural language of memory, revelation, and emotion, so when your character confronts a profound truth or experiences a moment that will change them, lyrical prose can elevate that scene.

While it’s not impossible to do, lyrical prose is usually poorly suited to action sequences, rapid dialogue, or straightforward exposition, where it can slow pacing and feel overwrought. It’s why not every piece of writing requires lyrical prose to be effective. Not every sentence needs to be beautiful; some just need to get the job done.

The danger of overdoing it

Lyrical prose becomes purple prose when style overshadows substance. When you’re showing off rather than serving the story, that’s when it starts to feel overdone. We’ve all read passages where the author seems more in love with their own sentences than with their characters or narrative. It makes their writing feel self-indulgent and distancing.

You should always ask yourself: does this language illuminate meaning or obscure it? If readers have to work to decode what you’re saying, the lyricism has failed.

Practical tips for writing lyrical prose

Read your work aloud. Hearing your work out loud will help you catch rhythm problems that you might miss when just reading in your head.

Study poets. Understanding how poetry works can help you write better prose.

Revise for sound. Sometimes swapping one word for a synonym that has a better rhythm with the words surrounding it can transform a sentence.

Save your most lyrical passages for scenes that warrant them.

Cut ruthlessly. Lyrical prose often emerges in revision, when you strip away the ordinary and leave only what sings.

Lyrical prose is a powerful tool, but like any tool, its effectiveness depends on knowing when and how to use it. Not every piece of writing needs it, and not every moment in a story can benefit from it. Start by identifying the moments in your story that might call for more sensory language, then practice writing in a way that sings without sacrificing clarity.

The goal isn’t to impress readers with your vocabulary or your ability to construct elaborate metaphors. Ultimately, you want to make them feel something, and the very rhythm and texture of your words is an effective way to achieve that.

[pinnedwings]

one of the most difficult things about deciding you want to write a fictional doctor (of the non-who variety) is writing actual medical scenes. we all know that medical dramas are notoriously cliched, and i for one fully understand how unimportant factual accuracy can be to the emotional importance of a scene. sometimes you don’t have to get it write for your story to work. i have a disclaimer on my blog that i myself am just a layman, but i like to at least know what i’m writing about! in the interest of being as accurate as i can, i would like to spread that love around. here’s a list of medical fiction/fantasy writing resources i’ve found!

surgeonsblog

article i found this from^ (w/even more resources)

redwoods medical edge

^article where i found that

this article is short/basic/doesn’t link anywhere else, but i found it very helpful anyway

supposed to be good but to me, seemed difficult to navigate. (dp lyle)

this on the otherhand, is the jackpot (novelmalpractice)

tumblr blog centered around this topic

this is more about the common pitfalls/anachronisms of medical fiction but still helpful

writing medical scenes: useful links by paul anthony shortt

the last one im going to include is an article by a doctor about common mistakes in popular medical shows, i liked this one

tagging who liked the interest check on this @hesjustcarter @prodigiumamare @frankengeeks

[fullest-circlest]

If you're writing 18th century dialogue, this website lets you search words and phrases to double-check whether they were in use & meant what you intend. It doesn't include every period-accurate use of a word/phrase, but it certainly helped me separate genuine 18th century grammar from the vague tangle of 💬old-fashioned fancy-speak💬 I've internalized from TV and video games.

[my-deer-friend]

Other websites that let you do this:

Johnson's Dictionary Online (thanks @yellowbelliedtoad!) – 1755 and 1773

Green's Dictionary of Slang – 1300s to today

A Classical Dictionary of the Vulgar Tongue – 1788

Feraud's Dictionaire critique de la langue française – 1778

[zisurru]

A dictionary of the English and Italian languages by Giuseppe Baretti is a bilingual dictionary from 1790!

[luna-azzurra]

Small moments that reveal everything about your Character's Trauma!!

✶ Flinching at sudden movements even when they're "fine."

✶ Compulsively checking locks, three times, four times, one more time to be sure.

✶ Unable to accept compliments without immediately deflecting, joking, or finding the insult hidden inside.

✶ Crying during movies but never about their actual life.

✶ Hoarding food in their room even though the fridge is full.

✶ Texting "sorry" before everything. Sorry I'm late, sorry to bother you, sorry for asking, sorry I exist in your proximity.

✶ Going silent mid-conversation like they've left their body.

✶ Showering in scalding water or freezing cold, never comfortable, always punishing.

✶ Laughing at their own pain like it's a punchline they've rehearsed.

✶ Needing the TV on to sleep because silence lets the thoughts get too loud.

✶ Refusing help carrying groceries, moving furniture, existing "I've got it" even when they clearly don't.

✶ Cataloging exit routes in every room without thinking about it.

✶ Changing the subject the instant someone asks "are you okay?" with actual concern in their voice.

✶ Breaking down over minor inconveniences, because it's safer than crying about the real thing.

✶ Keeping their phone on silent because the anxiety of notifications is worse than missing important calls.

✶ Sitting with their back to the wall, always, watching the door.

✶ Inability to sleep in the same bed as another person without feeling trapped.

✶ Downplaying their achievements instantly, "it was nothing, anyone could have done it, I just got lucky."

✶ Apologizing when other people bump into them.

✶ Freezing when someone raises their voice, even playfully, even in excitement.

[lyralit]

traits turned sour

honest - insensitive

persuasive - manipulative

caring - overprotective

confidence - arrogance

fearless - cocky

loyalty - an excuse

devotion - obsession

agreeable - lazy

perfectionism - insatisfaction

reserved - aloof

cautious - skeptical

self loved - selfish

available - distractible

emotional - dramatic

humble - attention-seeking

diligent - imposing

dutiful - submissive

assertive - bossy

strategic - calculated

truthful - cruel

[bad-serafima]

Saw this and wanted to try some more:

• independent – isolated/commitment issues

• nurturing – smothering

• intuitive – paranoid

• protective – controlling

• curious – intrusive

• driven – obsessive

• patient and lets you decide – passive

• spontaneous – reckless

• self-aware – uses it as an excuse

• visionary – unrealistic

• stoic – emotionally numb

• charismatic – fake and performative

• generous – self-sacrificing

[princess-starscourge]

This is one of my favorite things when creating characters (having their core trait/s be something like devotion to the point of obsession)

[3hks]

How to Write Genuine REGRET That HURTS

One of my absolute favorite emotions to write is regret. It's painful, it's haunting, and it's relatable. However, there's something weird about writing it--how do you begin? How do you describe it? How does it end?

The Beginning

Regret hits fast and hard: oftentimes, regret isn't the type of emotion that starts like a small drizzle of rain. It's the downpour that smacks into you at full force the second you realize your mistake. It's the rock dropping into your stomach, it's the way the air stills, it's the color draining from your face.

The first flood of STRONG regret is paralyzing. For example, if a character does something especially bad--say slap another character--when the realization of their actions sinks in, they're likely frozen with millions of thoughts running through their head. When you see a character do something uncharacteristically terrible but don't do anything moments after, they're not always still because they don't care, but because they're in shock and need time to register what they did.

"Weaker" or perhaps less "serious" regret is typically the opposite. Say a character is telling their classmate something but their words come out wrong, and it sounds offensive. Chances are, they're not going to freeze up (if they do, maybe for a second or so) but instead start word vomiting.

It's apologies spilling out uncontrollably. It's "I swear I didn't mean it like that" being repeated over and over like a promise. It's a sudden, verbal burst of corrections.

The Middle

The intensity of the shock drops: let me just clarify; I'm not saying that your character will suddenly feel less to little regret about their actions after an hour. What I am saying is that your character isn't going to stand there like a statue forever nor are they going to remain there repeatedly apologizing.

The initial shock is going to wear off and that regret is going to incorporate itself into your character's life, in which it will disrupt. This could be small disruptions that outsiders might not even notice, such as getting distracted when doing tasks, or these disruptions could be so severe that it does notably alter your character's life that other people notice. Maybe it's eating less. Maybe it's staying cooped in their room for an unhealthy amount of time. Maybe it's avoiding certain people.

This actually brings me to my next point!

Regret festers: one of the most difficult part of capturing regretfulness is that unless the issue was resolved perfectly with no hard feelings, this emotion festers. It stays inside of you and grows slowly but surely until it's all-consuming.

Their wrongdoings remain somewhere in the back of their mind no matter what they're doing, and they can't quite shake it off. Overthinking occurs: why did they do that? What should they have done? Why didn't they react faster? Why didn't they react better? What is the other person doing? How are they feeling?

They seek distraction: if the occurrence was especially bad and your character doesn't know what to do, they're going to seek some kind of distraction.

Oftentimes, these coping mechanisms aren't pretty. They're thoughtless and reckless, but that's what makes it raw.

The Ending

The regret slowly fades away: here's the thing: time heals. The path to healing might've been brutal and ugly, but as time passes, the pain slowly eases. It's typically not an abrupt stop to feeling regretful, but instead a sluggish decline in its intensity.

If your character gets to fix things, apologize properly, and gets their apology acknowledged, or better yet, accepted, then they'll feel better in a shorter period. The feeling of regret might linger and their actions might still haunt them occasionally, but they can move on as long as they allow themselves to.

If your character never received the chance to apologize and rectify things, then everything sort of drags out. Their regret brews inside because their mistake, no matter how terrible, is something they won't be able to ever fix. The "distraction" phase, especially, is particularly difficult because it's meant to distract them from their emotions and the truth, not to face it.

But like everything else, regret doesn't last forever. Your character will learn to be more understanding. Honest. Vulnerable. Considerate. And if the situation wasn't entirely a result of their doing, they may learn to accept that perhaps they weren't completely at fault.

Everywhere

They blame themselves: no matter what phase they're in, your character regrets something because they think it's their fault. It might not fully be attributed to them, but they're going to think it is.

Maybe they shouldn't have done something. Maybe they should've done something.

Your character isn't flawless, and when they regret something, that imperfection is highlighted for both the audience and themself.

Happy writing~

3hks <3

[luna-azzurra]

Tips for Writing Emotional Breakdowns

✧  Crying isn’t pretty. It’s snot, blotchy faces, gasping for air, and red-rimmed eyes. Forget the single tear rolling down like in Hollywood.

✧  Anger often hides hurt. People lash out, slam doors, shout, not always because they’re just mad, but because they’re covering up fear or pain.

✧ Shaking is common. Stress dumps adrenaline into the system. Hands tremble, voices break, knees won’t stay steady.

✧ People go quiet, too. Not all breakdowns are screaming and sobbing. Some are dead silence, staring off, numb responses. Equally devastating.

✧ Exhaustion hits after. The “post-breakdown crash” is real ... headaches, sore eyes, complete emotional hangover. They’ll want to sleep for hours.

✧ Words get messy. Rambling, repeating the same sentence, stuttering, saying things they don’t mean. Emotions trip over themselves on the way out.

✧ Breathing changes. Short, shallow breaths, hiccupping gasps, or holding their breath without realizing. Sometimes it even feels like they’re choking.

✧ Embarrassment creeps in. Once the wave passes, a lot of people feel ashamed, apologizing or avoiding eye contact. Vulnerability often leaves guilt in its wake.

✧ Physical pain shows up. Tight chest, stomach aches, tension headaches. Because emotions don’t just stay in the mind , the body carries them too.

[whumpologyy]

how trauma might show up in a character

a crushing weight - absolutely suffocating. every breath feels controlled, eked out in desperation to survive. the burden of memory is unavoidable and colors everything they do.

An endless rolling wave - knocking them down over and over and over again. just when they think they've found their footing, it envelopes them again, everything swirling and chaotic and completely, violently tumultuous.

A low simmer - not bubbling up, not overwhelming, but constantly there. not enough to scald, but enough to burn and unsettle. A lingering sensation in the back of their mind, in the crawl of their skin, unseen to others but undeniably present.

an insidious shadow - sometimes they don't even know it's there. there's a confusing, unsettling feeling of darkness, of something looming, and they look over their shoulder to finally spot it with a familiar sinking feeling.

A familiar companion - no longer scary or overwhelming, but predictable, even manageable. it doesn't mean they like having it hang around - but they're getting used to it. they can expect to see it hanging around in certain situations, and that's okay.

A guide - trauma as protective, as a lantern in the dark, leading the way. not something to crush or drown or corrupt them, but something to point to that says: I survived. And I will continue surviving.

[luna-azzurra]

Ways to Show a Character is Jealous but Trying to Act Above It...

(or: “I’m not jealous, I just hate everyone suddenly for no reason.”)

⋆˙⟡ Compliments that sound like they were dragged over glass. “Wow, they’re… really confident.” Translation: they’re annoying and I hope their confidence cracks like cheap porcelain. They say it with a smile, because they’re not jealous, obviously. They’re observing. They’re mature. (They’re absolutely rotting inside.)

⋆˙⟡ That tight-lipped smile. I mean it’s not even a real smile. It’s something they stitch on because they have to look normal. It’s the facial equivalent of “I’m totally fine,” while every muscle screams, I hate this, I hate this, I hate this.

⋆˙⟡ “Good for them.” Said like a prayer, or a curse. You can practically hear the unspoken: “Good for them. Hope they choke.”

⋆˙⟡ Eyes betraying everything. They keep looking. They tell themselves they’re not, that they’re done, that they don’t care, but there’s that glance again. And again. Like their eyes haven’t caught up with their pride yet.

⋆˙⟡ Overcompensating like their ego’s on fire. Suddenly they’re the funniest, most magnetic person in the room. Loud, charming, shining too bright, because if they don’t blind everyone, someone might notice they’re bleeding.

⋆˙⟡ Politeness as violence... “Oh my god, hi!” all sugar, all shine, but too sweet and too rehearsed. The kind of politeness that’s less “nice” and more “don’t give me a reason to bite you.”

⋆˙⟡ Casual questions that could double as interrogation. “So… how did you two meet?” Said like they don’t care, like they’re just curious. But really, it’s an autopsy. They’re dissecting history, looking for where they went wrong.

⋆˙⟡ The smile dies the second backs are turned. Gone. Wiped clean. Like flipping off the “human interaction” switch the moment they’re not watched. (Cue the dead-eyed stare into the void.)

⋆˙⟡ They say they don’t care too many times. (They care so hard it’s physically vibrating out of them.)

⋆˙⟡ They get mean, but subtle. “Oh, that’s so brave of them to wear that.” Or: “They’re really… bold.” Half praise, half venom.

⋆˙⟡ Pretending to be above it all, but taking mental notes anyway. They say, “I’m happy for them,” while memorizing every detail. The perfume, the shoes, the tone. They’ll replay it later in the dark, not because they care, but because they can’t stop caring.

⋆˙⟡ They walk away before the mask cracks. The air gets too tight. The noise too loud. So they leave, smiling, graceful, pretending it’s because they’re “tired.” But really, it’s because if they stay one more second, the jealousy will start to show.

[cavalierfou]

TENNESSEE ROSE / photoshop coloring – FREE RESOURCE

Please like or reblog if you decide to download/use this resource!

Do not repost, redistribute or claim as your own! Other than that, you do not have to credit me when using this coloring.

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[scribestoolbox]

[cavalierfou]

MEDIEVAL MINIATURES (ILLUMINATED MANUSCRIPTS), TRANSPARENT PNG PACK – (free resource)

In this pack you’ll find 45+ transparent pngs of medieval miniatures from various manuscripts.

This resource was made using images that are free of use and/or in the public domain. You are free to use and transform them as you wish !

You do not have to credit me while using this resource, but please consider liking or reblogging this post.

FREE DOWNLOAD : DEVIANTART or PATREON

+ KO-FI, donations are optional! Please do not feel any pressure to sub or donate, I just hope you enjoy the resources I post ♡