You can also call me luma / blue, I'm 23 and not terribly active here sorry! Visit my deviantart to see more of my art -§- Please don’t use my characters or designs for DnD or anything similar without permission
Hey i’m a fashion design student so i have tons and tons of pdfs and docs with basic sewing techniques, pattern how-tos, and resources for fabric and trims. I’ve compiled it all into a shareable folder for anyone who wants to look into sewing and making their own clothing. I’ll be adding to this folder whenever i come across new resources
Updated just now with new hand sewing resources (mainly buttonholes) and textbook pdfs on fashion history, fashion illustration, and thinking through designs!
Hey, so, I started doing a writeup a week ago about how to get character voices in your fanfic to sound “in character,” in response to a comment from a new writer I was beta-ing for.
I’ve been told this is a thing I do well.
As someone who studied dialogue extensively for a theatre degree, I tend to do this reflexively now, and I don’t write out each individual step. But I put some thought into how I might break down the process if I was new at it and looking to get better.
I don’t think it’s actually that different than an actor studying character accents, except as a writer you’re breaking down meaning rather than sound.
Let’s take a look at what makes dialogue unique to a character. I’m gonna list these as bullet points first, and then I’ll suggest some exercises to explore these aspects of speech.
Most important aspects - focus on these first
Vocabulary - the words they use. As subset of this:
Complexity of words, which can include:
Syllable length
Likelihood to be used in casual conversation - a character can be very smart and still use very informal language.
Cultural touchpoints
Culture can include pop culture references - think Tony Stark’s nicknames for everyone, i.e. “Point Break” and “Underoos”
How in or out of sync the character is with the story’s setting with regard to both time and place - are they from a different country or era of time than their peers?
Important - Check these out if you have time
How likely the character is to speak their mind vs. change the subject - this could be for any number of reasons, from fear to duplicity
Amount they say / Introvertedness / how reticent they are - This is somewhat related to the above point, but not necessarily, and should be researched from different angles. Subverting a topic is not the same thing as being afraid to talk about it.
Different ways of speaking with different characters - this could be a function of story (i.e. how a character who is captured speaks to their captors as opposed to friends) as well as pure Code Switching
Deep cuts - Advanced aspects of speech
Fluency in the language they are speaking
Accents - You do not have to write a character in an accent, i.e. spell the words differently to show the accent, if you don’t want to. It really depends on the piece (usually how light hearted or humorous you want it to be) whether you do or not.
Okay, this is all well and good, you say. But HOW do I incorporate this into my writing?
Dialogue analysis exercise
Find five (or more, but at least five) representative lines from your character’s canon dialogue.
If they don’t speak, don’t have five lines, do the best you can. (I imagine other forms of communications can probably also be analyzed in this way, but I’m gonna focus on dialogue for now.)
These are going to be your key phrases. They need to be from canon and they need to be words that really show off who your character is.
Say the words out loud. Read them again and again. What do they sound / feel like?
What is the average syllable length? How many long words do they use?
Do any words jump out at you as archaic? What about modern pop culture references?
What is a different way they could have said this? Write some alternate versions of this phrase and figure out WHY the character didn’t say it this way instead. What is the difference between the canon dialogue and the alternative? Try to be as specific as possible. It’s as important to know what they wouldn’t say as what they would.
Look up any of the more complex words and find some similar ones, with a similar level of complexity. Use a thesaurus you trust and possibly also Wordnik. If your character doesn’t use ANY complex words, reflect on that. Why? What’s their reason? How does that fit with the rest of their personality?
Think of some other characters from other pop culture pieces who speak in a similar way. It doesn’t have to be 100% the same, but if it can help your ear get used to some new-but-different phrases, it’s enough. You’re training your brain to speak like the character. Start to sort phrases they would say from ones they wouldn’t. How do these two characters differ?
Now that you have worked thoroughly through your key phrases, start to imagine these lines said in something other than the original context. What if they were said to a different character? WOULD they even be said? What would change? What would happen if your character was scared / hurt / overjoyed / sick?
Finally, after all that, write some NEW dialogue for your character, either as practice, or right into your fic draft. Keep using your key phrases as a guide and go back to canon as much as you need to! You can do this!
After all of this, you should feel significantly more confident in writing that existing character into your story. Huzzah!
If you found this at all helpful, reblog and / or leave me a note. I’m curious to hear what you think.
One small thing I think people intuit without realizing is that part of the "He would not say that" is that, beyond the big-picture concerns (where you really mean, "he would not be expressing that sentiment" or "he would not be saying that to that person's face" or "he would not be saying that thing out loud"), there's the close-up concern of vocabulary used.
Sometimes where writing, particularly dialogue, can feel funky is the problem of voice, of that just doesn't sound like him, which can come down to individual words used. What's really interesting is this sense can ping even for characters you don't know at all, NPCs and background characters, not just the big main canon favorites that everyone knows intimately.
For example, I was writing a fic recently where I had typed out a character saying
"He was lucky he wasn't more seriously hurt."
And immediately had to backtrack because the word lucky felt wrong. I knew exactly what needed to go there instead without really thinking about it, but let's break it down a minute first.
Okay, so imagine you're me and lucky feels off, so what do you do? You turn to the thesaurus. This is what you get:
[alt text added to image; should pull through]
These aren't... wrong. (Well, some of them are.) Most of them are synonyms of lucky in various contexts, but they're not one-to-one by any means. So first you have to know that, in this spoken context of describing a person who avoided a potential negative outcome, only some of these will work, because it needs to be an adjective that has to address a moment of good luck (as opposed to a pattern or a lifetime) and avoiding that potential negative outcome by chance. Most of the time, you can sort these out by saying them out loud in your chosen sentence.
"He was lucky he wasn't more seriously hurt"
✅ Original sentence, construction works.
"He was serendipitous he wasn't more seriously hurt"?
🚫 No. That doesn't make sense at all.
"He was blessed he wasn't more seriously hurt."
✅ Yeah, that works, in a vacuum, too.
Of the above, in the sentence of dialogue I created, the following work:
Blessed
Fortunate
Lucky
Only three. (If I changed the sentence structure to "It was ___ he wasn't more seriously hurt," I could try out a few more, maybe, like fortuitous and providential, but I'm not going to.)
Even with only three options, especially in dialogue, you have to be able to parse out what kind of person would use which. That was why lucky pinged as off to me, even though it works perfectly well in this context in a vacuum.
In my scenario, the person speaking was a highly educated, upper socioeconomic middle-aged man of authority for whom American English is a first language speaking to another man with whom he has only a professional relationship, a reason to worry about his standing within the state of said relationship, and a vested interest in maintaining a healthy level of respect and trust.
That is not a man who is going to say lucky.
I knew immediately and instinctively that he would say
"He was fortunate that he wasn't more seriously hurt."
He wouldn't say blessed unless I wanted to imply something about his religious and/or spiritual background and beliefs, which I did not. Lucky has a more common feel to it, a little more casual, and just wouldn't be the word of use for this kind of character in this situation. Reaching for the three-syllable word instead of the two, the one that echoes with a tiny bit more pomp.
You'll notice, too, that a that appeared as well, because a man like the character I described would be more particular about the formalities of grammar, even in cases where his meaning is clear without them.
A different character, someone of a lower socioeconomic status and/or in a much more casual situation might even say
"He got lucky he wasn't more seriously hurt."
Do you see how those four ways of saying the exact same thing sound and feel different?
"He was lucky he wasn't more seriously hurt."
"He was fortunate that he wasn't more seriously hurt."
"He was blessed he wasn't more seriously hurt."
"He got lucky he wasn't more seriously hurt."
The exact same sentiment, just tweaked to match the speaker.
The more you start to notice vibes like this, the more nuanced and "right" feeling your writing will be. And the more you notice and start to pick apart these choices while writing, the better you'll be at it, because you'll be able to articulate the whys and why-nots and can figure out where you went wrong (and how to go right instead.)
11 Plot Pitfalls – And How to Rescue Your Story From Them
Source: [X]
By: Laura Whitcomb
We’ve all been there: basking in the glow of a finished manuscript, only to read it over and realize something is wrong with the plot. Finding ourselves unable to identify the problem only makes matters worse. But take heart! Here are some common plot gaffes and sensible ways to revise without starting over.
1. THE PLOT ISN’T ORIGINAL ENOUGH. Go through your pages and highlight anything that you’ve read in another book or seen in a movie. In the margin, write where you’ve seen it. Then list these sections and make a note for each one about how it could differ from its lookalike. A mental patient escapes by throwing something heavy through a window. Too much like One Flew Over the Cuckoo’s Nest? Instead, the patient walks out with a visiting grandma after convincing her he’s an old friend. Quick notes like these can help you detach from unintentional imitation.
2. READERS ALWAYS KNOW EXACTLY WHAT’S GOING TO HAPPEN. This may be because you’ve chosen a plot point that’s overused, or because you keep giving away the answer in advance. Readers know the villain is going to whip out a picture of the hero’s son and blackmail her by pretending to have kidnapped the little boy because you showed the villain taking pictures of the child and driving away from the schoolyard. You could be less obvious by only showing the antagonist sitting in the car watching the boy on the playground, and no more.
3. THE PLOT IS BORING. Take each page and imagine what different writers might do with the same plot. Choose extreme examples. Would a comedy writer have the cab driver and the villain coincidentally be childhood friends with unfinished business? Would the mystery writer have the taxi pass a clue on a street corner that makes a new connection for the hero? Would the horror writer have the cab driver channel a ghost? Or, imagine the most surprising thing that could happen in a given scene. It doesn’t matter if these ideas don’t fit your story. You’re not going to use them. But often, after thinking of wild ideas to make the story more interesting, you begin to come up with workable ones that are just as stimulating, but better suited to your book.
4. THE PLOT IS ALL ACTION AND THE FRENZIED PACE NUMBS READERS. Let them breathe. Give the readers a little downtime now and then in your action story. Look back at your favorite action novels. Notice the conversations, summarized passages, meals, introspection and releases of emotions that are set in between the car chases, shootouts and confrontations. List them. Then give the readers a chance to breathe in your own manuscript. Find the dramatic respites that come from your characters’ needs, flaws and strengths.
5. THE PLOT IS TOO COMPLEX. Often, a complex plot can be trimmed into a sleek one by cutting out some steps. Does your protagonist have to visit her father in the hospital twice—once to bring him flowers and talk about Mom, and then again to find he has taken a turn for the worse? Couldn’t he take a turn for the worse while she’s still there the first time? Does your villain need to have three motives for revenge? Would one or two be interesting enough? To find the messiness in your overly complex story, summarize it out loud to yourself. When a section takes too long to explain, make a note. When you find yourself saying, “Oh, wait, I forgot to mention that …” you’re probably in need of a plot trim. When deciding whether or not to simplify the plot, ask yourself over and over again,
“Why does she do that? Why didn’t she just do this?” Making a plot less complicated doesn’t have to make it less clever.
6. THE PLOT IS TOO SHALLOW. Sometimes as writers we get caught up in the action. The symbolism. The metaphors. The witty dialogue. The great character names. The slick descriptions. Sometimes we ride these skills over the surface of the story and forget what’s really important. If you or your first readers (friends, family, agent) complain that the novel feels insubstantial, step back and ask yourself these questions: Why am I bothering to write this story? Why does the outcome matter to the characters? How do the characters change? How did my favorite book affect me the first time I read it?
7. SUSPENSION OF DISBELIEF IS DESTROYED. Readers need to buy into the reality put forward by what they’re reading. You may go too far with a plot point or not far enough with preparing your audience for that plot point. If something that sounded right when you outlined it is coming off as farfetched even to you, look back at the stepping-stones that led to the event. If your murderer turns over a new leaf at the end of act two, make sure you’ve given her reason to.
8. TOO MANY SUBPLOTS MAKE THE PLOT OVERLY COMPLEX. If you start to feel weighed down by your numerous storylines, start cutting them. List the subplots (shopkeeper with a crush, neighbor’s dog that tears up the garden, accountant who threatens to quit every day), and then list under each title all the ways it’s necessary.
Only subplots that are so vital that you could not remove them without destroying your novel get to stick around. Be bold.
9. THE SEQUENCE IS ILLOGICAL. Sometimes the sequence set down in an outline starts to show its true colors when you’re writing the chapters. If you feel the order of scenes or events in your story is off, list each scene on a separate index card and, in red ink, write a question mark on every card that doesn’t feel right where it is in the story. Shuffle the cards. I’m not kidding. Mix them up completely. Lay them out again in the order you think they might work best, giving special attention to those with red question marks.
Something about these scenes tricked you the first time. This time, really look closely at the proper place for those tricky bits.
10. THE PREMISE ISN’T COMPELLING. If you fear that a mediocre premise is your holdup, take out a sheet of paper. Make a list on the left-hand side of everything that’s dodgy in your present premise. Then write a list down the right-hand side about all the things that work great in the premise of a similar favorite book, play or movie.
See where you might make the stakes higher, the characters more emotional, the setting more a part of the overall plot. Remember: The premise should make your readers curious.
11. THE CONCLUSION IS UNSATISFYING. Once again, write a list of what bothers you about your conclusion, and next to it, a list of what worked great about the end of your favorite novel. Do you have to create more suspense before you give the readers what they’ve been craving? Do you need to make the answer to the mystery clearer? Does the villain need to be angrier, or perhaps show remorse? Unsatisfying conclusions are usually lacking something. Whatever that is, make your story’s ending have more of it.
More ref sheet time YEAAAHH this one is my favorite he’s very nice. He’s holding the bow in the wrong hand considering only one of his eyes works but jus ignor it!
I’ll talk more about the infested later but basically they’re a result of the dead god under Siorghlas. There are these things called ulcers around the map that are openings into the body of the dead god and they have paracytes in them that attack and latch onto people and turn them into zombies. The zombies only respond to the orders of the Eigengrau (the god) and they attack everything until they can get ahold of clarite, which is like a relic that gives the host their autonomy back. That’s what happened to murdoch. Which sucks. Because he’s a very chill guy and doesn’t deserve that mess. It’s cooler than just that but I’ll explain later. He’s a good cook too but he’s not very. Smart.
The legend behind Siorghlas, a piece of land surrounded entirely by impassible mountains and ocean, is that it sits on the grave of a dead god.
The God of the Void, or as the people of Siorghlas call it, “the Eigengrau,” was struck from the cosmos after a particularly violent spat with its divine brethren. When it landed, it created a crater in the barren soil beneath it and from its corpse it bled life. Not long after sprung up flora and fauna, and eventually, people and settlements.
@polarspaz I too have been jumped by the plot bunny that is Baby Bug Leon. I wrote 2K words in about 3 hours. Somehow. Enjoy. I need to channel this energy and also this 'JUST WRITE IT' to other things holy heck thank you for giving me muse juice
...
Leon groans, pressing his back against the wall as he works to catch his breath. He needs to keep moving, he can’t leave Marvin waiting, but his everything hurts. The low throbbing ache he’s been dealing with for the past week, even before Raccoon City turned into a hellscape, has been steadily getting worse. Before he could pop a few painkillers, but that’s not an option anymore. They have better things to spend such things on than Leon’s lousy muscle cramps.
As if to spite him, his calf muscles choose that moment to seize. Leon hisses through his teeth, leaning his head back as he carefully inhales. His skeleton may as well be a full body toothache at this point. He attempts to stand, and it's a mistake.
Nausea slams into him so hard that for a second, Leon thinks a zombie has tackled him. But no, it’s just his own body. He doubles over, clutching his midsection as his stomach makes a valiant effort to climb his throat. Fucking hell, he isn’t infected is he? No… no he hasn’t been bitten. Did he just have the worst luck to get infected with the goddamn flu while in the middle of a zombie outbreak?
“Come on, Kennedy,” Leon mutters. “Just a lil’ pain. ‘S not that bad. Buck up.”
The universe evidently finds that hilarious. It decides to call his bluff.
Agony like nothing Leon’s ever felt suddenly lights up his nerves. He chokes, unable to even scream as his throat closes up. There is magma in his muscles and lightning in his veins. He is being electrocuted, his body stretched to pieces, his skin flayed away. Leon wishes he could scream, to hell with the Lickers and zombies it would inevitably draw, if only to have some way of releasing the pressure that’s building inside him.
Faintly, despite the blood rushing in his ears, Leon hears something crack. A jolt of fear shoots through him and he scrambles to get himself up but his body doesn’t respond. Leon wavers on the edge of consciousness, unable to get himself to move but sheer adrenaline keeping him awake. He has to stay awake.
There are more cracks and pops, the wooden floorboards creaking under some unseen weight. What is it where is it he has to get out of here— And then, suddenly, he can.
Leon jolts up, breaths coming in frantic gasps. He clutches one hand to his chest, trying to get his breathing under control even as he desperately searches the dark for whatever monsters lie within. But the shadows are empty, nothing pulling itself out on bloodied hands with a torn off face. Leon swallows his next breath, slowly shuffling to his knees.
But… something’s not right. Leon blinks hard, squinting through the low lighting at his knees. His skin looks… the wrong color? He blinks again, willing his eyes to adjust to the light but it only makes him more confused and alarmed. His pants have been torn ragged at the knees, but what emerges from them… those aren’t his legs.
Leon scrambles backward, trying to get away, but the things that aren’t his legs follow him. He can feel his breathing start to pick up as he stares at what claws that he could imagine on a dinosaur, twitching in the dark. Leon tries kicking his leg, wanting to make the things go away but to his horror, the talons simply mimic the motion.
Hesitantly Leon sits up, moving forward to try touching the things, only to set eyes on what should be his arm reaching out. It isn’t his arm. It’s covered in armor the same color as the dinosaur talons, tipped with long claws. Leon freezes. The arm freezes. He slowly moves, turning his hand and the thing follows it.
This isn’t my arm this isn’t my arm this isn’t my arm, Leon chants silently as he stares at what should be his limb. But it isn't. Because his arm did not look like that.
“Okay, maybe I just caught a fever. Fever causes hallucinations, right? That’s all this is,” Leon laughs nervously, but he can’t even convince himself of it. After all, he’s been walking around in a nightmare for the past who-knows-how-long. A nightmare that is very, very, very real.
Slowly, Leon shifts, trying to move, to convince himself that this isn’t what it looks like, only to catch on something else, trailing behind him. He stills, tracing the long serpentine shape half hidden in the shadows. Oh, joy, there are giant mutated snakes now?! It twitches, and Leon freezes. He carefully follows the length of the snake, brown and covered in ridges—something wrong nigging at the back of his mind—only to trace its origin to a pair of ruined blue trousers.
Leon flinches. And the tail does so with him.
“What the fuck what the fuck what the fuck,” Leon mutters on repeat as he slowly moves away, and all the alien limbs move with him. Things he can see. Things he can feel. “God…”
What the hell happened to him?!
Leon sucks in a desperate gulp of air, pushing himself to his feet—feet that are too big, on claws that spread out like that of a bird, talons curling into the floor. He… fucking hell, what had he turned into? Not a zombie, not like the shambling things roaming the R.P.D.’s halls, but something far more alien and monstrous.
Panic claws its way up his throat. No, no, no! He can’t become one of those things, he can’t turn into a monster! He has to help Claire, Marvin— Marvin. Leon latches onto the name like a lifeline. He, he can still think. He hasn’t lost his mind yet. He’ll go to Lt. Branagh, he’ll know what to do.
Mind set, Leon starts forward, only to immediately stumble. He overbalances and nearly careens face-first into the floor. Except… Leon chances a look back, and the tail behind him has lengthened, balancing him. Holy shit. Okay. Okay. Leon takes a breath, rubbing a hand over his face. He immediately regrets it when his fingers catch on… on protrusions sticking out of his face.
Okay. Okay. Don’t think about it. Find Marvin. Find Lt. Branagh. He’ll know what to do.
With aching bones, Leon shuffles out into the halls of the R.P.D. and heads back to the main atrium. Eventually, he finally reaches the entrance, only to blink at the door that is… shorter than him now. He’s taller. Bigger. (As if the ripped uniform wasn’t proof enough.) Taking a deep breath, Leon twists the doorknob and ducks through the doorframe and into the main hall.
“Lt. Branagh?” Leon calls, his voice echoing.
“Over here, Leon,” Marvin calls back and Leon shuffles closer. The Lieutenant is facing away from him, bent over one of the desks and it takes every fiber of Leon’s being to speak again.
“I… Marvin, I think I need some help.”
“Rookie, what are you—” The Lieutenant turns, and Leon can see the instant the man registers his presence, eyes blowing wide. The Lieutenant’s hand goes for his gun and Leon hurriedly raises his hands in reflex.
“Wait, I’m sorry I—”
“Leon?!” Marvin interrupts him, jaw hanging open. “Holy shit. Leon, what the hell happened to you?”
“I don’t know,” Leon exclaims, hunching his shoulders miserably. “I just… I don’t… it just happened.” He stutters to a stop, glancing at the Lieutenant. He’s… he’s taller than Marvin. By a lot. Several feet at least. It's… it's not right. It’s not right. Leon’s legs buckle and he’s abruptly on the floor, Marvin flinching back in surprise. “I was just searching and my body’s been hurting but never this bad and then it didn’t stop and I couldn’t– I didn’t– I’m sorry—”
He fumbles for excuses that don’t come, breath coming faster and faster. He needs to explain himself, explain to Marvin why he failed, but everything is falling apart at the seams, he’s fallen apart and he’s a monster and they’re surrounded by monsters and he doesn’t want to be a monster—
“Rookie! Leon! Leon, look at me.” The Lieutenant’s voice is sharp, and Leon snaps to follow the order, raising his head to look at the man. Marvin’s eyes are locked on him, face close to his. “Good. Follow my breathing, okay?” Leon can distantly feel something take hold of his hand, and then it starts to move. Marvin inhales and Leon follows. “With me. In and out, in and out, like that.”
In and out… in and out…
In…
Out…
“Good, you’re doing great, Rookie.”
In.
Out.
In.
Out.
With Marvin’s hand on his shoulder and Leon’s hand on Marvin’s chest, slowly he can start to breathe again. His chest is burning and his throat is still too tight, but he’s no longer drowning, searching for air that won’t come. Eventually, Marvin releases Leon’s hand, but he can still feel the pressure of the Lieutenant's hand on his shoulder.
Keeping him here. Grounding him.
“…Thanks,” Leon rasps, shame flooding his chest. He glances toward the Lieutenant's face. “Sorry.”
“It’s alright, Rookie,” Marvin says, the lines in his face easing slightly. “You’re alright.” Leon takes a few more breaths. Deeper, this time. Slower. He inhales, exhales, and finally looks at Marvin properly. The man is half standing next to him, the worried crease to his forehead relaxing a bit more—though not entirely—as he sees Leon’s more focused gaze. “There you are.”
Leon tries for a smile, but the moment is interrupted by, of all things, a gurgling growl. Leon freezes, fear flooding him for a second before he realizes the sound came from him. From his stomach. Which is currently aching and gnawing against his insides.
Marvin raises an eyebrow and Leon ducks his head, even as panic starts creeping back through his veins. No. No no no— The hunger pangs scrape against his innards and Leon feels nauseous, wrapping his arms around his midsection. Shit. Shit shit shit, what if… The looming jaws of the zombies that crowd the station’s halls have never felt closer, their rank breath on the back of his neck as they loom to take a bite out of living flesh.
He can’t be like them. He can’t.
“Hungry?” Marvin asks, though there’s an edge to his voice. Leon doesn’t blame him.
Leon swallows, nodding, even as the shame creeps up his throat. “I… not gonna lie, I feel like I could eat 50 pancakes right about now.” Even as he says it, Leon surprises himself. Because he is craving pancakes. With syrup. A lot of syrup. No… meat at all.
Marvin abruptly bursts out laughing and Leon flinches in surprise. He snaps his head up to look at the Lieutenant but Marvin is doubled over, hands at his sides, howling with laughter like Leon just said the funniest thing he’s ever heard. Leon finds himself giggling too, though it's more anxious than whatever Marvin has been infected— whatever Marvin finds so funny.
Eventually, Lt. Branagh’s laughs turn to soft wheezes, and he sits back, looking at Leon with a wan smile on his face. “Well, Rookie, I think I might know how to help with that.”
The man beckons Leon to his feet and he does so. Marvin promptly whistles as he eyes Leon’s new height and the rookie hunches his shoulders. It doesn’t do much. He towers above the Lieutenant regardless. At least Marvin doesn’t dwell on it, instead leading him towards one of the adjacent back rooms.
“Here,” Marvin says, stopping next to one of the juryrigged barricades. He points at a large, refrigerator sized black box. “I’m pretty sure this old vending machine wasn’t completely scraped clean. The window on this damn thing was stronger than bulletproof glass,” the man mutters as he shifts a few chairs and other debris off the, apparently, vending machine. The Lieutenant crouches down, twisting his head to get a better angle. “Ah, yeah! Jackpot.”
Leon leans over to look and sure enough, inside is row upon row of glorious, sweet, candy. Give it. Leon bends over, wrapping his arms around the vending machine. Behind him he can hear Marvin protesting something but Leon is entirely too focused on the prospect of sugar. With a groan he pulls the vending machine back upright, and immediately sets to trying to pry the door open.
With a little help from his new claws, Leon cracks his sweet sugary safe and grabs a bag of M&Ns. He pops one in his mouth and oh, candy never tasted so good.
A laugh prompts Leon to turn around and he spots Marvin, hands on his hips, staring at him with mirth in his eyes. Leon tilts his head, glancing back at the vending machine with confusion before… Ah. He just lifted an entire vending machine. By himself. Leon and Marvin stare at each other for a moment, a moment broken by Leon dumping the rest of the M&N’s in his mouth.
“Wha’?” he mutters to Marvin, whose face twists into a wry smile. “I’n h’ngry.”
iPad be dying and with how work is treating my shifts I fear I won’t be able to save enough before it finally breaks, I’d be very grateful if you shared or ordered something<3
my ToS
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Check out Beryluma's commissions and portfolio! | Elloh! You can call me blue or luma~
I mostly do creature designs but draw plenty of human
I ended up doodling quite a few of @polarspaz's Bug Leon over the past few months and I'm quite happy with them! Here he is in a compilation~ (a LOT more drawings under the cut)
These three are specifically looking at Leon's transformations. First is him in a more-human form, but even looking human he's not fully so. He has some vestigial mouth bits that his mandibles grow from. Also whether going from human to bug or back, he sheds.
iPad be dying and with how work is treating my shifts I fear I won’t be able to save enough before it finally breaks, I’d be very grateful if you shared or ordered something<3
my ToS
Become a supporter of Beryluma today!
Check out Beryluma's commissions and portfolio! | Elloh! You can call me blue or luma~
I mostly do creature designs but draw plenty of human
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