how it feels when the thing i like is something i really like and thats because i really like it and it makes me happy to like it
Aqua Utopia|海の底で記憶を紡ぐ

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how it feels when the thing i like is something i really like and thats because i really like it and it makes me happy to like it
really enjoying all the videos Muslims have been posting of their cats looking like this
when the humans are up at 4 am for suhoor
Get ready for another year of confused Muslim cats, folks!!!
Ramadan 2026 starts on Feb 17!!!
Writing Grief Without Romanticizing It
Grief is raw, messy, and deeply personal. It doesn’t follow a neat arc or fit into tidy narrative beats. While stories often use grief as a dramatic device, romanticizing it can cheapen the emotional reality. Writing grief authentically means embracing its discomfort and unpredictability, not sanitizing or idealizing it.
What Romanticizing Grief Looks Like
Characters who seem emotionally wrecked but always manage to look graceful in their suffering.
Overly articulate monologues that sound more like a eulogy than a real moment of loss.
Depictions of grief as a singular, cathartic event instead of a long, jagged process.
Romanticized Grief:
“Every day without you is like a piece of me fading away into a tragic, beautiful void. I’ll carry this pain forever, for it’s all I have left of you.”
This might be poetic, but it lacks the authenticity of how most people actually process grief.
Realistic Grief:
“I forgot your birthday. I didn’t mean to, but when I remembered, it was already too late. And then I hated myself because forgetting felt like erasing you.”
Writing Grief Authentically
1. Show the Physical Toll
Grief isn’t just emotional—it’s physical. Insomnia, headaches, exhaustion, or even the inability to move can be part of the experience.
“She woke up in the middle of the night again, choking on the air. Her chest felt like a cinderblock had been wedged inside, heavy and unmoving. It was three days since the funeral, and she still hadn’t slept longer than an hour.”
2. Let Grief Be Messy
Grief isn’t a perfectly linear journey. There’s no logical progression from denial to acceptance—there are setbacks, breakdowns, and even moments of denial long after healing has started.
“He yelled at his mother for throwing out the cereal box. ‘It was his favorite,’ he said. She didn’t remind him that it had been expired for months. She just handed him the trash bag and walked away.”
3. Avoid Glossy Sentimentality
Sometimes grief isn’t poetic; it’s ugly, blunt, and devoid of grandeur. Characters might lash out, shut down, or isolate themselves.
Romanticized: “I’ll cry every day, but I’ll keep going because you’d want me to.”
Realistic: “They said time would heal it. But it didn’t. Time just put more space between me and the life I knew before.”
4. Let Grief Manifest in Small, Unexpected Ways
Grief isn’t always about sobbing—it can show up in mundane moments: hesitating to delete a voicemail, holding onto an old sweater, or instinctively setting the table for someone who’s gone.
“She turned to tell him the joke, the one about the broken lamp, and stopped halfway through. The silence hit harder than the punchline ever would.”
5. Highlight the Absurdity of It
Grief can be absurd and disorienting. Characters might laugh inappropriately, obsess over trivial details, or feel disconnected from reality.
“At the funeral, all she could focus on was how crooked the flowers were arranged. She kept wanting to fix them. If she didn’t, she thought, none of this would feel real.”
6. Explore How Grief Changes Relationships
Grief doesn’t happen in isolation—it affects relationships, often in unexpected ways. Some people pull closer, others drift apart.
“Her friends stopped asking how she was doing after the first few weeks. She didn’t blame them; she didn’t have an answer. ‘Fine’ wasn’t a lie—it was just easier than saying, ‘I still can’t breathe when I see his empty chair.’”
7. Show the Longevity of Grief
Grief doesn’t end when the funeral does. Let it linger in your story, showing how it ebbs and flows over time.
“It had been five years, but she still called his number when something exciting happened. She didn’t know why. Maybe it was just habit. Or maybe it was hope.”
8. Allow for Moments of Respite
Grief isn’t constant agony. People still laugh, find joy, and go about their lives—sometimes feeling guilty for it.
“She smiled for the first time in weeks, and then immediately hated herself for it. It felt like betrayal, like forgetting.”
my advice to anyone who’s thinking about writing as a hobby would be that if you’ve already started thinking about it there’s nothing i can say that will save you so let it rip dude
this is so mean but sometimes i see published writing and suddenly no longer feel insecure about my own writing ability. like well okay that got published so im guessing i dont have much to worry about
I have a friend who is an editor, and gets submissions of mostly poetry and short stories.
I have had a glimpse into her slush pile, and let me tell you, the contents were unbelievable and immediately disabused me of the notion that reading through submissions is in any way glamorous. People have the nerve to submit unhinged paranoid ramblings, fetish porn, and a seemingly endless supply of poems about masturbation.
I no longer feel like my fiction is somehow an imposition on the people who read it. It may be forgettable, but at least it isn't typeset to look like sperm.
Do not be afraid to submit your work. Your competition is not only worse than you think, it's worse than you ever imagined.
Do these three things to get to the top of the slush pile:
The place has a style sheet. Use it. They say they want your MS in 16.5 point Papyrus italic with 0.8 inch margins all around, guess what you're doing before you send it off? Save As, reformat, send it. In the absence of a specific guide: Courier 12 pt (Times New Roman if you must), double spaced, align left, tab 0.5 at each new paragraph.
Check the word count. Don't submit novellas to 2500 word short story venues. BTW, you format the MS in that old style above because the question isn't literal words. Courier 12pt double spaced gives you 250 words per page for typesetting purposes. 2500 words is 10 ms pages, 5000 is 20 pages, etc.
Don't send your romance to Analog or your war story to Harlequin. If it's a cross-genre story, be sure there's enough of what the publication is focused on to interest them, but breaking through is hard if that's not something they usually do.
That's basically what every single editors' panel at every con I've ever been to has boiled down to. And invariably, someone tries to get up and argue with them, not realizing it's not a discussion.
Bonus tip: Don't be in any way cute in your cover letter. Just the facts/Luke Skywalker's message to Jabba the Hut in ROTJ.
Enclosed/attached is my story <Title> for your publication <Magazine>. It is x (rounded to the nearest 500) words. I can be reached at <email> (that you check regularly and isn't likely to dump things into spam) and <phone>.
(If submitting a hard copy: The manuscript is disposable. A SASE is enclosed for your response./A SASE is included for return of the manuscript and your response.)
Thank you for your consideration.
If submitting a novella length piece or greater, a brief and complete summary is appropriate.
In the midst of an interstellar revolt against an evil galactic Empire, vital weapon plans fall into the hands of a farm boy on the edges of the galaxy. With the help of an aging warrior from the Old Republic, and a smuggler with a dark past and his imposing alien copilot, the four set out to deliver them to the rebel forces but are instead flung into a rescue mission to save the beautiful princess who stole the plans as worlds are destroyed by the might of the Empire's weapon, the Death Star.
Captured by the Death Star on route to deliver the plans, they manage to escape the base with the princess, the old warrior sacrificing himself to make this possible. As the Death Star approaches the rebel base, they use the captured plans to stage a desperate final stand. In a fierce space battle of single-pilot ships over the surface of the moon-sized weapon, the farm boy manages to make the critical shot with an unexpected assist from the smuggler, destroying it.
Never under any circumstance put a cliffhanger into a query letter summary. There is no faster way to get the entire MS binned than doing that.
Happy writing.
PS "Top of the slush pile" means into the top 25% of manuscripts received. Three quarters of the submissions don't take the trouble to do even those three basic steps.
Now, that still means 25/100 submissions or 250/1000 submissions, but it still improves your odds and forms the basis for starting a relationship with the publisher for the next piece you send them.
PPS This is obviously about prose. Poetry certainly has its own submission rules, and I know none of them. If you're writing poetry, find out what they are.
Yes I want to write my story but my story doesn't want to be written so what the fuck am I supposed to do about that huh?
Write a different one to make it jealous.
a list of 100+ buildings to put in your fantasy town
academy
adventurer's guild
alchemist
apiary
apothecary
aquarium
armory
art gallery
bakery
bank
barber
barracks
bathhouse
blacksmith
boathouse
book store
bookbinder
botanical garden
brothel
butcher
carpenter
cartographer
casino
castle
cobbler
coffee shop
council chamber
court house
crypt for the noble family
Writing is all fun and games until you have to describe a room.
it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it
It can't be perfect if it doesn't exist first.
It can't get perfect if it doesn't exist first!! 😭
I often think I could be such a good writer if I were better at writing
Unfortunately, the only way to improve your writing is to write.
[ID: A cowboy standing in front of a river with mountains in the background. He has his hands on his hips and the text beneath him reads “this is a goddamn bitch of an unsatisfactory situation”. /end description]
Who else out there has to woo themselves into writing? Like, my darling brain, I am going to set the vibe so good for your right now. Got the lights turned down just right. All wrapped up in the comfiest pants. Oh yeah, that's absolutely your favorite seasonally inspired scented candle burning right now. Here, have this delightful cup of herbal tea as well, gorgeous, that'll really put you in the mood. And the mood is 'make words happen' now GO!
How fucking annoying is it when you feel so restless with creative energy but you can’t decide what to do with it and when you finally try to create something it comes out shit so you just give up and sit there being all creatively annoyed and jittery.
1 - Decision Making Fatigue is a thing. --> Make a list of possibilities. --> Use a random number generator to pick something off the list. --> If you hate the idea cross it off and generate a new number. --> Continue until you either find a project or cross off the whole list. --> If you cross off the whole list pick a random short story prompt, write for five minutes, and call it a good work day.
2. Yeah, of course your rough draft sucks. It’s supposed to. --> Let it suck. --> You can fix it in edits.
3. When you’re stressed you aren’t unbiased about your work. --> Don’t judge your work while your are actively working on it. --> Remember to drink water, take your meds/vitamins, eat something, and get sleep. --> Double-check to make sure the restless creative energy is not displaced emotional worries over something else. If it is, displace with intention and let the worries go into your work. You shouldn’t keep stress in your head, put it on a page, or canvas, or in a carving, or a meal, or something. Get it out and let it go.
4. No work is ever wasted. --> All time spent planning and creating is useful in some way. --> Failure means you tried, which is good. --> Try again. Fail harder. Fail better. --> Keep going until you like what you’re making.
5. Love yourself enough to allow yourself to not be perfect. --> Seriously. --> If this is a struggle I highly recommend seeing a doctor or therapist about depression. --> Because you are dang lovable, my friend. You rock. You do great things. I’m proud of you.
In writing, epithets ("the taller man"/"the blonde"/etc) are inherently dehumanizing, in that they remove a character's name and identity, and instead focus on this other quality.
Which can be an extremely effective device within narration!
They can work very well for characters whose names the narrator doesn't know yet (especially to differentiate between two or more). How specific the epithet is can signal to the reader how important the character is going to be later on, and whether they should dedicate bandwidth to remembering them for later ("the bearded man" is much less likely to show up again than "the man with the angel tattoo")
They can indicate when characters stop being as an individual and instead embody their Role, like a detective choosing to think of their lover simply as The Thief when arresting them, or a royal character being referred to as The Queen when she's acting on behalf of the state
They can reveal the narrator's biases by repeatedly drawing attention to a particular quality that singles them out in the narrator's mind
But these only work if the epithet used is how the narrator primarily identifies that character. Which is why it's so jarring to see a lot of common epithets in intimate moments-- because it conveys that the main character is primarily thinking of their lover/best friend/etc in terms of their height or age or hair color.
I have never thought of it this way! That’s so interesting. So maybe you’d replace those descriptors with actions - reaching up to rub X’s blonde hair between their fingers, following the path of X’s tears dripping pat crow’s feet, etc
So you maintain the intimacy but keep the visual component? I love this, brb gonna go make some edits
"The hyperactive kid" hints at frustration narrowing the narrator's vision to that one trait.
"The gorgeous woman" suggests that the narrator's not noticing/caring about much other than her appearance.
"My brother" emphasizes the relationship over other aspects of personality.
Referring to everyone as "Mr. Red Coat", "the bearded guy", "the tall lady", etc. can hint that the character is new to an environment, or faceblind, or otherwise does not know more about the people around them
"The ... person who was here earlier", "the ... girl at the door", can indicate that a character is struggling to think or communicate
Referring to their lovers by physical traits can emphasize that the character is really focused on sensation, rather than thought
"Beloved" or "dear" can be intimate, or can hint that a character is being appreciated as a symbol rather a person, depending how you do it
Epithets can say a LOT. But it helps if you understand why they're saying those things.
tragic fictional siblings... save me...
tragic fictional siblings
save me tragic fictional siblings
I've had this little idea in my head for a while now, so I decided to sit down and plot it out.
Disclaimer: This isn't meant to be some sort of One-Worksheet-Fits-All situation. This is meant to be a visual representation of some type of story planning you could be doing in order to develop a plot!
Lay down groundwork! (Backstory integral to the beginning of your story.) Build hinges. (Events that hinge on other events and fall down like dominoes) Suspend structures. (Withhold just enough information to make the reader curious, and keep them guessing.)
And hey, is this helps... maybe sit down and write a story! :)