i laugh only twice a year

[sourdough-seal]

people think writers make good English teachers but the opposite is true. sixth grader asks why she can’t start a sentence with “and” and im like idk girlie grammar is a construct and language is a fluid gelatinous animal. people used to write “thou” and they were being totally unironic about it. start your sentences with an exclamation point for all i care. a+

[dionysiaproductions]

[sacred-portal]

[roaldamundsen]

baking with my mama

[spookacola]

Baking with my mama 🍞🥖🥐

[luna-azzurra]

Unhealed Wounds Your Character Pretends Are Just “Personality Traits”

These are the things your character claims are just “how they are” but really, they’re bleeding all over everyone and calling it a vibe.

╰ They say they're "independent." Translation: They don’t trust anyone to stay. They learned early that needing people = disappointment. So now they call it “being self-sufficient” like it’s some shiny badge of honor. (Mostly to cover up how lonely they are.)

╰ They say they're "laid-back." Translation: They stopped believing their wants mattered. They'll eat anywhere. Do anything. Agree with everyone. Not because they're chill, but because the fight got beaten out of them a long time ago.

╰ They say they're "a perfectionist." Translation: They believe mistakes make them unlovable. Every typo. Every bad hair day. Every misstep feels like proof that they’re worthless. So they polish and polish and polish... until there’s nothing real left.

╰ They say they're "private." Translation: They’re terrified of being judged—or worse, pitied. Walls on walls on walls. They joke about being “mysterious” while desperately hoping no one gets close enough to see the mess behind the curtain.

╰ They say they're "ambitious." Translation: They think achieving enough will finally make the emptiness go away. If they can just get the promotion, the award, the validation—then maybe they’ll finally outrun the feeling that they’re fundamentally broken. (It never works.)

╰ They say they're "good at moving on." Translation: They’re world-class at repression. They’ll cut people out. Bury heartbreak. Pretend it never happened. And then wonder why they wake up at 3 a.m. feeling like they're suffocating.

╰ They say they're "logical." Translation: They’re terrified of their own feelings. Emotions? Messy. Dangerous. Uncontrollable. So they intellectualize everything to avoid feeling anything real. They call it rationality. (It's fear.)

╰ They say they're "loyal to a fault." Translation: They mistake abandonment for loyalty. They stay too long. Forgive too much. Invest in people who treat them like an afterthought, because they think walking away makes them "just as bad."

╰ They say they're "resilient." Translation: They don't know how to ask for help without feeling like a burden. They wear every bruise like a trophy. They survive things they should never have had to survive. And they call it strength. (But really? It's exhaustion wearing a cape.)

[luna-azzurra]

Character Careers That Aren't Clichés

(because fictional economies deserve better too)

Look. I get it. I do. A hot CEO. A dreamy small-town baker. A moody artist who somehow lives in a massive Brooklyn loft despite only selling two paintings a year. Those characters have their place.

But if you want your story to feel fresh, real, alive — sometimes you’ve gotta ditch the Insta-ready jobs and actually think: What does this person do at 9 a.m. on a Wednesday? What would they complain about after a garbage day at work?

Here’s how to get careers that feel like they belong to an actual human, not a catalog model...

❥ The "Unexpected But Perfect" Career Pick something that makes your reader go, wait, what? and then oh my god, that's so them. Like:

A chaotic, disaster character who’s actually a surprisingly competent funeral director. (Yes, it’s messy. Yes, it’s weirdly perfect.)

The quiet, overlooked character who’s a locksmith. Always helping people get inside things. Always a little lonely themselves.

The job should reflect the character’s secret self.

❥ The “Soul-Crushing Job They’re Too Good For” Reality Check Not everybody is their Dream Job Self yet. Some characters are stuck. Flipping burgers, filing invoices, answering phones for screaming Karens named Marge. And you know what? There’s story gold there. Give me the character who’s quietly making art out of coffee foam because it’s the only creative outlet they’ve got. Give me the character who’s wasting in a job they hate, but who hums with what could be underneath.

Failure and frustration? Delicious character fuel.

❥ The "Job That Messes With Their Brain" Career Certain jobs change you. Make you hard in weird places and soft in weirder ones. Lean into that.

A paramedic who's numb to blood but cries at dog food commercials.

A social worker who can’t listen to their friends' minor drama without tuning out completely.

A vet tech who talks to animals better than people.

The job should bruise them in little invisible ways.

❥ The “Work Family or Work Frenemies” Setup Office dynamics are like nuclear reactors: volatile, ridiculous, and perfect for drama.

Give them the boss who’s a passive-aggressive nightmare in group emails but buys everyone surprise cupcakes on Fridays.

Give them the coworker they want to strangle and defend to death when someone outside the office talks crap.

Make their work life messy. (Because it IS messy.)

❥ Actual Career Ideas You Can Steal Because I Love You (yes, you have my blessing, take 'em, twist 'em, make them yours)

Travel nurse who secretly dreams of putting down roots

Archivist in a creepy, half-forgotten library wing

Theme park mascot who has existential crises inside the costume

Home inspector who lowkey loves snooping through strangers' houses

Court stenographer who writes fanfiction on the side during boring trials

Aquarium maintenance tech (yes, it’s a thing, yes, it’s hilarious and tragic)

Disaster clean-up specialist (like post-floods, fires, crime scenes , very spicy potential)

Final Truth Bomb: Your character’s job doesn't have to be their whole identity. (Shocking, I know, Hollywood.)

But it should still touch them somehow. It should rub off on the way they move through the world, the way they talk, the way they size up a stranger in five seconds flat. Because we are all shaped by how we spend our hours, whether we mean to be or not.

[omgsen]

Hand kissing is sacred, high romance and I think we need to revive it.

[3hks]

How to Write a CHARMING Villain

Everyone loves a good villain, and they especially love a charming one. If you want to write an antagonist who's both evil yet irresistible, look no further!

1. Show Their "Kindness"

Kindness? Wait, I thought you said we're writing a villain today.

Yup, I mean it--make your antagonist appear kind. Realistically, someone who's polite and friendly is often considered more attractive than someone who's rude and judgmental, so make them kind. It doesn't have to be honest kindness, but you want your readers to doubt the malevolence of your character, if that makes sense.

You can show this kindness through small, daily actions; they don't have to have a lot of impact on the story. Something simple like leaving a big tip, granting a minion a vacation, letting someone go first in the line, and holding open the door all contribute to this image.

2. Smooth Talker

Effective communication is everything. If your villain is eloquent, they seem more capable and intelligent! However, if you're looking to expand further, explore what they can do with their speech.

Does everyone pay attention when they start speaking? Are they able to calmly resolve conflicts verbally? Are they really persuasive? Do they speak elegantly?

Show the effects of their communication skills!

3. Good leader

Make them a good leader. Make them consider how their subordinates might feel. Make them choose good decisions. Perhaps they give their workers days off when they need it. Perhaps they engage with their followers often. Perhaps they're more down-to-earth.

A solid leader looks respectable while a poor one looks ridiculous.

4. Intelligent + Logic

I say this all the time, but make your villains smart, make them logical, make your readers understand where they're coming from. Some of the best antagonists I've ever seen are not the ones that seem excessively evil or unhinged, but rather the ones that seem logical in their actions. And knowing that they're well-aware of their actions and the consequences makes things that much scarier.

if you want a charming villain, you have to start with someone who is competent.

5. Conflicting Moments

At the end of the day, your character is still the antagonist. Yes, they might appear kind, but that's not going to last forever. There will be times when they act unnecessary cruel, and that's okay.

Your audience might be unsettled and confused from the whiplash, and that's okay. Don't force your character into being someone else to satisfy the readers. Embrace the difference.

6. Backstory

Backstories matter for all different types of reasons. From establishing the basis to one's goals, morals, and values to providing the foundation for their character, an effective backstory can do a lot.

However, I want to specifically talk about how the backstory demonstrates someone overcoming their obstacles. If they made it to the present, then they really defied all odds to be here, and honestly? That's admirable (and attractive), no matter what kind of person they turn out to be.

Now, if you're thinking "what if I don't give the antagonist a painful backstory?", I'll address that real quick. You don't have to give them a super depressing past, but there will always be pain and hurt in their past, even if it isn't something "lifechanging" or there 24/7. There is no such thing as a perfect, happy past.

CONCLUSION

To quickly conclude, a charming villain is often not one who appears visibly evil, but one who appears compassionate, intelligent, well-spoken, and acts like a good leader.

Happy writing~

3hks :)

[languill]

It’s sad how much of what is taught in school is useless to over 99% of the population.

There are literally math concepts taught in high school and middle school that are only used in extremely specialized fields or that are even so outdated they aren’t used anymore!

[flavoracle]

I took calculus my senior year of high school, and I really liked the way our teacher framed this on the first day of class.

He asked somebody to raise their hand and ask him when we would use calculus in our everyday life. So one student rose their hand and asked, “When are we going to use this in our everyday life?”

“NEVER!!” the teacher exclaimed. “You will never use calculus in your normal, everyday life. In fact, very few of you will use it in your professional careers either.” Then he paused. “So would you like to know why should care?”

Several us nodded.

He picked out one of the varsity football players in the class. “You practice football a lot during the week, right Tim?” asked the teacher.

“Yeah,” replied Tim. “Almost every day.”

“Do you and your teammates ever lift weights during practice?”

“Yeah. Tuesdays and Thursdays we spend a lot of practice in the weight room.”

“But why?” asked the teacher. “Is there ever going to be a play your coach tells you use during a game that requires you to bench press the other team?”

“No, of course not.”

“Then why lift weights?”

“Because it makes us stronger,” said Tim.

“Bingo!!” said the teacher. “It’s the same thing with calculus. You’re not here because you’re going to use calculus in your everyday life. You’re here because calculus is weightlifting for your brain.”

And I’ve never forgotten that.

[c-is-for-circinate]

THIS.

When it’s taught right, learning math teaches you logic and how to organize your brain, how to take a problem one step at a time and make sure every step can bear weight before you move to the next one.  Most adults don’t need to know integrals, but goddamn if I don’t wish everyone making arguments on the internet understood geometric proofs.

Scientific concepts broaden our understanding of how the world is put together, which does not mean that most adults ever really understand how light is refracted through a lens or why spinning copper wire creates electricity–and they don’t need to.  But science classes in general are meant to teach the scientific method: how to make observations and use them to draw conclusions, how to test those conclusions, how to be wrong and grow stronger from it.

History isn’t about dates and names of battles, it’s about people, patterns, things we’ve tried before and ought to learn from.  It’s about how everything is linked, how changing one circumstance can lead to changes in fifty others, cascading infinitely.  Literature is about critical thinking, pattern recognition, learning to listen to what somebody is saying and decide what it means to you, how you feel about it, and what you want to do with it.

Some facts matter: every adult should know how to read a graph, how global warming works, some of the basic themes and symbols that crop up in every piece of fiction.  But ultimately, content is less important later in life than context.

The good thing is, students who learn the content are likely to pick up at least some of the context, some of the patterns of thinking, even if they don’t realize it.  (The unfortunate thing is how the current educational system prioritizes content so much that a lot of students, and a lot of adults, don’t see the point in learning either, and teachers are overworked and held to standardize test grading scales such that it’s hard for them to emphasize patterns of thinking over rote memorization, etc etc etc, but that is a whole different discussion.)

[fadagaski]

I would also add that giving as broad an education to as many as possible gives everyone the opportunity to follow a career that might use calculus. Or colour theory. Or electromagnetism. Or [insert specialism here]. If we gatekeep specialisms, those careers are only available for the ones who were privileged enough to have the background training. That’s why Classics as a degree subject is full of private school kids: it’s not offered in state education.

[ferrousferrule]

And when you gatekeep classics you get people who turn up their nose when people enjoy things ‘the wrong way’ like some (thankfully few) of the comments on the video of the girls playing Vivaldi on their marimbas with such joy.

[celestialwrites]

characters realizing they are in love dialogue + prompts

@celestialwrites for more!!

♡ seeing their s/o interact with children they met in a small town in the absolute middle of nowhere.

♡ “it shouldn’t take losing me to love me, if you really did, you would have loved me right the first time.”

♡ the character realizes how head over heels in love they are when their s/o took over their whole kitchen in a panic bake.

♡ “i’m so undeniably screwed for this woman.”

♡ the character takes a bullet for their friend, only for that friend to realize that losing the character would destroy them.

♡ "why are you acting like this?" "why do you think?!"

♡ watching their (enemy or best friend) walk down the aisle to marry someone else.

♡ "are you going to leave?" "you? never."

♡ character A staring at character B's face, appreciating every detail of B's face, their eyes, their smile, and A just knows.

♡ "i am so unbelievably afraid that i will lose you, and i don't understand why."

♡ "three words. just say the three words."

♡ character A shows up at character B's house covered in blood, "i needed to go somewhere, and all i could think of was you."

♡ "i used to think i was immune to such temptations." "used to?"

♡ character A running through a rainstorm just to find character B's lost necklace that means the world to them.

REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3

[writer-logbook]

Random pieces of advice about worldbuilding and plot.

If every story is worth telling, there are some elements to take into account to make it right.

Every cause has consequences. A story is logical in one way or another. Whether you plan your story or go with the flow, if you ask about: the origins, reactions and actions to be taken following an event, the pieces somehow will ‘click into place’.

Everything has a cost. Magic system, war, life in general... Don't forget that resources are not unlimited. Consider the societal, social, natural, (magical, if need be) limitations.

Challenge the statut quo and the villain's motivations (if there's a villain in the original sense of the term) : Ask yourself why the villain wants to ‘change the world’ (and really question his legitimacy) and what the world should look like after the final confrontation. If we come back to the original point, it's that the plot didn't serve any purpose, being no more than a ‘historical aside’. Remember that everything happens for a reason, so make that reason a good one.

Make actual research about geography and climate: forest, desert and especially rivers can't pop out of nowhere, they must respect certain natural principles. For example, a river must have its source somewhere, often high up in the mountains. So it seems logical that a river should be close to a mountain. Be careful if you want to incorporate a map in your story !

Be careful when you rely on chance, fate or whatever you call it. I still can't work out whether it's worse than deus ex machina - especially if it's done badly. As far as I'm concerned, if you work well enough with the cause-consequence chain and have a good grasp of the limits of your universe, you won't need to rely on this kind of process. this one is actually pretty personnal, you have every right to disagree.

[santoelle]

You don't actually write creative enough

Read your work again. You see: does, goes, places, etc. Red, blue, ugly, smelly. Authors often take shortcuts when writing and while it gets the job done, it doesn't give the power that it should. Sometimes, the word count is sacrificed for the greater good.

He ran to get her He lunged to steal her, or He charged to catch her

Once you have that, maybe you're still not writing creative. You can use synonyms, it's the easiest path to do. Yet, you can rephrase for a more unique sentence. Walk =/ strut. Do =/ act.

It smelled of decaying bodies Your smell soured of death's traces, or The air soured of death's traces

Describing things doesn't need to be flat either. It's a struggle to describe certain things—hair, eyes, height, posture, rooms, walls, etc.

The room was extremely red The room drowns her with fever-inducing red, or Every surface imaginable bleeds my eyes with red

This can easily become an overbearing way to attempt to reach the word count. However, it does help in situations where the writing has been too flat for too long and the narrator needs to show that this thing holds significance.

[cloakedpress]

Lust, Love, and the Sweet, Sweet Burn: Writing Romance That Makes Readers Feel

Let’s talk romance—specifically the kind that makes readers scream into pillows, clutch their chests, and whisper “just kiss already” at the page. Whether you're a seasoned romance author or just dipping your toes into the love pool, there's one golden truth to remember: good romance is about *tension*. And tension lives in the delicious space between lust and love.

First Comes Lust…

Lust is that electric charge between characters. It’s the stolen glances, the way one of them notices the other's hands or voice or the way they lean in a little too close when they talk. Lust is immediate. It’s instinctual. And let’s be honest, it’s fun as hell to write.

But if you stop there—if all your characters do is pine and make out and pine some more—you risk making it all surface-level. Lust is the spark, but it’s not the whole fire.

Then Comes Love (Eventually)

Love, real love, is slower. It’s about trust, vulnerability, and seeing the other person fully—flaws, baggage, weird hobbies and all—and still leaning in. It happens in the quiet moments: making tea for someone who's had a bad day, remembering how they take their coffee, watching them geek out about something they care about. That’s where readers fall with your characters.

The magic is in the shift—when your characters go from “I want to kiss you until my brain falls out” to “I’d burn the world down if it meant keeping you safe.” It doesn’t happen all at once. And that’s where the slow burn comes in.

Ah, the Slow Burn: Delicious Torture

Slow burn romance is a masterclass in delayed gratification. It's all about restraint. You’re letting readers live in the tension—the almost-touches, the lingering stares, the confessions that never quite happen. And every time the characters get this close to admitting their feelings or acting on them and then don’t? Readers get more hooked.

But here’s the key: something has to be progressing. Slow burn doesn’t mean nothing happens. It means everything matters. 

Every moment builds the foundation. Every emotional beat gets us one step closer to that glorious payoff.

Think of it like cooking over a low flame. You’re letting the flavors deepen. So when the first kiss finally lands? It’s earned. It’s fireworks. It matters.

Tips for Writing a Killer Slow Burn

- Give them obstacles. Emotional baggage, clashing goals, external threats—give your characters legit reasons not to jump into bed right away.

- Let them see each other. Intimacy isn’t just physical. Let your characters learn each other’s fears, dreams, scars.

- Build micro-tension. Hands grazing. One of them patching the other up after a fight. A joke that turns into a confession. Let every small moment do work.

- Make the payoff worth it. When they finally get together—make it satisfying. Let it feel like the culmination of everything they’ve been through.

Don’t Just Make Them Hot—Make Them Real

It’s easy to write about two people who are attracted to each other. What’s harder—and infinitely more rewarding—is writing two people who choose each other. Who grow, change, fight, make up, and fall deeper the whole time.

So go ahead. Light the match. Let them burn slowly. And when your readers are begging for that kiss? That’s how you know you’ve done it right.

[luna-azzurra]

Weirdly Healing Things to Do When You’re Feeling Creatively Burned Out...

Write a fake 5-star Goodreads review of your WIP—as if you didn’t write it. Go ahead. Pretend you're a giddy reader who just discovered this masterpiece. Bonus: add emojis, chaotic metaphors, and all-caps screaming. It’s self-indulgent. It’s delusional. It’s delicious.

Give your main character a Pinterest board titled “Mentally Unstable but Aesthetic.” Include outfits, quotes, memes, cursed objects, and that one painting that haunts their dreams. This is not about logic. This is about ✨vibes.✨

Make a “deleted scenes” folder and write something that would never make it into the book. A crackfic. A “what if they were roommates” AU. The group chat from hell. This is your WIP’s blooper reel. Let it be silly, chaotic, or wildly off-brand.

Interview your villain like you’re Oprah. Ask the hard-hitting questions. “When did you know you were the drama?” “Do you regret the murder, or just the way you did it?” Bonus points if they lie to your face.

Host a fake awards show for your characters. Categories like “Most Likely to Die for Vibes,” “Worst Emotional Regulation,” “Himbo Energy Supreme,” or “Best Use of a Dramatic Exit.” Write their acceptance speeches. Yes, this counts as writing.

Write a breakup letter… to your inner critic. Be petty. Be dramatic. “Dear Self-Doubt, this isn’t working for me anymore. You bring nothing to the table but anxiety and bad vibes.” Rip it up. Burn it. Tape it to your mirror. Your call.

Create a “writing comfort kit” like you’re a cozy witch. A candle that smells like your WIP. A tea that your characters would drink. A playlist labeled “for writing when I’m one rejection email away from giving up.” This is a ritual now.

Design a fake movie poster or book cover like your story is already famous. Add star ratings, critic quotes, and some pretentious tagline like “One soul. One destiny. No chill.”

Write a scene you’re not ready to write—but just a rough, messy outline version. Not the polished thing. Just the raw emotion. The shape of it. Like sketching the bones of a future punch to the gut. You don’t have to make it perfect. Just open the door.

Let your story be bad on purpose for a day. Like, aggressively bad. Give everyone ridiculous names. Add an evil talking cat. Write a fight scene with laser swords and emotional damage. Just remind yourself that stories are meant to be played with, not feared.

[luna-azzurra]

10 Writing Things That Have Saved My Creative Soul (and Sanity)

↳ If your character’s arc isn’t making you slightly emotional or existential, it’s probably not finished. If they start and end the story the same person, that’s not a character arc—it’s a flatline. Make them squirm, learn, lose, grow. Bonus points if they make you question your own moral compass in the process.

↳ Worldbuilding is not a license to drown your reader in lore like it’s Game of Thrones on steroids. If you have to write a wiki page to understand your own plot, fine...but that doesn’t mean your reader has to read it. Give us breadcrumbs, not a 12-course feast on page one.

↳ If the theme of your story can’t be summed up in one slightly aggressive sticky note, you’re probably overcomplicating it. (“This book is about choosing yourself even when no one else does”—boom, theme. Now go make your characters suffer for it.)

↳ You will hate your manuscript somewhere between 30k and 50k words. That’s your cue to keep going, not quit. It’s like the literary version of hitting mile 18 in a marathon. Everything hurts, but that means you're doing it right.

↳ That “genius idea” you had at 2 a.m.? Save it. Write it down. But don’t drop everything for it. New ideas are seductive chaos demons. Your current project deserves monogamy… at least until the second draft.

↳ A character’s greatest fear is a shortcut to their heart. Forget favorite color or coffee order...what keeps them up at night? What would destroy them if it came true?

↳ If you don’t know how to end your story, figure out what question it’s been asking the whole time. Once you know the question, the ending becomes the answer. Maybe not a happy answer, but a satisfying one.

↳ No one’s going to write your weird little story the way you will. That’s your superpower. So go ahead and write the morally gray necromancer love triangle in space. Your people are out there. And they’re hungry for it.

↳ You are allowed to be a slow writer. You are allowed to be a fast writer. You are not allowed to be a cruel writer—to yourself. The world will criticize your art for free. Don’t do their job for them inside your own head.

↳ Some stories just aren’t meant to be novels. And that’s okay. Maybe it's a short story. A play. A fever dream disguised as a poem. The shape doesn’t matter. The story does. Let it tell you what it wants to be.

[luna-azzurra]

Spicy Dialogue Starters Pack

Slow Burn That’s About to Explode

"If you keep looking at me like that, I’m going to do something we’ll both regret."

"Say that again. Slower."

"You really like testing my patience, don’t you?"

"Back up. Closer. I want to see if you’ll actually do it."

"Do you realize how loud you were moaning my name last night?"

"You should probably stop touching me like that... unless you plan on finishing what you started."

"We’re not doing this here." – "Why not? Scared you’ll like it?"

"I dare you. No, seriously—I dare you."

"One bed. One night. You sure you can behave?"

"You think I won’t?" – "I know you will. That’s the problem."

Enemies to Lovers, but We’re Both Hot and Unhinged

"If I kiss you, it’s not because I like you. It’s because you won’t shut up."

"Do it. Touch me like you hate me."

"You’re infuriating." – "And you’re turned on."

"Careful. You’re starting to sound jealous."

"Admit it. You like it when we fight."

"You want me. You just don’t want to want me."

"If you’re going to stare, you might as well do something about it."

"Say it. Say you want me." – "Why? You’ll just use it against me."

"Keep talking like that and I’ll kiss you right here."

"Don’t tempt me." – "What if I want to?"

Post-Tension Intimacy (A.K.A. We Finally Snapped)

"You're shaking." – "So are you."

"This doesn’t mean anything." – "Then why are you holding me like that?"

"I’ve wanted this since the moment I met you."

"You're not getting any sleep tonight, just so you know."

"You're mine now. Say it."

"God, you feel so good." – "Yeah? Then shut up and keep going."

"You can hate me in the morning. Just… let me have this tonight."

"Is this what you wanted?" – "No. I wanted more."

"Don’t stop. Don’t you dare stop."

"I’m going to ruin you. And you’re going to thank me for it."

Teasing Touch, Dangerous Proximity

"You’re blushing." – "Shut up."

"That shirt’s doing you no favors. Take it off."

"If you wanted me to kiss you, you could’ve just said so."

"I like the way you say my name. Say it again."

"You’re standing really close." – "Yeah? You gonna move?"

"I can feel your heartbeat. Is that for me?"

"Your hands are shaking... here, let me help you."

"Careful. Someone might think you actually want me."

"You know exactly what you’re doing to me, don’t you?"

"We’re not supposed to do this." – "Since when has that ever stopped us?"

Voice Low, Words Barely Whispers

"Keep your voice down. Or don’t. Let them hear."

"Every time you talk, all I can think about is your mouth on mine."

"Say the word, and I’ll have you against that wall in five seconds."

"What do you think happens if I kiss you right now?"

"You smell like trouble." – "You taste like it."

"Look me in the eyes when you lie like that."

"One more step and I won’t be able to hold back."

"If you keep teasing me like that, I’m going to ruin you."

"Tell me to stop." – silence – "Didn’t think so."

"We’re alone now. You still pretending this is just tension?"

Hot-Headed, Argument-Laced, About to Snap

"Why do you always have to push my buttons?" – "Because I love watching you lose control."

"You think you’re in control here? That’s cute."

"You're not walking away from me. Not this time."

"God, you're impossible." – "You didn’t seem to mind last night."

"Say it louder. Maybe if you scream my name again, I’ll believe you."

"Keep pretending you don’t want me. I’ll keep proving you wrong."

"You're dangerous." – "Only if you ask nicely."

"Is this still an argument or are we just flirting with knives now?"

"Admit it. You love it when I get like this."

"Don’t act like you don’t want this too."

[luna-azzurra]

Romance Dialogue Starters

Tender / Confessional Moments

"Come here. Just for a minute."

"You don’t have to be strong all the time."

"Stay. Please, just stay."

"You make me feel safe. That’s terrifying."

"I missed you so much it hurt."

"When I’m with you, I forget to be afraid."

"Is it okay if I hold your hand?"

"You’re not a burden. You never were."

"I wish I’d met you sooner."

"You’re my favorite ‘what if.’"

Protective/Overprotective Behavior

"Where were you? I’ve been calling for hours."

"You could’ve died, you idiot."

"Don’t ever scare me like that again."

"Next time, I’m going with you. No arguments."

"You’re hurt. Let me see."

"I’m not letting you do this alone."

"Overreacting? You bled through your shirt!"

"You think I care what they say? I care about you."

"If anything happens to you, I’ll burn the whole damn world down."

Conflicted Longing

"If I kiss you now, I won’t be able to stop."

"We can’t do this." – "Then don’t look at me like that."

"You’re the last person I should want."

"Tell me to go, and I will."

"I want to hate you. But I don’t."

"This changes everything."

"Just tonight. Just this once."

"You’re always in my head. I hate it."

"You deserve better. But I’m selfish."

[celestialwrites]

flirty or threatening? dialogue prompts

@celestialwrites for more!!

“good god, you are a pain.” “then why are you even here?” “maybe i’m a masochist.”

“say that again i dare you.” “what are you going to do about it if i do?”

“your existence unnerves me.” “aw, i’m flattered.”

“hi honey.” “don’t honey me, you just threw a book at me!”

“huh, you know when you’re not scowling at me your eyes look a little more blue than green.”

“what if one day you wandered off a cliff?” “would you join me?”

“sometimes i feel like you want to get hit.” “by you? most certainly.”

“miss me?” “i had wondered where my headache went.”

“you are certainly interesting.” “is that a compliment or are you making fun of me?” “yes.”

“i’m not docile by any means.” “i’ve noticed, i notice everything about you.”

“i need help to bury a body.” “and you thought of me? aw.” “actually, i’m the only one that would miss you if you went to prison.” “you’d miss me?”

“i hate you!” “as long as you feel something towards me.”

“watch it!” “it’s cute how easy i can rile you up.”

“do you truly hate me?” “i wish that was possible.”

REBLOG TO SUPPORT YOUR LOCAL WRITERS!!<3