Hopes and Dreams

Destiny here. Des or Dessy is fine too. :) This is my writing blog. Whether it be fanfics, one-shots, two-shots, drabbles, or original stuff, it will be put here. Expect NSFW stuff. REQUESTS, HEADCANONS, ASKS, WHAT HAVE YOU ARE ALWAYS WELCOME. C:

[swiftthistletea]

traditionally, when the plastic serving tray isnt available, many Americans will flatten and smooth out the brown paper McDonald's bag where they will place the french fries in a pile and dedicate a separate area of the bag to a serving or two of ketchup. Often times this method of serving McDonald's fries is communal, especially when enjoyed by family groups or bonded American pairs (see: dating). However, if the burger is served in a cardboard clamshell, many Americans can be seen using the top of the clamshell as a dedicated ketchup receptacle for nuggets and fries. There does exist a small, often alienated population, who will drizzle the ketchup directly on top of the french fries. But this is often considered taboo and poor form due to convivence and the uneven distribution of ketchup.

[dear-ao3]

[iwantedtobeadored]

An Archive of Our Own, a project of the Organization for Transformative Works

Chapters: 3/? Fandom: Bleach Rating: Not Rated Warnings: Creator Chose Not To Use Archive Warnings Relationships: Kurosaki Ichigo/Urahara Kisuke, Hollow Ichigo | Zangetsu & Kurosaki Ichigo & Old Man Zangetsu | Quincy Zangetsu, Kurosaki Ichigo & Kurosaki Karin & Kurosaki Yuzu, Benihime & Urahara Kisuke Characters: Kurosaki Ichigo, Urahara Kisuke, Hollow Ichigo | Zangetsu, Old Man Zangetsu | Quincy Zangetsu, Kurosaki Yuzu, Kurosaki Karin, Benihime (Bleach), Shihouin Yoruichi, Tsukabishi Tessai Additional Tags: Blind Character, Blind!Ichigo Kurosaki, Alternate Universe - Canon Divergence, Alternate Universe, Urahara Kisuke Being Urahara Kisuke, Masaki didn't raise an ignorant son, Hurt/Comfort, Rating May Change, Tags May Change, Kurosaki Ichigo Needs a Hug, Protective Kurosaki Ichigo, Depowered Kurosaki Ichigo, Hurt Kurosaki Ichigo, Possessive Urahara Kisuke, ichigo is more in tune with his hollow side than in canon, Eldritch Kurosaki Ichigo, that tag seems right since he can look partially hollow at will, Kurosaki Ichigo is a Good Big Brother

Summary:

"You use reiatsu to see your way around, don't you, Kurosaki-san?" is what makes Ichigo pause before he can trail after Rukia from this shop she's taken them to. Something brushes against his senses that causes Zangetsu to snarl viciously in the back of Ichigo's mind. The reiatsu is a light press against his own, like fingers poking something curious and new. Ichigo hums as he turns to where the source is from. Knows it to belong to the shopkeeper. Urahara Kisuke. "You noticed fast," Ichigo replies easily. No point in denying it.

[wordsnstuff]

Showing vs. Telling

– At long last, it is finally here; The long awaited guide to showing instead of telling. This is obviously a very divisive subject in the writing community, so if there’s something you disagree with, that’s totally fine. These are simply my tips based on my own experience and you can take or leave whatever is useful to you. I hope this is helpful. Happy writing!

Ko-Fi || Masterlist || Work In Progress || Request

Don’t Be Ambiguous

It is important to note that showing is mainly about conveying exactly what you mean to your reader. Telling is so dangerous in writing because it’s very easy for readers to interpret information that is told to them in a way that throws off any one of the elements of your scene. The best way to catch these instances of telling is to identify moments in which a reader could ask “what do they mean?”

Take those moments, for instance, if you were to write, “the woman was pretty”, and clarify what pretty is in the context of your story, or your perspective as the author. People have different definitions and associations to words, and your job, when it comes to showing, is to make your definitions and associations as clear as possible.

Use Strong Verbs

Showing does not mean telling in a more roundabout way. It means taking a bland description without any imagery and rewriting it in a way that paints a picture in your reader’s mind. You do this by using strong verbs and powerful words. For instance, instead of saying “hit, looked, walked”, you’d say “struck, peered, trudged”. See what I mean?

Balance

As a writer, you need to understand that there are no hard rules. There must be balance to everything, and despite how universal this “rule” may seem, you should know that it’s not that black and white. Here are two tips to help you keep balance between showing and telling.

Don’t overwhelm your reader with information that is unnecessary. If your reader can continue without knowing a detail, don’t include it, and don’t justify keeping it to yourself because you want to bulk up the word count or sound fancy.

When you’re telling, be brief about it and make sure that the inclusion of the detail is imperative to your reader advancing in the story.

Showing Through Dialogue

Dialogue is a really great way to show a reader character traits that showing through description never could. The way a person speaks, the words they choose, the manner in which they respond to things, are all great ways to give your reader information about that character. Use this to your advantage so that you don’t have to spend extra time describing it later.

When You Should “Tell”

When the number of words it would take to show instead of tell a piece of information isn’t worth your reader’s time

When you’re essentially repeating information the reader already knows. In this case, you’d say “so-and-so explained what she had said” instead of reiterating what she said and reaching a point where your writing is redundant.

When you want the reader to form their own emotions around the events in a scene, rather than planting them in their mind. Telling allows for the reader to have some emotional freedom, but this should come in little bits. Approach this excuse to tell with caution.

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[whumptober]

Whumptober 2021

Welcome to Whumptober 2021! May the Whump be with you :)

To all of you who participated last year - we have changed a few of the rules, but overall things have stayed the same. To everyone new: WELCOME!

Please make sure to read the Event Info carefully, most of your questions will be answered there already. For everything else you are welcome to come to our ask box or ask questions in our Discord server here.

This year’s AO3 Collection can be found here.

With that being said, we’re very excited to see the community come together once more and be a wild, chaotic bunch of creators and consumers of whump. We wish you all the fun!

(All 31 Themes + Prompts, Event Information, and FAQs are posted below the cut!)

Keep reading

[aioliahanatsuki]

I’m Sorry I just have to do it !!!

[ansburg]

[expectogladiolus]

I cannot get enough of protective Ignis

[ffxvcaps]

[nocttae]

[iknowwhatimafter]

@hypaalicious

[mylordshesacactus]

Hot take: Actual literary analysis requires at least as much skill as writing itself, with less obvious measures of whether or not you’re shit at it, and nobody is allowed to do any more god damn litcrit until they learn what the terms “show, don’t tell” and “pacing” mean.

[mylordshesacactus]

Pacing

The “pacing” of a piece of media comes down to one thing, and one thing only, and it has nothing to do with your personal level of interest. It comes down to this question alone: Is the piece of media making effective use of the time it has?

That’s it.

So, for example, things which are NOT a example of bad pacing include a piece of media that is:

A slow burn

Episodic

Fast-paced

Prioritizing character interaction over intricate plot

Opening in medias res without immediate context

Incorporating a large number of subplots

Incorporating very few subplots

Bad pacing IS when a piece of media has

“Wasted” time, ie, screentime or page space dedicated to plotlines or characters that are ultimately irrelevant to the plot or thematic resolution at the cost of properly developing that resolution. Pour one out for the SW:TCW fans.

The presence of a sidestory or giving secondary characters a separate resolution of their personal arc is not “bad writing,” and only becomes a pacing issue if it falls into one of the other two categories.

Not enough time, ie, a story attempts to involve more plotlines than it has time or space to give satisfying resolutions to, resulting in all of them being “rushed” even though the writer(s) made scrupulous use of every second of page/screentime and made sure every single section advanced those storylines.

Padding for time, ie, Open-World Game Syndrome. Essentially, you have ten hours of genuinely satisfying story….but “short games don’t sell,” so you insert vast swathes of empty landscape to traverse, a bunch of nonsense fetch quests to complete, or take one really satisfying questline and repeat it ten times with different names/macguffins, to create 40 hours of “gameplay” that have stopped being fun because the same thing happens over and over. If you think this doesn’t happen in novels, you have never read Oliver Twist.

Another note on pacing: There are, except arguably in standalone movies, at least two levels of pacing going on at any given time. There’s the pacing within the installment, and the pacing within the series. Generally, there’s three levels of pacing–within the installment (a chapter, an episode, a level), within the volume (a season, a novel, a game), and within the series as a whole. Sometimes, in fact FREQUENTLY, a piece of media will work on one of these levels but not on all of them. (Usually the ideal is that it works on all three, but that’s not always important! Not every individual chapter of a novel needs to be actively relevant to the entire overarching series.)

Honestly, the best possible masterclass in how to recognize good, bad, and “they tried their best but needed more space” pacing? If you want to learn this skill, and get better at recognizing it?

Doctor Who.

ESPECIALLY Classic Who, which has clearly-delineated “serials” within their seasons. You can pretty much pick any serial at random, and once you’ve seen a few of them, you get a REALLY good feel for things like, for example…

Wow, that serial did not need to be twelve episodes long; they got captured and escaped at least three different times and made like four different plans that they ended up not being able to execute, and maybe once or twice they would have ramped up the tension, but it really didn’t contribute anything–this could have been a normal four-episode serial and been much stronger.

Holy shit there were WAY too many balls being juggled in this, this would have been better with the concepts split into two separate serials, as it stands they only had four episodes and they just couldn’t develop anything fully

Oh my god that was AMAZING I want to watch it again and take notes on how they divided up the individual episodes and what plot beats they chose to break on each week

Eh, structurally that was good, but even as a 90-minute special that nuwho episode feels like it would have worked a lot better as a Classic serial with a little more room to breathe.

How in the actual name of god did they stretch like twenty minutes of actual story into a four-episode serial (derogatory)

How in the actual name of god did they stretch like twenty minutes of actual story into a four-episode serial (awestruck)

If you’re not actively trying to learn pacing, either for literary analysis or your own writing…honestly? Just learn to differentiate between whether the pacing is bad or if it just doesn’t appeal to you. There’s a WORLD of difference between “The pacing is too slow” and “the pacing is too slow for me.” 

“I really prefer a slower build into a universe; the fact that it opens in medias res and you piece together where you are and how the magic system works over the next several chapters from context is way too fast-paced for me and makes me feel lost, so I bounced off it” is, usually, a much more constructive commentary than “the pacing is bad”. 

And when the pacing really is bad, you’ll be doing everyone a favor by being able to actually articulate why.

[mylordshesacactus]

Show, Don’t Tell

This is a very specific rule that has been taken dramatically out of context and is almost always used incorrectly.

“Show, don’t tell” applies to character traits and worldbuilding, not information in the plot.

It may be easier to “get” this rule if you forget the specific phrasing for a minute. This is a mnemonic device to avoid Informed Attributes, nothing more and nothing less. 

Character traits like a character being funny, smart, kind, annoying, badass, etc, should be established by their behavior in-universe and the reactions of others to them–if you just SAY they’re X thing but never show it, then you’re just telling the audience these things. Similarly you can’t just tell the audience that a setting has brutal winters and expect to be believed, when the clothing, architecture, preparations, etc shown as common in that setting do not match those that brutal winters would necessitate. 

To recap:

Violations of Show Don’t Tell:

A viewpoint character describing themselves as having a trait (being a loner, easily distractable, clumsy, etc) but not actually shown to possess it (lacking friends, getting distracted from anything important, or dropping/tripping over things at inopportune moments.)

The narration declaring an emotional state (”Character A was furious”) rather than demonstrating the emotion through dialogue or depicting it onscreen.

A fourth-wall-breaking narrator; ie, Kuzco in The Emperor’s New Groove directly addressing the audience to explain that he’s a llama and also the protagonist, is NOT the same! This actually serves as a flawless example of showing rather than telling–we are SHOWN that Kuzco is immature and egotistical, even though that’s not what he’s saying.

A fictional society or setting being declared by the narrative to be free of a negative trait–bigotry, for example–but that negative trait being clearly present, where this discrepancy is not narratively engaged with. 

(For example: There is officially no sexism in Thedas and yet female characters are subject to gendered slurs and expectations; the world of Honor Harrington is supposedly societally opposed to eugenics, yet “cures” for disability and constant mentions of a nebulous genetic “advantage” from certain characters’ ancestry are regular plot points that are viewed positively by the characters and are not narratively questioned.)

A character declaring that their society has no bigotry, when that character is clearly wrong, is not the same thing.

The narrative voice declaring objective correctness; everyone who agrees with the protagonist is portrayed as correct and anyone who questions them is portrayed as evil, or else there is no questioning whatsoever. For example: in Star Trek: Enterprise, Jonathan Archer tortures an unarmed prisoner. What follows is a multi-episode arc in which every person he respects along with Starfleet Command goes out of their way to dismiss the idea that he should bear any guilt, or that his actions were anything but completely necessary and objectively morally correct. No narrative space is allowed for disagreement, or for the audience to come to its own conclusion.

NOT Violations of Show Don’t Tell:

A character explaining a concept to another character who would logically, within that universe/situation, be the recipient of such an explanation.

An in-universe explanation BECOMES a SdT violation if the explanation fails to play out in reality, such as a spaceship being described as slow or flawed in some way but never actually having those weaknesses. Imagine if the Millennium Falcon was constantly described as a broken-down piece of junk…and never had any mechanical failures, AND Han and Chewie weren’t constantly shown repairing it!

Information being revealed through dialogue, period. Having your hacker in a heist movie describe the enemy security system isn’t “telling” and thus bad writing. Having information revealed organically through dialogue is what “show” means.

The “as you know” trope is technically a Show Don’t Tell violation, despite being dialogue, because it’s unnatural within the universe and serves solely to let the writer deliver information directly, ie, telling.

Characters discussing their own actions and expressing their motivations and/or decision-making process at the time.

The existence of an omnipotent narrator, or the narration itself confirming something. Narration saying “there was no way anyone could make it in time” is delivering contextual information, not breaking Show Don’t Tell. 

Keep in mind that “Show, don’t tell” is meant to be advice for beginning authors. Because “telling” is easier and requires less skill than “showing,” inexperienced authors need to focus on getting as much “show” in as possible. 

However, “telling” is also extremely important. Sometimes, especially in written formats, the most appropriate way to deliver information to the audience is to just say it and move on.

Keep in mind that a viewpoint character in anything but…a portal fantasy, essentially…is going to be familiar with the world they’re in. Not every protagonist needs to be a raw newcomer with zero knowledge of their new world! In most cases, a viewpoint character is going to know things that the audience doesn’t. Generally, the ONLY natural way to introduce worldbuilding in this situation is to just have the narration point them out. (It makes sense for Obi-Wan to have to explain the Force; it would make no sense for Han to explain the concept of space travel to Luke, who grew up in this universe and knows what the hell a starship is. So, if you’re writing the novelization of A New Hope, you need to just say “and so they jumped into hyperspace, the strange blue-white plane that allowed faster-than-light travel” and move the hell on.)

For that matter, in some media (ie, children’s cartoons) where teaching a moral lesson is the clear intent, a certain level of “telling” is not only appropriate but necessary!

The actual goal of “showing” and “telling” is to maintain a balance, and make sure everything feels natural. Show things that need to be shown, and…don’t waste everyone’s time showing things that would feel much more natural if they were just told.

But that’s not nearly as pithy a slogan.

[mylordshesacactus]

(Reblog this version y’all I fixed some really serious typos)

[writing-prompts-list]

15 Prompts pt 3 (different kisses)

Forehead kiss

Cheek kiss

Nose kiss

Back of hand kiss

Fingertips kiss

Collarbone kiss

Shoulder kiss

Spine kiss

Throat kiss

Stomach kiss

Bellybutton kiss

Hipbone kiss

Outer thigh kiss

Inner thigh kiss

Pelvic bone kiss

[frankdelflno]

Surnames are just as important as given names. So, I compiled a list of the websites I use to find my surnames.

English Surnames

Dutch Surnames

Spanish Surnames

Scottish Surnames

German Surnames

Italian Surnames

Irish Surnames

French Surnames

Scandinavian Surnames

Welsh Surnames

Jewish Surnames

Surnames By Ethnicity

Most Common Surnames in the USA

Most Common Surnames in Great Britan

Most Common Surnames in Asia

[bee-earthly]

[old-manrupee]

For whoever needs these.

[dragons-arrow]

I NEED THE ITALIAN LAST NAMES SO BAD

[ebvoice-deactivated20150727]

We are like fireworks…: Surnames Master Post.

[chronophobica]

Chinese surnames

Indian surnames

Indonesian surnames

Pakistani surnames

Bengali surnames

Japanese surnames

Filipino surnames

Korean surnames

Syrian surnames

Mongolian naming and clan names

Thai surnames

Asia is not a single country.

[analog-machine]

AND THEY’RE NOT FROM fantasynamegenerators.com SO THAT MEANS IT’LL BE EASIER TO PICK POTENTIALLY

[wordsnstuff]

Resources for Writing Injuries

Patreon || Ko-Fi || Masterlist || Work In Progress

–

Head Injuries

General Information | More

Hematoma

Hemorrhage

Concussion

Edema

Skull Fracture

Diffuse Axonal Injury

Neck

General Information

Neck sprain

Herniated Disk

Pinched Nerve

Cervical Fracture

Broken Neck

Chest (Thoracic)

General Information

Aortic disruption

Blunt cardiac injury

Cardiac tamponade

Flail chest

Hemothorax

Pneumothorax (traumatic pneumothorax, open pneumothorax, and tension pneumothorax)

Pulmonary contusion

Broken Ribs

Broken Collarbone

Abdominal

General Information

Blunt trauma

Penetrating injuries (see also, gunshot wound & stab wound sections)

Broken Spine

Lung Trauma

Heart (Blunt Cardiac Injury)

Bladder Trauma

Spleen Trauma

Intestinal Trauma

Liver Trauma

Pancreas Trauma

Kidney Trauma

Arms/Hands/Legs/Feet

General Information | More

Fractures

Dislocations

Sprains

Strains

Muscle Overuse

Muscle Bruise

Bone Bruise

Carpal tunnel syndrome

Tendon pain

Bruises

Injuries to ligaments

Injuries to tendons

Crushed Hand

Crushed Foot

Broken Hand

Broken Foot

Broken Ankle

Broken Wrist

Broken Arm

Shoulder Trauma

Broken elbow

Broken Knee

Broken Finger

Broken Toe

Face

General Information

Broken Nose

Corneal Abrasion

Chemical Eye Burns

Subconjunctival Hemorrhages (Eye Bleeding)

Facial Trauma

Broken/Dislocated jaw

Fractured Cheekbone

Skin & Bleeding

General Information (Skin Injuries) | More (Arteries)

femoral artery (inner thigh)

thoracic aorta (chest & heart)

abdominal aorta (abdomen)

brachial artery (upper arm)

radial artery (hand & forearm)

common carotid artery (neck)

aorta (heart & abdomen)

axillary artery (underarm)

popliteal artery (knee & outer thigh)

anterior tibial artery (shin & ankle)

posterior tibial artery (calf & heel)

arteria dorsalis pedis (foot)

Cuts/Lacerations

Scrapes

Abrasions (Floor burns)

Bruises

Gunshot Wounds

General Information

In the Head

In the Neck

In the Shoulders

In the Chest

In the Abdomen

In the Legs/Arms

In the Hands

In The Feet

Stab Wounds

General Information

In the Head

In the Neck

In the Chest

In the Abdomen

In the Legs/Arms

General Resources

Guide to Story Researching

A Writer’s Thesaurus

Words To Describe Body Types and How They Move

Words To Describe…

Writing Intense Scenes

–

Masterlist | WIP Blog

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Shoutout to my $15+ patrons, Jade Ashley and Douglas S.!

[wordsnstuff]

Resources For Describing Emotion

Emotions

Without Making Your Character Feel Too Self Aware

Showing Emotion Without Telling About It

Emotions Associated With Body Language

Telling Readers What The Character Doesn’t Want To Show

Hiding Emotions

Expressing Cardinal Emotions: Masculine vs. Feminine

Writing Extreme Emotion Without Melodrama

Specific Emotions

Conveying Shock

Conveying Embarrassment

Conveying Disappointment

Conveying Love/Attraction

Conveying Annoyance

Conveying Relief

Conveying Uncertainty

Conveying Impatience

Conveying Shame

Conveying Resentment

Conveying Panic

Conveying Guilt

Conveying Desperation

Conveying Sarcasm & Verbal Disrespect

Conveying Confusion

Conveying Stubbornness

Conveying Frustration

Conveying Indifference

Conveying Indignation

Conveying Confidence & Pride

Conveying Smugness

Conveying Enthusiasm

Conveying Curiosity

Conveying Hopefulness

Conveying Unease

Conveying Reluctance

Conveying Worry

Conveying Humility & Meekness

Conveying Happiness & Joy

Conveying Amusement

Conveying Disgust

Conveying Resignation

Conveying Jealousy

Conveying Anticipation

Conveying Contentment

Conveying Defeat

Conveying Excitement

Conveying Fear

Conveying Hatred

Conveying Hurt

Conveying Being Overwhelmed

Conveying Sadness & Grief

Conveying Satisfaction

Conveying Somberness

Conveying Sympathy & Empathy

Conveying Wariness

Conveying Defensiveness

Conveying Desire

Conveying Doubt

Conveying Energy

Conveying Exhaustion

Conveying Hunger

Conveying Loneliness

Conveying Physical Pain

Emotional Wounds

A Role Model Who Disappoints

A Sibling’s Betrayal

A Speech Impediment

Becoming a Caregiver at an Early Age

Being Bullied

Being Fired or Laid Off

Being Held Captive

Being Mugged

Being Publicly Humiliated

Being Raised by Neglectful Parents

Being Raised by Overprotective Parents

Being So Beautiful It’s All People See

Being the Victim of a Vicious Rumor

Being Stalked

Being Trapped in a Collapsed Building

Being Unfairly Blamed For The Death of Another

Childhood Sexual Abuse (by a family member or known person)

Discovering One’s Parent is a Monster

Discovering One’s Sibling was Abused

Experiencing a Miscarriage or Stillbirth

Failing At School

Failing To Do The Right Thing

Financial Ruin Due To A Spouse’s Irresponsibility

Finding Out One’s Child Was Abused

Finding Out One Was Adopted

Getting Lost In a Natural Environment

Growing Up In A Cult

Growing Up in a Dangerous Neighborhood

Growing Up In Foster Care

Growing Up In The Public Eye

Growing Up In The Shadow of a Successful Sibling

Growing Up with a Sibling Who Has a Chronic Disability or Illness

Having Parents Who Favored One Child Over Another

Having To Kill Another Person To Survive

Infertility

Infidelity (emotional or physical)

Losing a Limb

Losing a Loved One To A Random Act of Violence

Making a Very Public Mistake

Overly Critical or Strict Parents

Physical Disfigurement

Rejection By One’s Peers

Telling The Truth But Not Being Believed

The Death of a Child On One’s Watch

Victimization via Identity Theft

Watching A Loved One Die

Wrongful Imprisonment

Spending Time In Jail

Suffering From a Learning Disability

Motivation

Achieving Spiritual Enlightenment

Avoiding Certain Death

Avoiding Financial Ruin

Beating a Diagnosis or Condition

Being Acknowledged and Appreciated by Family

Being a Leader of Others

Being the Best At Something

Caring for an Aging Parent

Carrying on a Legacy

Catching The Bad Guy or Girl

Coming To Grips With Mental Illness

Discovering One’s True Self

Escaping a Dangerous Life one Doesn’t Want

Escaping a Killer

Escaping a Widespread Disaster

Escaping Confinement

Escaping Homelessness

Escaping Invaders

Finding Friendship or Companionship

Finding a Lifelong Partner

Having a Child

Helping a Loved One See They Are Hurting Themselves and Others

Obtaining Shelter From The Elements

Overcoming Abuse and Learning To Trust

Overcoming Addiction

Protecting One’s Home or Property

Pursuing Justice For Oneself or Others

Realizing a Dream

Reconciling with an Estranged Family Member

Rescuing a Loved One From a Captor

Restoring A Name or Reputation

Righting a Deep Wrong

Seeking Out One’s Biological Roots

Stopping an Event From Happening

Trying Again When One Has Previously Failed

Support Wordsnstuff!

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[artpurr-morgan-deactivated20240]

@captain-lovelace

[valtsv]

if a fictional character gets stabbed, they have only 2 valid options:

1. slowly raise their hand to the wound and/or pull the weapon impaling them out while everyone stares in horror before collapsing to the ground from shock and/or blood loss and being caught just in time by their friend/sibling/love interest

2. hide the wound beneath a dark item of clothing in preparation for the dramatic reveal later where another character touches them and their hand comes away bloody or they overexert themselves and they stumble and wince but still try to insist they’re fine, even though they’re clearly in pain and struggling to stay on their feet, and as the other character peels back their jacket it becomes clear that they’re badly hurt and have been for a while (bonus points if they’re wearing a white shirt underneath)

[valtsv]

i stand corrected they have 3 valid options

[coveredinsun]

[image ID: tags that say, “#3 turn up at a friend’s house in the middle of the night #and wake them up to see them standing in their doorway while clutching their side #and having just enough strength to say ‘hey’ becore collapsing from blood loss.” end ID.]

[lovelylittlewordsmith]

Y’all are forgetting #3b:

Turn up at an enemy’s house in the middle of the night and wake them up only to say “I didn’t know where else to go” before collapsing and leaving them with a moral dilemma.

[weebleroxanne]

“Nope,” I whisper as I exit out of a fic with no paragraph breaks.

[writingquestionsanswered]

No excuses, folks! Change paragraphs when:

- the “camera” moves - a new character shows up - someone speaks - someone else speaks - a new idea, subject, or topic is introduced - time passes or reverts to an earlier point - the setting changes - the mood shifts - you want to create dramatic effect

[saltoftheao3]

this is so so so more reader friendly, people, heed it!

[tlirsgender]

Large man character who knows like 129 ways to kill someone with his bare hands: *is good with kids*

Me, every time, without fail: ohh my god the large man character who knows like 129 ways to kill someone with his bare hands is good with kids.........

[tlirsgender]

This trope makes me go Hog Wild. Every time I see it the part of my caveman brain that wants to Select A Mate and the part of my caveman brain that wishes I had a good relationship with my father duke it out to decide which one gets to claim him