Let's make cookies at 2am and we make out while waiting for them to bake 🥺
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@just-a-hueman
Let's make cookies at 2am and we make out while waiting for them to bake 🥺
the way femmes love butches unconditionally makes my heart swell. nothing matches the energy of being in the presence of femmes as a butch. it’s the safest place we can be and i love y’all for it
Is it weird that I want to find someone to do something mundane and make a date out of it? Cause I really want to go pick some apples or fruit.
The hardest thing I’ve encountered since I’ve come out is the burrowing little thought that never leaves; Who would dare to even look at me? Am I just a freak? An abomination of nature?
There are times when I look and smile at who’ve I’ve become, but most of the time.. I’m crying. Clutching my stuffed animal for dear life, drowning in my own despair. It doesn’t get better..does it?
Got a tattoo done!
Fantasy Guide: Horses, Steeds and Mounts
Horses are a staple of fantasy. Instead of writing them as emotionless vehicles lets give them life.
Horse Terminology
Mare: female horse
Gelding: castrated male horse, big boned and gentle
Stallion: male horse, more agressive
Foal: baby horse
Filly: girl baby horse
Colt : boy baby horse
Yearling: a horse a year old, too young to ride
Pony: small, smart and sturdy,
Colour
When writing horses, we like to colour them in. Make sure to have a look at my colours post for some symbolic choices.
Appaloosa: white hair and dark patches
Bay: red-brown, dark, mahogany bay, red bay, sandy are all common shades but bay must always have a hint of black.
Black: black but keep in mind that pure black is very rare.
Chestnut/Sorrel: reddish coat, may have brown/rws
Dun: yellowish commonly but can be reddish yellow horse
Paint/Pinto – white patches
Palomino: golden coat, white mane
Piebald – dark-skinned, with large splotches of black and white
Roan: blue or strawberry; mixed colored and white hairs. A blue roan has black and white manes, red roans have white manes.
Physical signs
These all tell you what the horse is telling you. Listen to your horse.
Blow: exhaling through the nose. This indicates curiousness and often followed by nuzzling.
Breathing: Yes, check if the horse is breathing first. Always a good point. But yes, horses have a resting breath that is relaxed. Changes to this could mean anxiety or fear.
Ears are up and pointed forward: alert and interested
Ears are pointed out to the side: Sleepy, tired, unwell or submissive.
Ears are pointed up: unwell or bored
Ears are back and pinned flat against the head: angry and aggressive. Fuck off right now or you’ll catch these hooves.
Neigh/Whinny: a sound made to look for company in people or horses.
Nicker: usually means “hello” in either a friendly context or a mating context. Mama horse will nicker to their kids.
Scream: usually while fighting some other horses.
Snort: exhaling through the nose sharply which is code for where’s the danger.
Feeding time
Horses need to be fed and it’s expensive. Horses are the most costly thing for a castle or army to have. It takes money to field a large calvary so make sure you have some food on board.
Apples and fruit.
Barley
Bran
Grass
Hays
Oats
Root vegetables – beetroot, carrots, parsnips, and turnips
Tack
Corn
Tack
This is the term for your horses kit. This will be a basic list.
Saddle: Your seat on the horse
Stirrups: supports that hang from either side of the saddle to support the feet.
Girth: A belt that fastens the saddle to the horse.
Bridle: The bit that goes over the horse’s face
Reins: connected to the bridle and ensures you have a grip
Bit: this is what the horse has between its teeth.
Horn: a raised portion of the saddle that sits at the point where the saddle is close to the neck.
Blanket: a drape of fabric used to warm a horse or stop rubbing from the saddle.
Things you ought to know about horses
Riding bareback (i hear you laughing, pervert) is actually quite hard and dangerous
Horses have limits and most can gallop all night without a break
Horses often break legs and sometimes must be put down (honestly fuck you Veronica, #cobalt deserved better)
Horses die in battle, not all horses make it out (you go, Joey)
Common horses mentioned in fantasy
Destrier: The most popular war horse of the medieval era. These horses are only ever really used by knights in battles, tournaments, and jousts. It was not the most common horse but it was considered the desired of horses even being called “the great”. Usually male, these horses were renowned for their agility able to turn quickly making it suitable for battle. Destriers are expensive. When one looks in the histories you seen them going for almost ten times the price of another breed. The breed has since died out but scientists and equestrians have since been trying to reproduce them.
Courser: This was the more commonly used and available war horse. It is fast and strong horse ridden by knights and men-at-arms. They were not expensive than the destrier but still would cost a pretty penny.
Rouncey: A commonly used horse used anything and everything. Mostly used for riding, the horse could be trained for battle.
Palfrey: Would be an expensive horse for riding. It was a slender horse with an ambling gait so it was prized for traveling over distance.
Hunters: Or more commonly called Thoroughbred. The Thoroughbred is a fast horse and an agile one. Though vest for racing, the thoroughbred was mostly used when the nobility went riding in hunting excursions.
Know your horses.
I took some historical sword-fighting lessons to make the fights in my novel more realistic - here’s what I learned.
To make the fighting scenes in my low fantasy novel more realistic, I went to see a trainer for historical sword-fighting last week, both to barrage her with questions and to develop realistic choreographies for the fight scenes in the novel. Since I figured some of what she told me might be useful for you too, I put together a small list for you. Big thanks to Gladiatores Munich and Jeanne for making time! (Here are some more pictures if you’re interested.)
Caveat: I’m by no means a sword-fighting expert myself, so take these nuggets with a grain of salt – I might have misremembered or misinterpreted some of the things Jeanne told me. If I did, feel free to tell me.
1.) Weapon choices need to make sense
Let’s start with a truism: always ensure your character’s weapons make sense for a.) their profession, b.) their cultural background and c.) the environment they’re going to fight in. A farmer probably couldn’t afford a sword and might use a knife or threshing flail instead, and someone who doesn’t want to be noticed probably wouldn’t be milling about sporting a glaive or another large weapon. Also, soldiers native to a country with wide open plains would be more likely to carry long-range melee weapons such as spears or large swords, than those from a country consisting of mostly jungle or dense forests. The same applies to situations: if your character is going to be fighting in close quarters (even just a normal house), he’d get little value out of a spear or even a longsword, as there’d be no space to swing it effectively.
2.) Boldness often beats skill
In real swordfights, recklessness was often more important than technique. The fighter less afraid of getting injured would often push harder, allowing them to overpower even opponents with better technique.
3.) Even a skilled fighter rarely stands a chance when outnumbered
While a skilled (or lucky) fighter might win a two-versus-one, it’d be extremely unlikely for even a single master swordsman to win against superior numbers, even just three and if they’re below his skill level. The only way to plausibly pull this off would be to split the opponents up, perhaps by luring them into a confined space where you could take them on one by one. The moment you’re surrounded, you’re probably done for – because, unlike in Hollywood, they wouldn’t take turns attacking but come at you all at once.
4.) Dual-wielding was a thing
… at least in some cultures. I often heard people say that people using a weapon in each hand is an invention of fiction. And while my instructor confirmed that she knew of no European schools doing this—if they did, it’s not well-documented—she said it was a thing in other cultures. Example of this include the dual wakizashi in Japan or tomahawk and knife in North America. However, one of the biggest problems with the depiction of dual wielding in novels/movies/games are the “windmill”-type attacks where the fighter swings their weapons independently, hitting in succession rather than simultaneously. Normally you’d always try hitting with both weapons at once, as you’d otherwise lose your advantage.
5.) Longswords were amazing
Longswords might seem boring in comparison to other weapons, but they were incredibly effective, especially in combat situations outside the battlefield. The crossguard allowed for effective blocking of almost any kind of attack (well, maybe not an overhead strike of a Mordaxt, but still), the pommel was also used as a powerful “blunt” weapon of its own that could crack skulls. Though they were somewhat less effective against armored opponents, the long, two-handed hilt allowed for precise thrusts at uncovered body parts that made up for it.
6.) “Zweihänder” were only used for very specific combat situations
Zweihänder—massive two-handed swords—were only used for specific purposes and usually not in one-on-one combat as is often seen in movies or games. One of these purposes was using their reach to break up enemy formations. In fact, one type of two-handed sword even owed its name to that purpose: Gassenhauer (German, Gasse = alley, Hauer = striker)—the fighters literally used it to strike “alleys” into an enemy formation with wide, powerful swings.
7.) It’s all about distance
While I was subconsciously aware of this, it might be helpful to remember that distance was an incredibly important element in fights. The moment your opponent got past your weapons ideal range, it was common to either switch to a different weapon or just drop your weapon and resort to punching/choking. A good example of this are spears or polearms—very powerful as long as you maintain a certain range between you and your opponent, but the moment they get too close, your weapon is practically useless. That’s also why combatants almost always brought a second weapon into battle to fall back one.
8.) Real fights rarely lasted over a minute
Another truism, but still useful to remember: real fights didn’t last long. Usually, they were over within less than a minute, sometimes only seconds – the moment your opponent landed a hit (or your weapon broke or you were disarmed), you were done for. This is especially true for combatants wearing no or only light armor.
9.) Stop the pirouettes
Unfortunately, the spinning around and pirouetting that makes many fight scenes so enjoyable to watch (or read) is completely asinine. Unless it’s a showfight, fighters would never expose their backs to their opponent or even turn their weapon away from them.
10.) It still looks amazing
If your concern is that making your fight scenes realistic will make them less aesthetic, don’t worry. Apart from the fact that the blocks, swings and thrusts still look impressive when executed correctly, I personally felt that my fights get a lot more gripping and visceral if I respect the rules. To a certain extent, unrealistic and flashy combat is plot armor. If your characters can spin and somersault to their heart’s content and no one ever shoves a spear into their backs as they would have in real life, who survives and who doesn’t noticeably becomes arbitrary. If, on the other hand, even one slip-up can result in a combatant’s death, the stakes become palpable.
That’s about it! I hope this post is as helpful to some of you as the lessons were to me. Again, if anything I wrote here is bollocks, it’s probably my fault and not Jeanne’s. I’ll try to post more stuff like this in the future.
Cheers,
Nicolas
I was watching this father [proud and supportive of his trans child], and it just hurt, because I had to be okay with my mom saying „I will never call you Jen, because Jen murdered my son”. I had to be okay with that in order to survive myself. In order to deal with not being able to see my grandma before she died, because I could only come home if I dressed as a boy. I had to deal with the fact that one of my best friends, who, like, I stood up at his wedding, won’t let me meet his children. I have to deal with those things. Like, I have to live with those things. I have to make that okay. I have to understand their position and be okay with it. And when I saw that father go so much further than I thought it was even possible, it hurt, I couldn’t bear it, because then, all of a sudden, all those people who couldn’t accept me, when I knew it was possible to go beyond acceptance? Why couldn’t my mom have been like him? That’s the question I never asked until that moment. Why couldn’t my mom have been like him? Why couldn’t my friends have been like him and seend the value in my experience? But the person who’s most responsible for failing to have that kind of vision is me. – Jen Richards in Disclosure: Trans Lives on Screen (2020)
I slammed the reblog button
Ocarina of Time Artwork by Tom Garden
Actress Trần Loan speaks up for the first time after leaving social media because of the online hate she recieved in this piece she wrote for New York Times.
I’ve modded on this server for a while and it’s been quiet lately, so here’s a promo post! big lesbian fun time (yes, that is the server name) is a lesbian-only Discord server for adults; it’s a chill community and we’d love to have new members!
Trans and nonbinary lesbians welcome!
No transphobia, homophobia, racism, fatphobia, pedophiles, islamophobia, antisemitism, or pronoun policing
This is an 18+ server, for adults, and there is an (optional, locked) nsfw chat!
This is a chat for lesbians; while we all support other wlw, this is a chat specifically for lesbians!
You will be expected to share a link to your Tumblr in the introductions chat so we can verify ages!
How do you get the invite link?
Reblog this post! You’ll be sent a limited-use invite code as soon as possible. (It might be a little while if this gets a lot of notes!)
If you’re not a lesbian, and want to reblog to signal boost the server, please say so in the tags!
My Blue Butterfly
Look at you, You’re a hurricane All blue eyes and bright smiles Don’t you remember?
When we sat out on the backyard swing, Waved plastic swords and fought off future demons And you said we’d take on the world someday
We both had that wanderlust, there in the dark, Our hearts took us to fierce oceans and star-scattered skies
and you laughed like the shattered glass That we left on your mother’s floor
You bring back the wild in me, That little girl who swore she could do anything, and you are, too
My blue butterfly. What a shame your wings lie trapped in this broken world Your corrupted lungs are aching, burn with the fire that you feed; I can feel it
We stand, brave in the storm, While everything falls and crashes beneath us, You know what?
You’re still a hurricane, stronger than this one surrounding us, And if the world needs to crumble, to fall apart to prove that you are worthy, Then - in this life or the future- so be it
My Blue Butterfly
Look at you, You’re a hurricane All blue eyes and bright smiles Don’t you remember?
When we sat out on the backyard swing, Waved plastic swords and fought off future demons And you said we’d take on the world someday
We both had that wanderlust, there in the dark, Our hearts took us to fierce oceans and star-scattered skies
and you laughed like the shattered glass That we left on your mother’s floor
You bring back the wild in me, That little girl who swore she could do anything, and you are, too
My blue butterfly. What a shame your wings lie trapped in this broken world Your corrupted lungs are aching, burn with the fire that you feed; I can feel it
We stand, brave in the storm, While everything falls and crashes beneath us, You know what?
You’re still a hurricane, stronger than this one surrounding us, And if the world needs to crumble, to fall apart to prove that you are worthy, Then - in this life or the future- so be it
I will continue to build upon this list as time goes on. For now, I hope you find something useful!
Worldbuilding Prompt of the Day Tag
Brainstorming Series Posts
Magic Systems, Part One
Magic Systems, Part Two
New Species
New Worlds
New Cultures
New Civilizations
Politics and Government
Map Making
Belief Systems & Religion
Guilds, Factions, Groups
War & Conflict
Science & Technology
Wildlife & Ecosystems
Species/Races
Creating long-lived species
Evolution of sexual reproduction in fictional species
Writing in a world without humans
Sounds non-sapient species can produce
Developing Fantastic Races (Link)
Creating Realistic Aliens and Their Worlds (Link)
Language
Languaging
Handling “Foreign” Language Within the Narrative
Developing Ancient Languages
Google Ngrams: tool for researching period-appropriate language
Astronomy/Planetary Physics
Multiple Moons Effect on Planet
Controlling the Biomes on your World (with Science!)
Controlling the Gravity on your World (also with Science!)
Giving Your World Fantastic Skies (Link)
Why Tatooine is Plausible: Orbitary Mechanics of Binary Star Systems (Link)
What if Earth Had Two Moons?
Geology/Land
Map Making Photoshop Brush Set
How to develop a country when you don’t know where to start
Useful Geography Descriptors
Creating a World with Realistic Terrain
Forest types (aesthetic)
Laying out Villages and Towns
Specific Settings
Differentiating between Ancient Times and Medieval Times
Tips and Ideas for Writing Post-Apocalypse
Worldbuilding when there’s no “world” present
General Worldbuilding
Words for sections within a city
Using Characters as Worldbuilding Tools
Creating Unique Cultures
Prioritizing Worldbuilding Details In the Narrative
Filling in the Details
Weaving in the Details (Link)
Creating Realistic Cultures (Link)
Being a God of Your Own World (Link)
How to Create a Fantasy World (Link)
Creating Fictional Currency
Writing Prophecies Without Making Eyes Roll
Logistics of Mega-Cities in Fantasy
So You Have Too Much Worldbuilding Exposition…
Worldbuilding/Writing Quotes Tag
Random
My personal writing playlist
Writing Pregnancy, Labor, and Birth (Link)
Using Indexes and Guides in your Novel
Writing in Multiple Points of View
How to Edit Your Own Writing (Link)
The Ultimate Guide to Worldbuilding (Link)
Avoiding Deus Ex Machina
Helpful Generators
Vulgar - Conlang generator
City Generator
Seventh Sanctum - expansive SpecFic generator
Deity Generator
Guild/Clan name generator
Planet name generator
Random map generator
More personalized map generator
Prophecy Generator
Technobabble Generator
SciFi Corporation Generator
Fantasy Calendar Generator (Multiple Moons, etc)
list of priorities for 2020:
1. me
thats it, just me.
Kisses I want to write about:
Goodbye kisses: Lingering and hard for longer times apart. Ones that curve A’s body against B’s and cause hands to splay against backs. Or short pecks, maybe not even completely on the mouth for short trips to the grocery store. Hello kisses: After long periods apart, these can include A picking up B and spinning them around. Fingers pressing into cheeks, palms cupping necks, and breathless laughs when they finally come up for air. Breathless kisses: A series of short pecks because they need the closeness but they also need air, so. Sometimes smiles come in between, or sometimes its just breath, gasping for the sole purpose of being able to kiss again. Heated kisses: Breath huffing into mouths, angrily or passionately. Hands grabbing at clothing and pulling each other closer. First kisses: Hesitant and nervous. Lips hover inches from each other for a few seconds before they just barely brush. It’s just a soft press, but it ignites their entire bodies. Pinkies link afterwards, still wanting to be close, and each looks down, smiling softly. After sex kisses: Lazy, slow presses. Limbs pressed together, chests heaving. Soft murmurs about what to do for dinner later, fingers trailing down backs, tracing lazy patterns. B rolling onto their back and A trailing their lips down their neck, kissing their shoulder, their chest, anywhere they can think of, memorizing B. Morning kisses: Barely awake kisses that usually end up on jaws or cheeks because A is too tired to land it properly. B makes a sleepy sound and rolls into A, nuzzling their face into their neck, ankles hooking together, while A drapes their arms around B and they fall back asleep for a while. Post-break up kisses: Soft and slow. Hands on each other’s arms in a way that neither can tell if the other is pushing away or pulling closer. The kiss ends with their foreheads pressed together, neither wanting it to be true that this is happening. Christmas kisses: More smile than actual kiss. A holds mistletoe above their heads while B rolls their eyes, but pulls A down by the collar of their ugly Christmas sweater for a heated kiss. A takes B by the waist and walks forward until they are around the corner, away from the prying eyes and hoots of the rest of their friends and family. Comforting kisses: B walks into find A sitting on the bed, shoulders shaking, cheeks wet. A looks up, face looking stricken for a moment. B is shocked, and quietly says A’s name. At this, A breaks, face crumpling, and only barely has time to reach both hands out for B before B is there, kneeling at A’s feet. B takes A’s hands first, kissing their knuckles and palms. Then B reaches up to hold A’s face, pressing soft kisses around their cheeks, their lips, murmuring “it’s okay” and “you’re alright” and “I’m here” in between. “I thought I lost you” kisses: The breath is knocked out of both of them with the force that they collide with. Hands grip the back of t-shirts and palms are pressed up and under shirts, holding them close, feeling the warmth of their skin. Palms are pressed to cheeks, thumbs swiping away tears until their mouths collide messily, the world seeming to disappear around them. “We can’t do this” kisses: Fists clenched, hands shoved into pockets. Brows low or brought together, jaws clenched. A feeling like a magnetic pull between them. Their foreheads press together, their lips brush, just barely, until B pulls away with a shaking exhale, forehead dropping into A’s neck. “Come to bed” kisses: A has their hands on B’s neck, murmuring the phrase softly. A’s hands slide down B’s arms to their hands, lacing their fingers together and slowly starting to pull B towards their bedroom. A continues to pepper B with kisses all the while, trailing them down their jaw and neck. “You look beautiful” kisses: Just a soft press of lips to the temple, resting them there for a moment, then smiling down and telling them as much. “I’ll be right back” kisses: A puts their hands on B’s shoulders from behind them, where they are sat on the couch. He leans down and around, while B turns his head a little, accepting the quick peck. “I missed you” kisses: Long and relentless, holding their body close, arms wrapped completely around their waist. A burying their head in B’s neck and pressing kisses there too. Angry kisses: Hard, gripping. Fists in clothes, shoving each other against walls. Fingers digging into hips. But the kisses always melt away from that. They turn into brushes of lips between shaking breaths, until they’re out of energy and are left just standing there, holding each other, fingers carding through hair. Sad kisses: Almost not a kiss at all. Just holding onto each other tightly, A’s lips pressed to B’s temple, whispering soft words, desperately trying to provide whatever comfort they can. In the dark kisses: The movie plays in the background, but A and B are hardly paying attention from the back row. They kiss soundlessly, long and soft, fingers locked. A’s arm is thrown behind B’s seat, wrist bent to curl their fingers into B’s hair. Dying kisses: A holds B in their arms, panicked, crying. Murmurs of “no, no, no.” Salt on their lips from tears. Voice cracking. Holding on tightly to their shirt, their shoulder, their hand, roughly pulling them against their body, anything to try and keep them tethered to this earth. Kissing them as they die (“no. No, stay awake—“), Kissing them once more even with the life has left their body (No. God, come back. Please, come back. Please, look at me, I’m right here”).