this is a strong contender for the dumbest shit I have ever made with my own hand

Kiana Khansmith
Claire Keane

Love Begins
hello vonnie
Xuebing Du
Misplaced Lens Cap
we're not kids anymore.

shark vs the universe

No title available
Monterey Bay Aquarium
trying on a metaphor
Cosmic Funnies
Cosimo Galluzzi
Lint Roller? I Barely Know Her
One Nice Bug Per Day
cherry valley forever

★
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@karkallicious
this is a strong contender for the dumbest shit I have ever made with my own hand
General useful stuff!
Guides
How to make Crumbl Cookies!
How to bookbind!
How to pirate movies/shows
How to make frog plushies
How to make a Go-bag for emergencies
How to repair clothing
How to make different a03 kudos!
How to download videos/pictures/gifs from a website
How to make various chocolate desserts!
Tips and Tricks!
A03 formatting
Back stretches!
Depression tips
Adult cheat sheet
How to regulate and understand your emotions better
Disabling Windows 11 web search in search bar
Resources
Horror game recs!
Dca fic recs!
Hand references
Free Adobe photoshop
Artist resources
Free spotify
Pirating sites
Artist resources pt 2
Helpful random sites
Homemaking, gardening, sustainability
Free libraries!
Making stuff and doing things (free book pdf)
Healthcare (medicine discount websites, guide on how to pay hospital bills)
Alternative stuff to mega corporations
Things to consider when writing a character!! --1
⊹ What do they want vs what do they need. these should not be the same thing. what they want is the surface goal ( the job, the person, the revenge, the answer.) What they need is the thing underneath that they can't name yet. The story is what happens in the gap between those two things. if they're identical your character has nowhere to go.
⊹ What are they wrong about. Not morally wrong necessarily. just. what belief do they hold that the story is going to test. What assumption do they make about themselves or the world that turns out to be incomplete? A character without a wrong belief is already finished. They have no arc, give them something to learn even if learning it hurts them.
⊹ How do they talk when they're nervous. Do they go quiet or do they talk too much? do they deflect with jokes? do they get weirdly formal? do they ask questions instead of answering them? the way a person behaves under pressure is who they actually are. And it should be different from how they behave when they're comfortable.
⊹ What do they find funny. this one sounds small and it is not small at all. Humour is worldview. What makes someone laugh tells you what they value, what they're afraid of, how they handle pain. A character with no sense of humour is just flat. even the gravest person finds something absurd. find the thing.
⊹ What are they ashamed of? not their tragic backstory. their actual shame. The small ugly thing they would never say out loud. The time they were a coward. The feeling they pretend not to have. The desire they think disqualifies them from being a good person. Shame is where the most interesting character work lives and most writers skip straight over it :(
⊹ What do they do when no one is watching? how do they move through a space alone. What do they reach for when they're sad. What do they do with their hands??? Public behaviour IS performance. Private behaviour is truth. you don't have to show all of it but you have to know it or the character will feel hollow in a way the reader notices without being able to name.
Small human things that make a character feel real !!
☽ checking your phone and not registering the time. checking it again. still nothing. putting it away anyway
☽ the half-smile you do when you're trying not to cry in public
☽ looking at your hands during a hard conversation instead of the person
☽ laughing at something right after you say it like you surprised yourself
☽ going to say something and then deciding not to and the moment is gone and it's too late and you think about it for three days
☽ the way you hold your breath without knowing when something's loading
☽ saying "no yeah totally" when you absolutely did not follow what they said
☽ the very specific tired where you're staring at a wall and your face just. stops doing things
☽ nodding while on the phone even though they cannot see you
☽ the tiny pause before you say someone's name for the first time
Disdainful Dialogue Prompts!! #2
⋆˙⟡ "Don't mistake my tolerance for respect."
⋆˙⟡ "You're lucky I even acknowledge you."
⋆˙⟡ "I've seen more spine in a jellyfish."
⋆˙⟡ "Your presence is an inconvenience."
⋆˙⟡ "Did that take you all day to figure out?"
⋆˙⟡ "I wouldn't waste a second thought on you."
⋆˙⟡ "You're not even worth my contempt."
⋆˙⟡ "How do you live with yourself?"
⋆˙⟡ "You're a walking disappointment."
⋆˙⟡ "I've met furniture with more personality."
⋆˙⟡ "Don't speak unless spoken to."
⋆˙⟡ "You exhaust me just by existing."
⋆˙⟡ "That's the best you've got? Tragic."
⋆˙⟡ "I'd say try harder, but why bother?"
⋆˙⟡ "You're an embarrassment to everyone around you."
⋆˙⟡ "I pity whoever has to deal with you daily."
⋆˙⟡ "You're painfully ordinary."
⋆˙⟡ "Next time, just stay home."
⋆˙⟡ "I don't have time for people like you."
⋆˙⟡ "You're forgettable, at best."
⋆˙⟡ "Don't confuse my silence for agreement."
⋆˙⟡ "You think that impressed anyone?"
⋆˙⟡ "I've had more stimulating conversations with walls."
⋆˙⟡ "Lower your expectations of yourself, you keep missing them anyway."
Things to consider when writing a character!! --2
continuing--
⊹ How do they treat people who can't do anything for them? Waitstaff? strangers? people they'll never see again? this is the oldest trick in the book for a reason. It works. How someone behaves toward people with no social utility tells you everything about their actual values versus the values they perform for an audience.
⊹ What's their relationship with their own body? Are they comfortable in it or is it something they carry around like a problem? do they take up space or make themselves small? are they aware of how they look or completely indifferent? Physicality is psychology and most writers forget the body entirely until someone needs to throw a punch.
⊹ What do they lie about and why. Not dramatic plot lies necessarily. the small everyday ones. the things they exaggerate or omit or reframe. Because people don't lie randomly, they lie to protect something. Find what your character is protecting and you'll find what they're afraid of. That fear is the ENGINE!!
⊹ Who did they used to be? not their whole backstory. just: who were they before the thing that changed them. because that person is still in there somewhere, showing up in small ways, wanting things the current version of them would never admit to. The ghost of a former self is one of the most interesting things you can write into a character without ever stating it directly.
⊹ What would make them walk away?? from the goal. from the relationship. from the person they're trying to be. everyone has a breaking point and it should be specific to them, and please not a generic "too much" but the exact thing, the particular betrayal or loss or realisation that would finally be enough. know this even if the story never reaches it.
⊹ What do they love that has nothing to do with the plot?? a specific kind of light in the afternoon. the smell of old paperback books. bad television they watch without apology. something small that belongs only to them. details like this cost you nothing and they make the reader believe in a person completely. characters who only care about plot-relevant things are not people. they're chess pieces. sorry not sorry.
Random Character Traits!!! Part 5
⟡ Gets pulled into conversations, situations, and adventures by simple proximity
⟡ Has been a witness, a participant, and occasionally the cause of memorable public events
⟡ Goes on a walk and returns with information that no one expected
⟡ Is at the center of things that cannot be planned without having planned any of them
⟡ Has a travel record that reads like fiction because something always happens
⟡ Gets the stranger's life story on every flight without asking a single question
⟡ Has accidentally started three traditions, one local legend, and a minor debate
⟡ Goes somewhere ordinary and finds out it is not ordinary on that particular day
⟡ Has been the subject of a stranger's story that the stranger is still telling
⟡ Finds money, messages, and meaningful things in places that have no business having them
⟡ Gets upgraded, redirected, and rerouted into better situations than the ones they planned
⟡ Walks into things that are already in progress and becomes a key participant immediately
⟡ Has met the same stranger twice in two different countries and has stopped being surprised
⟡ Gets put in situations that cannot be repeated because they required too many specific conditions
⟡ Is the person in the group that things happen to and everyone else gets the story
⟡ Has been told 'this never happens' by professionals in several different fields
⟡ Goes somewhere for one reason and leaves having done eleven completely different things
Tips for Writing Injuries! (AGAIN)
Your action hero just got shot in the shoulder, stitched it up in a motel bathroom, and is now running through a forest. I need you to know that a shoulder wound severs muscle, nerves, and sometimes bone, and the human body's response to that is not "mild wincing followed by full range of motion." here is what injuries actually do to peoplee...
⊹ Adrenaline is REAL and it does allow people to do extraordinary things immediately after injury, BUT it is a loan, not a gift. you borrow the function and you pay it back later with interest. Your character might genuinely be able to run for twenty minutes after being stabbed. and then the adrenaline drops and everything the body was delaying arrives all at once. the collapse is NOT weakness. it's biology collecting its debt. write the debt collection. it's more interesting than the heroic sprint anyway.
⊹ Blood loss changes cognition before it drops you. you don't go from "fine" to "unconscious." you go through a whole middle stage of confusion, poor decision-making, emotional dysregulation, a strange calm, tunnel vision, difficulty forming sentences. Your injured character making a bad call, saying something they normally wouldn't, becoming suddenly and inexplicably gentle--that's blood loss. use the middle stage. it's dramatically rich and almost nobody writes it.
⊹ Recovery has a timeline and the timeline is long and boring and inconvenient to plot. a broken rib takes six weeks and during those six weeks sneezing is a genuine emergency. a concussion means no screens, no reading, no bright lights, and symptoms can persist for months. a stab wound to the abdomen means weeks of infection risk, limited mobility, and a specific kind of exhaustion that has nothing to do with sleep. Your character being sidelined and frustrated and useless for a long time is not a narrative problem. it's the story.
⊹ Pain also affects personality in ways writers skip. chronic pain makes people short-tempered and then guilty about being short-tempered. it makes concentration difficult. it makes intimacy complicated, both emotional and physical. a character who was patient and warm before their injury and is now snappy and withdrawn is not a character regression. they're in pain. pain is exhausting in ways that don't show on the outside. the people around them noticing and not knowing how to help is a whole story in itself.
Paragraphs and When to Break Them
anonymous asked:
I always have problems with paragraph breaks. Is there such thing as too many paragraph breaks? Also, I have a feeling only fanfictions or internet fics have paragraphs when a new character speaks. Do printed books also do that? Because I didn’t see that I think.
While there is some degree of personal style to paragraph construction, there are still very specific rules about when you should start a new paragraph.
You should start a new paragraph when…
1. A different person is speaking
So, what you’re seeing in fan-fiction is actually correct. Every time a different character speaks, it should begin a new paragraph. Even if they only say a single word or a few words, it will appear on the line alone. Here’s an example from The Raven Boys by Maggie Stiefvater:
The conversation is between Maura and “the man,” with Persephone chiming in at the end.
Paragraph 1 (Maura) “It’s when…” Paragraph 2 (the man) “Is it more…” Paragraph 3 (Maura) “Not if you…” Paragraph 4 (the man) “Fine…” Paragraph 5 (Maura) gestured for… (and later) “Persephone, would you…” Paragraph 6 (Persephone) “Oh dear…”
2. Someone else does something
You should also start a new paragraph when someone else starts to do something. Look at this example from The Hunger Games by Suzanne Collins:
Paragraph 1 - Gale tosses a berry toward Katniss. Paragraph 2 - Katniss catches the berry in her mouth and eats it. Paragraph 3 - Gale pulls out his knife as Katniss watches.
3. When a character first appears in a scene
When a character first appears in a scene, whether they arrive during the scene or were already there but haven’t been pointed out yet, you should start a new paragraph. Take a look at this scene from Twilight by Stephenie Meyer:
Paragraph 1 - Bella describes the inside of Edward’s house upon arrival. Paragraph 2 - Bella first notices Edward’s parents waiting to greet her.
4. The scene shifts when something new happens
Sometimes something occurs in a scene that changes the mood or the trajectory of a scene. It could be your character starting to feel sick at a party because they’re coming down with the flu. It could be flashing lights because the police just arrived to break up the party. Or maybe the music suddenly stops because the party host’s parents are standing in the front doorway looking aghast. Here’s an example from The Beholder by Anna Bright:
When the music quiets and the doors swing open, a new paragraph begins. Now, in this case a character also speaks. Personally, I might have started another new paragraph for that, but that’s a style choice, like I mentioned earlier.
5. When the “camera” moves
If you imagine everything happening in the novel as being “on screen,” any time something happens that would require “the camera” to pan over to something else or be moved to a new position, that’s a good time to start a new paragraph.
6. The time or place changes
Any time you skip ahead in time (for example, “Later that day…” or “The following week…”) or the setting changes (such as, “Meanwhile, two doors down, Angie was being grounded…” or “When we got to gym class…”
7. The subject changes or a new idea is introduced
If your protagonist narrator is expounding upon the layout of their village, and then they begin to talk about their dystopian government, that should happen in a new paragraph. That way, you don’t get something like, “My friend Peeta waved as I passed the bakery and made my way toward the market. The Capitol had been ruling Panem for centuries, and it was not a forgiving government.” See how that’s confusing? She’s talking about bakeries and markets, then makes this non sequitur about the government.
If you need help remembering, go to Google Image Search and type in “paragraph rules.” You’ll typically find lots of colorful graphics that lay out these rules, so you can pick one you like, print it out, and keep it handy when you’re writing. :)
THANK YOU OMG, I WANT TO START WRITING FANFICTION AND THIS IS DO INCREDIBLY HELPFUL!!! GOING TO TAKE SO MANY NOTES THIS SO COOL!!!! XDDDDD
Capulets vs Montagues
Two houses, utterly devoid of dignity
Capulets vs Montagues
Two houses, utterly devoid of dignity
Signs your romance subplot has absolutely no tension (sry)
♡ they meet and immediately like each other (goodbye conflict, we barely knew you)
♡ the only thing keeping them apart is a misunderstanding that one conversation would fix
♡ both characters describe the other as "beautiful" within three pages of meeting
♡ their chemistry is told not shown (the narrator insists they have spark. they don't.)
♡ the love interest has no personality outside of loving the protagonist
♡ they argue once, make up immediately, never argue again
♡ obstacles are external. they always agree with each other about everything.
♡ the rival love interest exists for two chapters then vanishes without explanation
♡ they almost kiss. something interrupts. this happens four times. on the fifth time they kiss. the end.
♡ the love interest is described as funny, clever, and kind. we see none of this.
♡ their big emotional moment is in the rain. it is always in the rain.
♡ the breakup lasts exactly one chapter before they reconcile
♡ "i've never felt this way before" said by someone with no prior emotional history
♡ both confess feelings at the same time. no awkwardness. no stakes. just synchronized emotion.
♡ their first kiss is perfect. no bumped noses. no wrong angle. cinematic and frictionless.
♡ jealousy subplot introduced and dropped without consequence
♡ they have one shared interest and it is the plot
♡ trauma bonding mistaken for romantic chemistry (these are different things)
♡ the side characters ship them loudly. this is not a substitute for actual tension.
♡ one of them dies temporarily. other is devastated. they come back. no lasting emotional damage.
♡ they end up together because the plot ends, not because they chose each other
♡ epilogue: married with children. every loose end tied. nothing left to feel.
Things to consider when Writing about Found Family!!
⊹ Why can't they go back to their biological families. death? abuse? abandonment? disowned? running from something? sometimes people have families and just choose different people anyway. All valid but the reason matters for their emotional baggage
⊹ How did they actually meet.Thrown together by circumstances? gradual friendship that deepened? trapped somewhere together? saved each other's lives? worked together and it just happened?
⊹ What's the group structure. Is there a clear parental figure or is everyone equals. Are there siblings dynamics. the responsible one, the chaotic one, the baby of the group. Found families still have roles people fall into!!
⊹ How long have they been together? Newly formed groups are still figuring each other out with awkward moments. Established ones have years of history and inside jokes and shared trauma
⊹ What do they disagree about? found families aren't perfect just because they chose each other. They fight. They have different values and goals. Someone's always mad at someone else.
⊹ Is everyone equally committed or is someone still holding back? Trust issues are real especially for people who've been abandoned before. Someone's probably scared to fully let people in
⊹ Where do they live? Do they have a home base or are they always moving? Is it actually homey or kind of a mess? Who decorated? Whose stuff is everywhere? Do they have enough beds or are people on couches?
⊹ What are their traditions. weekly dinners? birthday celebrations they never had as kids? annual trips? stupid inside jokes that became rituals?
⊹ How do they show love. Some people are physically affectionate, some show love through acts of service, some are bad at emotions entirely but will absolutely kill for you.
⊹ What happens when someone new wants to join? are they protective and suspicious? Immediately welcoming? Is there a test/hazing? does the group fight about whether to let them in?
⊹ What happens when someone wants to leave. Do they let them go? Beg them to stay? Feel betrayed? People leaving found families hits different than biological ones!!
⊹ How do they handle one of them dating someone outside the group.? protective interrogations? feeling replaced/jealous? genuinely happy for them?
⊹ Do they have a shared purpose/goal or are they just together because they love each other. teams on a mission vs people who just became family. both work but feel different
⊹ What's everyone's trauma and how does it affect the group? Because people who form found families usually have TRAUMA. How do they handle each other's bad days, triggers, nightmares, self-destructive behavior
⊹ How far would they go for each other. just emotional support? lying to authorities? More?? where's the line and has anyone crossed it??
⊹ Is there a "Black sheep" or someone who doesn't quite fit but is still included. The one who's pricklier, harder to love, keeps messing up. Do they keep trying with this person or is there a breaking point??
⊹ How do they celebrate wins and handle losses together? grief shared is different. so is joy!!
Tips for Writing Trauma!
i love you all and i need you to stop writing trauma as a single breakdown scene in the rain after which the character is Healed and Ready to Love Again. that is NOT trauma :(
⊹ Trauma doesn't announce itself. it shows up as your character suddenly not being able to eat a specific food, or going very quiet in a loud room, or laughing at the wrong moment because their nervous system decided that was the appropriate response. it's mundane and weird and it makes no sense from the outside. the dramatic flashback sequence is the least realistic part. the most realistic part is your character suddenly needing to leave a grocery store for a reason they can't articulate.
⊹ The body keeps score and it keeps it in the strangest places. a particular smell. the quality of light at a certain time of day. a tone of voice that sounds like someone who hurt them. your traumatised character doesn't think "this reminds me of the bad thing." their heart rate spikes and they don't know why. they feel wrong and they can't locate the feeling. they're irritable for three days and only later, if ever, do they make the connection. write the disconnection. it's more honest.
⊹ trauma also does not make people universally sympathetic and wise. it makes some people controlling. some people funny at inappropriate times. some people very good in a crisis and completely unable to handle a normal day. some people are generously kind to strangers and absolutely terrible to people they love. trauma shapes behaviour in contradictory, inconvenient ways that don't resolve into a lesson. your traumatised character can be difficult to like. that's not a flaw in the writing. that's the WRITING.
⊹ Healing is not linear and it is not a destination. your character does not get better and stay better. they have a good month and then something small undoes two years of progress and they have to start again with slightly more tools than before. that's the actual shape of it. the spiral, not the arc. the scene where they finally open up and cry is not the end. it might not even be progress. sometimes it just means they were tired that night.
Things to consider when writing about mentors!!
⊹ Why are they mentoring your protagonist specifically. Did they see potential? Do they owe someone a favor? Are they bored? Trying to redeem themselves through teaching? Were they forced into it?
⊹ What's their teaching style. Strict and traditional? Chaotic and unpredictable? Gentle encouragement? Tough love that borders on cruel? Do they explain things or just throw the student into situations and hope they figure it out
⊹ What's their backstory and how does it affect their mentoring. Were they a prodigy or did they struggle? Did they have a good mentor or a terrible one they're trying not to become? Do they have regrets about their past choices?
⊹ Are they actually good at teaching or just good at the skill itself. Because being talented doesn't mean you can explain how to do the thing. Some mentors are terrible teachers but great at what they do
⊹ What are they hiding. Every good mentor has secrets. Past failures, dark history, the real reason they're helping, doubts about the protagonist's chances, their own declining abilities
⊹ How emotionally available are they. Do they actually care about the student as a person or just as a project? Will they have genuine conversations or deflect everything with cryptic wisdom? Can the protagonist actually talk to them
⊹ What's their relationship with failure. Do they let the student fail and learn? Helicopter parent energy where they interfere too much? Give up on students who don't meet expectations immediately
⊹ Are they preparing the student for something specific or just general training. Is there a test, a battle, a destiny? Or are they just teaching skills and hoping for the best
⊹ What do they refuse to teach and why. Is there forbidden knowledge? Techniques too dangerous? Things they think the student isn't ready for?
⊹ How do they handle the student surpassing them. Proud? Threatened? Jealous? Relieved? A mix of everything? The moment the student becomes better than the teacher is always loaded
⊹ What's their fatal flaw. Arrogance? Cowardice? Living in the past? Alcoholism? Trust issues? Mentors can't be perfect wise beings, they need to be chaotic humans
⊹ Do they have other students or is this protagonist special. If there were others, what happened to them? Dead? Quit? Turned evil? Still around and now there's sibling rivalry?
⊹ What's their endgame. Are they planning to retire after this? Die dramatically to motivate the hero? Stick around? Do they have their own goals beyond teaching
⊹ How much do they actually tell the protagonist vs withhold "for their own good." Because mentors who keep secrets always think they have good reasons but it usually backfires
⊹ What happens if the student rejects their teaching or goes a different path. Do they accept it? Feel betrayed? Try to force them back? Cut them off completely?
⊹ Are they connected to the villain somehow. Former friends, rivals, family, same teacher?
⊹ Do they survive the story. Mentor death is a trope for a reason but also letting them live and deal with what the student becomes is interesting too!!!
Nicko Cecchini (Canadian, d.o.b. unknown) - Castle Walls Lead Me to Despair (2026)
basketball dracula isn't real dude he can't-- *sudden squeaking noises from the shadows*
*two pool toys having sex tumble by in the wind* oh thank god
*thunderous slam dunk noise*