feel so good, I could die, but I don't care walk slow and low on a tightrope hope it lasts but you know, you never know

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@ktisish
feel so good, I could die, but I don't care walk slow and low on a tightrope hope it lasts but you know, you never know
reblog if youâre 25+ and still roleplay; or if you believe older muns have a place in the rpc and shouldnât be told to give it up when they turn 30.Â
i received this anon & i just want to make a point.Â
DANDELION | overcoming hardship, healing, resilience, hope
I had the pleasure of painting the illustrious Dorian for @daflowerzine đŒ leftover sales are still happening!
oh my god????? this is like the most beautiful thing ever???
morning | evening
vt
I hope this posts in order! @twink-on-the-brinkâ @gracefulvaudevilleâ
UPDATE: FIRST ATTEMPT
Him BABY
W O R M
the hounds
A small guide for people who struggle with this area
im more annoying about this on twitter but iwtv fanartists have got to realize that louis is not that darkskinned. he's not darkskinned at all actually, jacob anderson is like. kind of hilariously lightskinned. this goes for (bailey) claudia too but since she is obviously lighter than louis people seem to recognize that a bit easier than they do for louis for some reason (but the problem still persists. it's just not as egregious because i rarely see depictions of her cross into darkskinned territory)
when youre a passive consumer of art and fanworks this can come off as more of a non-issue but when you're an artist depicting characters played by real people, it would do you good to stop and think about the choices you are making when you put pen to paper or tablet and colors to those drawings.
i know that likely a lot of artists go darker when depicting black characters or even lighterskinned black actors because of the general association of black person = darkskinned as well as out of a fear of possibly be perceived as whitewashing a figure if the values end up a bit off, but it is in fact still a colorist mindset to believe darker is better for someone who is not.
reiterating again that this is primarily about the depiction of LIVE ACTION CHARACTERS with real people
this is also a general plea for artists to stop drawing jacob, delainey, and bailey as random black person #73728
black features are not interchangeable and black features vary greatly if that wasn't obvious already from our cast. generalized depictions of black people in the spots of louis and claudia coupled with colorism ends up coming off as not only lazy but immensely disrespectful to the actors we are trying to depict. even moreso when people can easily nail lestats or even armands likenesses or put more effort into doing so, then on the other hand deliver unrecognizable louclaudias.
i also find it extremely outrageous seeing drawings where louis is noticeably darker than armand even after we got the line of claudia very specifically making a remark about armand being darker than louis.
i also implore non-artists and artists alike (especially if you are nonblack) to point out when they see stuff like this happen in fanarts. obviously in Good Faith and without Hostility or Dogpiling.
no excuse can reasonably prevent someone from trying to adapt a persons ethnic features into their own style. there is no excuse other than laziness or other deep-seated resentments one might avoid acknowledging.
ive seen people draw louis with MY skintone and below is a picture of me and jacob anderson to hopefully drive home the point of how egregious that kind of depiction of louis is in practice
Hi!! I really wanted to ask about how you go about choosing colors and palletes for your art. Your colors are amazing!!
oh my god this ask is from july im so sorry this has been rotting in my inbox for so long. im not the best at explaining colors but ill do my best to get across how i personally understand it
firstly a big part in how i pick colors is in the fact that i never work on a white background. 1. it hurts my eyes 2. when youre drawing on a white background you are constantly competing against the white while you are coloring and will usually make you lean towards brighter + more saturated colors. and in my experience it left me fighting trying to pick colors because it gave me less leeway in terms of the values i could explore for a piece. also hurt my eyes
the color of the background that youre drawing on can also very easily dictate the colors that you lean towards when coloring stuff. i used to draw on yellow backgrounds for a while (the yellow i usually use below, actually) and it made my art skew towards warmer, yellower color palettes
in most of my art i tend to use some version of these 4 colors mainly just because after trial and error its the colors i work the best with and also just generally look the nicest to me đ probably because theyre less intense versions of their normal counterparts (green,blue, yellow, red) though all but the yellow lean a bit colder.
theyre versatile colors to me because i can get them to mimic other hues on the color wheel via saturation + value
other things i think about when im coloring stuff:
-the 80%/20% rule, which is when you have one or two dominant colors thats very saturated and then secondary colors that are less saturated. or vice versa. i usually do this with complementary-esque colors? -greyer/less saturated colors can be very deceptive when paired next to more saturated colors. since its a purely neutral color, it tends to look of the opposite temperature of the color its next to.
-the less literally you think about colors in relation to what youre drawing, the easier it becomes to branch out with colors. because its then less about perfectly getting down what youre trying to color every time and more about how the colors work together to make a harmonious piece
tl;dr: i dont know
I'm going to add to this with advice for any teacher running into this situation.
Ask to borrow the kid's computer for a second, and use the AI. Pick a word, then pick a letter that is not in that word. Ask chatGPT how many times that letter appears in said word. (Avoid "how many Ns in Mayonnaise" because that went viral and got trained out.) Hell, give ChatGPT multiple tries. Ask it to demonstrate each time that letter appears in a word.
Let the entire class witness chatGPT fail. Because it cannot count. It cannot spell. It cannot think. Please put your lesson plans aside for a class and use it as a learning opportunity.
To add to your arsenal for educating these kids, please look into the concept of AI hallucination. AI cannot perceive things and has no ability to think critically, which means it cannot tell what's real and what's not. Really drill into these kids that they are better off asking advice from a toddler.
I used the characterAI bot instead of chatGPT in this case, but chatGPT has the same issues, because neither bot is capable of thinking about what it's saying.
Calling these things "artificial intelligence" is a core part of the problem. They are not intelligent in any sense of the word. They are less intelligent than the spell check and grammar check functions in Microsoft Word circa 2010.
My sister is having this exact problem with her math students. In college. Sheâs so mad because theyâre using chatGBT to cheatâand it isnât even good at cheating! As she points out, there are free (free!!) sites online that are really good at math and calculus that you COULD use to cheat that actually give the right answer. Because coding computers to do math is basically what theyâre made for. And those sites have existed for like 20 years! But no. These students chose the one site that generates only pure nonsense. And if they just learned the math, itâs very easy to disprove, but apparently they arenât too keen on doing that either.
Wolfram Alpha
It's called Wolfram Alpha for math and science.
*And it explains how the math and such works as well.*
yâall really recommend books like: title, there are gay characters, enemies to lovers, young adult, written by poc
not once do i ever see a summary
What more info do you need?
WHAT DO U MENA SUMMARY WHAT ELSE MATTERS ITS GAY POC AND ENEMIES TO LOVERS HOW OFTEN DO U CONE ACROSS THAT
i want to know what its about mainly. is it a romance? is there plot besides the romance? is it realistic fiction? sci fi? fantasy? historical? future? alternate history? whats the tone? what are the themes? what are the main charactersâ NAMES?
âGAY AND/OR RACIALLY DIVERSEâ IS NOT A GENRE. nor is it an indicator of quality
do you know how many times Iâve been recommended a book solely because âitâs queer fantasy!â
do you know how many times those books have been so poorly written that I couldnât finish them
Mostly, I want to know the tone. A 19th century war story isnât gonna do it for me when Iâm in the mood for a lighthearted austenesque romance - and those are both historical. A star warsy space romp isnât gonna do it if I want to read about interplanetary political negotiations - and those are both sci fi. A fun gratuitious donât-think-about-it-too-hard action story is not the same as a dark and complicated mob drama. A suspenseful thriller will bore me if Iâm looking for a fast paced spy novel.
not providing a summary literally just shows how you treat marginalized people and their representation as this token woke thing that you can show off like a shiny trophy. no, people arenât going to read something just because it has representation! thatâs not how it works!
Artist bio by Anna Daliza
It is still mindblowing to me that there are now so many queer fantasy stories that one can say âdo you know how many timesâ about it. But there are. Yay! Which means that we no longer have to read every single one to feel seen. We can choose. Yay! Which means that it is fair to ask âwhat, besides being queer, is the book about?â Yay!
there are more queer fantasy stories than you could read in a lifetime. youâve gotta have a way to narrow things down
personally, I donât want to read a summary before I read a story! summaries can be really spoilery! but I do want to know something that sets it apart from the countless ones Iâve already read
If the most interesting thing you have to say about a story is âitâs got gay people in itâ then that tells me that the story itself canât be very interesting. Like if thatâs the first and only thing you have to say, if thatâs the one thing that stood out to you so much that it doesnât occur to you to tell me what the bookâs actually about, then the book itself must be boring as shit.
âOH GOSH you should read Derinâs TTOU! It has Zero White People and Zero Straight People!â
Fucking pass, thanks.
âOH GOSH you should read Derinâs TTOU! Itâs about a Totally Normal Spaceship and its Completely Normal Crew in which nothing bad ever happens itâs so totally fucking normal I promise.â
Oh really. Totally normal, you say. You promise, you say. With wild untrustworthy eyes, even! I am intrigued.
Itâs also got chickens
self-love/self-hate
Drawin dump of my OC centaur alien things. Im still obsessed with drawing them... the bendy dragon anatomy is just so satisfying. This is genuinely just a completely self indulgent character design made purely for how fun it is for me to draw. Also aliens so the anatomy can be weird and off likeeee who cares
Last pic is an unrelated old orange scifi thing
#polturn I miss u and ur weird as shit art âŠ
my 10 holy grail pieces of writing advice for beginners
from an indie author who's published 4 books and written 20+, as well as 400k in fanfiction (who is also a professional beta reader who encounters the same issues in my clients' books over and over)
show don't tell is every bit as important as they say it is, no matter how sick you are of hearing about it. "the floor shifted beneath her feet" hits harder than "she felt sick with shock."
no head hopping. if you want to change pov mid scene, put a scene break. you can change it multiple times in the same scene! just put a break so your readers know you've changed pov.
if you have to infodump, do it through dialogue instead of exposition. your reader will feel like they're learning alongside the character, and it will flow naturally into your story.
never open your book with an exposition dump. instead, your opening scene should drop into the heart of the action with little to no context. raise questions to the reader and sprinkle in the answers bit by bit. let your reader discover the context slowly instead of holding their hand from the start. trust your reader; donn't overexplain the details. this is how you create a perfect hook.
every chapter should end on a cliffhanger. doesn't have to be major, can be as simple as ending a chapter mid conversation and picking it up immediately on the next one. tease your reader and make them need to turn the page.
every scene should subvert the character's expectations, as big as a plot twist or as small as a conversation having a surprising outcome. scenes that meet the character's expectations, such as a boring supply run, should be summarized.
arrive late and leave early to every scene. if you're character's at a party, open with them mid conversation instead of describing how they got dressed, left their house, arrived at the party, (because those things don't subvert their expectations). and when you're done with the reason for the scene is there, i.e. an important conversation, end it. once you've shown what you needed to show, get out, instead of describing your character commuting home (because it doesn't subvert expectations!)
epithets are the devil. "the blond man smiled--" you've lost me. use their name. use it often. don't be afraid of it. the reader won't get tired of it. it will serve you far better than epithets, especially if you have two people of the same pronouns interacting.
your character should always be working towards a goal, internal or external (i.e learning to love themself/killing the villain.) try to establish that goal as soon as possible in the reader's mind. the goal can change, the goal can evolve. as long as the reader knows the character isn't floating aimlessly through the world around them with no agency and no desire. that gets boring fast.
plan scenes that you know you'll have fun writing, instead of scenes that might seem cool in your head but you know you'll loathe every second of. besides the fact that your top priority in writing should be writing for only yourself and having fun, if you're just dragging through a scene you really hate, the scene will suffer for it, and readers can tell. the scenes i get the most praise on are always the scenes i had the most fun writing. an ideal outline shouldn't have parts that make you groan to look at. you'll thank yourself later.
happy writing :)
As someone who's also done some writing, this is all Extremely Sound Advice. :->
Here are a couple of point enhancements, and a rant about how a famous production torpedoed itself - IMO, anyway - by getting fixated on one of them
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(2) Head-hopping / POV change - think screen format and a change of camera angle. A "dinkus" (one or more asterisks, bullets or other symbol) between paragraphs is enough to indicate this, and you're good to go.
I do something similar in my own posts, including this one, though properly speaking the asterisks would be centred. I've done that with the next set, though since I've done the centring by inserting spaces, they may be well off-centre in other themes:
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(3) and (4) Treat info- and expo-dumps like pungent seasoning. Your recipe (story) needs them, but Not All In A Lump.
A good way to do this (the equivalent to "stir in gradually") is to combine them with other action - eating a meal, a walk-and-talk, watching some non-essential business like someone grooming a horse, washing a car, mowing a lawn etc., etc.
Intersperse the necessary dialogue of the info-expo with descriptions of and comments on the other business. If that business can be made relevant to the info-expo (comparisons, side-comments etc.) so much the better, but the point is to break up what can too easily be what TVTropes calls A Wall Of Text.
Thriller-writer Philip Kerr's later books are notorious for this: there are numerous instances where a character starts to talk ("Open Quotes") at the top of one page and - without interruption and sometimes even without paragraphs - doesn't finish ("Close Quotes") until halfway down the next.
Worse, the character is often reciting a chunk of background information from Kerr's research files which should have stayed there, or at the very least been pared down to its bare essentials as something a human being might say during a conversation with another human being.
Which Does Not Happen. :-P
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(8) about epithets, tackles something well-enough known that it has a TV Trope, "Burly Detective Syndrome". This has a cousin, "Said-Bookism", and no matter what you might have heard or indeed seen posted along with lists of sometimes-ridiculous alternatives on Tumblr, "said" is not dead.
It's alive, it's well and it's doing its job, which is to be the unobtrusive hook from which dialogue is hung. As I've said more than once, if a hook attracts more attention than the thing it's holding up, something's gone wrong.
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(10) If there's a scene that's likely to be fun to write, and another that's likely to be a slog, then if it works for your writing habits try to swap to and fro between the writing of them, with fun as a reward for slog.
If chop-and-change writing like this throws you off, then write the slog first and the fun after since once again, that's the reward, something to look forward to. Doing it the other way means you're looking at the slog to come, and that's not my idea of a reward.
Also, it can happen (personal experience) that after the refreshment of the fun, you'll come back to the first-draft slog bit and revise it into something better.
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I'd suggest (6) and (7) about subverting expectations - whether characters' or readers', and the one will become the other as reading happens - are something that need approached with care, and should always have a solid reason beyond (box tick) Not What They Expect.
Showing an unsubverted episode or incident - for instance the character's going-out preparations, or their commuting-home routine - is necessary, often more than once *, to establish Normality, so the character and reader are aware that This Time Is Different.
(* I've seen this done by cut-and-paste repeating the same description from one chapter into the next. It was imaginative and effective there, but could easily have tripped up on its own cleverness by seeming UNimaginative. YMMV.)
Why is the character including a concealed weapon in their party dress-up? Why is the character concerned they might be tailed during that commute? A comparison between ordinary and extraordinary is needed to show this doesn't happen every single time.
It's also a good way of racking up page-turning tension before invoking (5) that cliff-hanger chapter ending... :->
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And now the rant... :-p
Subverting expectations as a (box tick) action because it was So Effective That One Time is what transformed the final seasons of a once-popular fantasy adaptation into such a disappointment.
"Game of Thrones" is an excellent example of subverted expectations, such as the Red Wedding where - despite the way heroes are expected to escape at the last minute - a crapsack world like Westeros means bad things play all the way through to their bad conclusion.
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It's also an excellent example of how bad writing and a (box tick) attitude can lead to subversions that should have been left alone.
One instance is the way Jaime Lannister's redemption was abandoned "to subvert expectations" (box tick) complete with redemption-dismissive dialogue that was a slap in the face to several seasons of character development.
The lack of any hint or implication that such a thing was even possible suggests - to this viewer anyway - that it was no more than a (box tick) without additional thought as to whether it was logical in-story, as long as it generated yet another "Oh No, we didn't see that coming!" reaction from the audience.
(Of course nobody saw it coming, since neither plot requirement nor character development had any reason for it to happen.)
Sometimes a story should play out logically as a story because It's A Story, Not A Documentary. Terry Pratchett knew this and called it Narrativium, the element which drives stories. TV Tropes calls it The Theory of Narrative Causality.
Whatever the name, and however storytellers may tinker and tweak with it, they ignore its basic rules at their peril.
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Another example is Cersei's death.
When a writer as amiable as C.S. Lewis said:
"Let there be wicked kings and beheadings, battles and dungeons, giants and dragons, and let villains be soundly killed at the end..."
...just dropping a building on her without involving any of the many other High-Profile Characters she'd hurt throughout the series was ridiculous, especially with one of those High-Profile Characters already in the vicinity.
It may well have subverted expectations, but it was a lousy resolution.
It was also bad storytelling which abandoned at least one long-anticipated set-up (all too common in later GoT), and still vexes me since in a storyline filled with subversions for the sake of shock value, NOT subverting audience expectations but instead rewarding them with what they want (what they really, really want) becomes a subversion in itself.
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It's not hard to imagine more original and entertaining ways of bringing Cersei's pigeons home to roost, the most obvious being a fatal encounter with Arya-reFaced-as-Jaime.
This IMO would have been a much more satisfying use of her well-established Faceless Man sneakmurder skills than that no-setup leap from nowhere onto the Ice King, another Bad Guy built up to deserve a more spectacular termination than his you're-done-now-kthxbye demise.
Certainly after eight seasons of scheming, murder, cruelty - and infuriating smugness, oh yes, that too - having Cersei "soundly killed" should have involved something, anything, more conclusive, up-front and personal than a load of bricks landing on her head.
Subvert, yes. But not just for the sake of doing it.
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And as @writeblrfantasy concluded, no matter what way you're doing it, have fun in the doing of it...