take your time

♥

[senhor-do-escuro]

Titans, colossus of the ancient world.

[mooshs-crack-headcanons]

Do you guys ever think about how if Ares never did what he did that night that by the time of the first God of War Calliope would've been near or in her early twenties? Because I do.

I wonder what kind of person she would've become if she survived long enough to make it to adulthood.

[raiponces]

"Loki will go. Atreus...Atreus remains."

[luna-azzurra]

Tips for writing Hospital/medical scenes!!

Spent way too long researching this before posting lol. but please, if something's wrong, tell me. i'd rather be corrected than spread misinformation.

⋆˙⟡ Doctors don't run. Almost ever. Running in a hospital is a safety hazard, knocks into patients and equipment, and signals panic to everyone who sees it, which is the opposite of what hospital staff want to project. In a true code blue situation, there is urgency, but it looks more like extremely fast, purposeful walking and a kind of controlled chaos where everyone knows their role. The sprinting attending dramatically sliding to a bedside is a TV invention.

⋆˙⟡ "She flatlined" does not mean what you think it means. A flatline (a straight line on a heart monitor) means asystole: the heart has stopped producing electrical activity. You don't shock a flatline. CPR, yes. Epinephrine, yes. But the dramatic defibrillator moment everyone loves? That's for ventricular fibrillation, which looks like chaotic scribble on the monitor, not a flat line. Shocking a flatline in real life does nothing. Your doctor character would know this. Your nurse would know this. Your paramedic absolutely knows this.

⋆˙⟡ Medical professionals have a dark, dry humor and it's a coping mechanism, not a character flaw. People who work in high-stress, high-death environments often develop humor that sounds brutal to outsiders. BUT It's not callousness, it's a pressure valve.

⋆˙⟡ Hospitals are obscenely loud and smell very specific. Writers default to clinical silence and "the sharp smell of antiseptic." Real hospitals smell like a combination of cleaning fluid, stale air, cafeteria food leaking through vents, and occasionally something you don't want to identify. They're also constantly noisy. Intercoms, rolling carts, the beep of a dozen different monitors all slightly out of sync with each other, people talking too loudly, visitors crying in hallways. The silence only comes in very specific moments, and it's jarring precisely because it's unusual.

⋆˙⟡ Waking up from a coma is not waking up from a nap. Someone who has been unconscious for more than a day or two will have profound muscle weakness, and they often can't hold their own head up. They'll be confused, possibly for days. They won't be able to speak normally if they had a breathing tube, because their throat will be raw and damaged. They won't recognize people immediately and then have a tearful reunion five minutes later. The brain coming back online is slow, strange, and disorienting in ways that aren't photogenic. Patients frequently don't remember the first several days of recovery at all.

⋆˙⟡ There's a specific hierarchy and it matters to the people inside it. Attending physician, fellow, resident, intern, these are not interchangeable words for "doctor." An intern on their third week is legally a doctor and can barely order a sandwich without second-guessing themselves. An attending has full clinical responsibility and has seen everything. A fellow is post-residency, specializing, somewhere in between. Nurses operate in their own parallel hierarchy that intersects with but is absolutely not subordinate to doctors in the way TV suggests. Experienced nurses regularly catch errors that residents make, and both parties know it.

⋆˙⟡ Patients are almost never alone in their room doing emotional things. Nurses check vitals. Phlebotomists come for blood draws at ungodly hours. Housekeeping rolls in. A different doctor than the one managing the case comes to consult. Meals appear. An orderly needs to take them to imaging. The room itself is rarely private for long. The idea of a character lying in a hospital bed having a long, uninterrupted emotional conversation is something that mostly happens in fiction. In reality, someone knocks and enters approximately every 40 minutes, sometimes more.

⋆˙⟡ Paperwork and insurance are a constant, grinding presence. Discharge doesn't happen because the patient is better. It happens when it's approved, when a bed is needed, when insurance says so. Patients are sometimes sent home earlier than feels safe because the system demands it. Doctors spend an enormous, demoralizing amount of time on documentation, estimates suggest 2 hours of paperwork for every hour of patient care. The administrative weight of hospital medicine is a slow-burn horror that almost no fiction touches, which means the moment you do, it feels startlingly real.

⋆˙⟡ Prognosis conversations are never one clean scene. When a doctor tells a family that someone is dying, there isn't a single moment of devastation and then forward motion. People mishear. They ask the same question rephrased five different ways hoping for a different answer. They argue with the information. Someone pulls out their phone to Google the diagnosis. Someone else goes completely silent and leaves the room. A week later, one family member still believes recovery is possible and another has accepted the death entirely, and they haven't been able to talk about it. Information lands at different speeds for different people and the gap between them is its own source of suffering.

[quotefeeling]

“Who you were, who you are, and who you will be are three different people.”

— Unknown

[thequotespot]

“i think the hardest lesson i had to learn was that effort doesn’t always get returned. you can give your time, your energy, your patience, and still end up feeling like it wasn’t enough. and for a while, i thought that meant something was wrong with me. but the truth is, some people just don’t know how to value what they’re given. and learning that didn’t make me bitter, it just made me more careful with who i give that effort to.”

[thoughtkick]

“Everyone who terrifies you is sixty-five percent water. And everyone you love is made of stardust, and I know sometimes you cannot even breathe deeply, and the night sky is no home, and you have cried yourself to sleep enough times that you are down to your last two percent, but nothing is infinite, not even loss. You are made of the sea and the stars, and one day you are going to find yourself again.”

— Finn Butler, From The Wreckage

[returnofthereylos]

the famous thigh grab

Yasss....

[limeshade]

In 2017, American film researchers recovered “Something Good – Negro Kiss,” a short film depicting a playful kiss between a Black couple which had not seen the light of day for more than a century. A long-forgotten artifact from the earliest years of American film, the sweet, humanizing vignette, produced by the Selig Polyscope Company, makes a startling contrast to the overwhelmingly racist and blackface-ridden contempory portrayals of African Americans. Four years later in 2021, archivists in Norway, halfway across the world, identified a sister short in their collections—an extended alternate cut which reveals more of Chicago stage performers Gertie Brown and Saint Suttle’s vaudeville-like routine, a theatrical, hot-and-cold romantic dynamic between two lovers which parodies the popular and controversial short “The Kiss” (1896). Both films, which had previously been lost, were known from entries in old motion picture catalogs but had been assumed to be era-typical, anti-Black “race films” until their rediscovery in the 21st century. Together with its more famous sibling, which has since been inducted into the Library of Congress’ National Film Registry, this alternate version of “Something Good” represents the first-known instance of Black intimacy ever captured on-screen.

SOMETHING GOOD [Alternate Version] (1898) Directed by William Selig

[quotefeeling]

“If you change the way you look at things, the things you look at will change.”

— Wayne Dyer

[charbroiledchicken-deactivated2]

if it's good enough for you, then it deserves to be made. don't let anyone else decide if your story is worth it or not.

[formerlyluckymanticore]

Reblog if you will never. Ever. Use AI in your writing.

[pantserspen]

How to write HATEABLE Villains

1. Give them power over something the reader cares about A villain who can’t actually hurt anything important is just annoying. Give them control over a person, a system, a truth, or a resource the protagonist and reader are emotionally invested in.

2. Make them punch down, not up Readers hate villains who abuse people with less power. Targeting children, the vulnerable, the innocent, or the desperate instantly signals moral rot.

3. Let them feel justified The most infuriating villains believe they’re right. They don’t see themselves as cruel, they see themselves as necessary, logical, or “doing what must be done.”

4. Make them calm while doing terrible things Cold politeness, soft voices, or pleasant manners paired with cruelty feels far more disturbing than loud rage. It creates emotional whiplash that sticks.

5. Give them small, petty cruelty on top of big evil Genocide is abstract. Stealing someone’s last comfort, humiliating someone publicly, or enjoying another person’s fear feels personal — and that’s what makes readers angry.

6. Let them win more than feels fair A villain becomes hateable when they keep getting away with it. Let them succeed. Let them walk free. Let them hurt people without consequence — for a while.

7. Deny the reader catharsis Cut away before justice. Interrupt revenge. Delay consequences. The lack of emotional release builds frustration that gets attached directly to the villain.

8. Make them emotionally invasive They don’t just hurt bodies — they manipulate, gaslight, shame, isolate, and reframe reality. They make the protagonist doubt themselves.

9. Let them corrupt something good They twist love into control, faith into obedience, loyalty into fear, or law into cruelty. Watching something pure rot because of them creates hatred fast.

10. Don’t soften them with too much sympathy A tragic backstory can explain behavior, but if you want them hateable, don’t excuse it. Let the story clearly show that their pain does not justify their harm.

[burntcopper]

things english speakers know, but don’t know we know.

[windycityteacher-deactivated202]

WOAH WHAT?

[ice-light-red-deactivated201611]

That is profound. I noticed this by accident when asked about adjectives by a Japanese student. She translated something from Japanese like “Brown big cat” and I corrected her. When she asked me why, I bluescreened.

[moved--306389]

What the fuck, English isn’t even my first language and yet I picked up on that. How the fuck. What the fuck.

[exomoon]

Reasoning: It Just Sounds Right

[arkthepieking]

Oooh, don’t like that. Nope, I do not even like that a little bit.  That’s parting the veil and looking at some forbidden fucking knowledge there.

[canthinkofaurl-deactivated20221]

How did I even learn this language wtf

[titaniumelemental]

I had to read “brown big cat” like three times before my brain stopped interpreting it as “big brown cat”

[arjan-de-lumens]

I’m kinda reading “brown big cat” as “brown (big cat)”, that is, a “big cat” - like a tiger or lion or other felid of similar size - that happens to be brown. “Big brown cat”, on the other hand, sounds more like a brown cat that’s just a bit bigger than a regular housecat - like a bobcat or a maine coon cat or something like that.

[the-real-seebs]

yeah, a brown big cat is almost certainly a puma. a big brown cat is probably a maine coon.

[whetstonefires]

yeah, if you put the adjectives out of order you wind up implying a compound noun, which is presumably why we have this rule; we stripped out so much inflection over the centuries word order now dictates a huge amount of our grammar

[delphinidin4]

Just looked up why we do this and one of the first lines in this article is, “Adjectives are where the elves of language both cheat and illumine reality.” so I know it’s a good article.

Things this article has taught me:

This same order of adjectives more or less applies to languages around the world.  “It’s possible that these elements of universal grammar clarify our thought in some way,” says Barbara Partee, a professor emeritus of linguistics and philosophy at the University of Massachusetts-Amherst. Yet when the human race tacitly decided that shape words go before color words go before origin words, it left no record of its rationale.

One theory is that the more specific term always falls closer to the noun. But that doesn’t explain everything in adjective order.

Another theory is that as you get closer to the noun, you encounter adjectives that denote more innate properties. In general, nouns pick out the type of thing we’re talking about, and adjectives describe it,” Partee told me. She observes that the modifiers most likely to sit right next to nouns are the ones most inclined to serve as nouns in different contexts: Rubber duck. Stone wall.

Rules are made to be broken. Switching up the order of adjectives allows you to redistribute emphasis. (If you wish to buy the black small purse, not the gray one, for instance, you can communicate your priorities by placing color before size).  Scrambling the order of adjectives also helps authors achieve a sense of spontaneity, of improvising as they go. Wolfe discovers such a rhythm, a feeling-his-way quality, when he discusses his childhood recollection of “brown tired autumn earth” and a “flat moist plug of apple tobacco.”

Brain scans have discovered that your brain has to work harder to read adjectives in the “wrong” order.

TL;DR: No one knows why we do this adjective thing but it’s pretty hardwired in.

[cuzosu-blog]

@deadcatwithaflamethrower Linguistics tidbit.

[thecsjones]

Since it’s never credited, this is from Mark Forsyth’s The Elements of Eloquence, and just one reason why I think it’s required reading for anyone interested in prosecraft. Every page is this useful.

[creativepromptsforwriting]

How to Create an Atmosphere: Haunted House

Sight

flickering candlelight or dim, uneven lighting

cobwebs draped across corners and chandeliers

peeling wallpaper revealing dark stains beneath

broken mirrors reflecting distorted shapes

dusty furniture covered in white sheets

portraits with eyes that seem to follow them

a staircase descending into darkness

doors slightly ajar with shadows beyond

antique dolls or toys abandoned mid-play

a rocking chair slowly moving on its own

faded writing scrawled on the walls

windows boarded up or fogged with condensation

Hearing

distant creaking of floorboards with no visible source

whispers that vanish when the visitors try to listen

the slow drip of water echoing from somewhere unseen

sudden bangs or thuds from upstairs

wind moaning through cracks in the walls

faint music from an old music box

the rustle of something moving just out of sight

footsteps that stop when the visitor stops

a door slamming shut in the distance

the low hum of dread, like silence holding its breath

Touch

cold, clammy air that clings to their skin

the brittle texture of old paper or fabric

a sudden chill when passing through certain spots

sticky cobwebs brushing their face

uneven floorboards that shift underfoot

the roughness of stone walls or splintered wood

a doorknob that feels unnaturally warm

goosebumps rising without explanation

the weight of something unseen pressing on their shoulder

Smell

mildew and rot from long-neglected corners

the faint scent of smoke or burning wood

old perfume lingering in the air

damp earth and decaying leaves

the metallic tang of blood

sour, musty air trapped for decades

a whiff of something sweet that quickly turns rancid

Taste

the dryness of fear in their mouth

a bitter taste rising from the back of their throat

the coppery tang of adrenaline

stale air that leaves a sour aftertaste

taste of blood from biting their tongue while getting scared

More: How to create an atmosphere

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[sourdough-seal]

"why did you stop writing your story!!! never stop writing!!!!!!!!!!!" well you see the character had to drive one mile to a new location and the sentence "she got into the car" was quite simply my undoing

[juleskelleybooks]

I feel this on a deep and personal level and I know you're making a joke but I do also want to take this opportunity to pass along the biggest small piece of advice I've ever gotten: You don't have to explain every step of how something happened unless something unusual/important happens along the way.

You can simply cut to the next scene when she's at the location, without explaining how she got there. People will fill that in. Now, if something important happens in the car on the way there, then sure, mention it. But if she's just driving? Nah. Delete that sentence, pop in a scene break, and keep writing.

Be free.

[dearinnerchild]

cozy fall weather <3