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Xuebing Du
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Alisa U Zemlji Chuda
ellievsbear
Lint Roller? I Barely Know Her
Cosmic Funnies
Jules of Nature
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Cosimo Galluzzi
shark vs the universe
Love Begins
Monterey Bay Aquarium
tannertan36
RMH
Claire Keane
we're not kids anymore.
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@mimagfan
I am obsessed with the English opening for Skip Beat!!! Like I genuinely get goosebumps when I hear it and I’d give anything to hear it for the first time again 🥹
No like I miss them so bad I want to cry. I would sign my life away to watch this for the first time again!
I really love the English version of the opening
Can I offer a reframe of the common "write the shitty first draft" advice? I like that advice a lot but I think the way it's often presented bounces off a lot of people and activates shit that does not help writing happen.
I think of the first draft as an armature.
If I was making a beautiful bronze statue, I would need to make a clay model first. And, depending on the shape, before I even got out my clay I would need to get some good thick wire and create a basic shape for the clay to adhere to, so it doesn't all fall down. Once I have this essential 3D wire frame, I can start building and subtracting and refining.
But if I try to refine on just clay, it won't have enough of a core to hold it up. I'll sculpt a beautiful hand only to have the whole arm fall off and go smush.
The armature isn't the sculpture. It is the frame you build the sculpture around.
The first draft isn't the novel, it's a sort-of-novel-shaped thing that will hold up everything you build and beautify later.
Write the armature draft. Try to make it a good armature, instead of trying to make it a good novel before it's ready.
I've had Golden on repeat for the past two months, but just getting around to some kpop demon hunters inspired fanart. The Love Me girls as HUNTR/X
OH MY GOD. YESSSS!!!
This.
People reacting to Skip Beat and turning into new fans after all these years makes me so happy. Watching people fall in love with this manga and anime, and laugh about it, is the best feeling i could ever ask for.
Also, there is a new petition going around. But this time, while new, it is happening on change.org. And if you didn't know, it is the petition site that managed to convince producers to turn solo leveling webtoon into an anime. Without even mentioning skip beat has a lot more material they could go through, or that reboots and readaptations are very, very popular these days. Since i think it is worth a shot, i signed it. Hope oldie fans will still have the heart to try and to rekindle their faith. This manga deserves the beauty of colours and animation. And for many of us is such a fond story and joy.
Shameless promotion.
For my main skip beat fanfic. Warning still on-going. But there are 139 chapters so you have time before running out. Because there is no cure for skip beat love. I hope for anyone that might pick it up, you will enjoy it. Double warning, it is a slow-burn. I know, I know, the manga is already doing it, why am I inflicting this to us all? I have my reasons. One of them might be I was taught too well by the author of the manga, lol.
Anyway, enjoy and kisses. Mimagfan. 😘😘💕😊💕
(I'm also on Archive of our Own but I haven't crossed post until chapter 139 there, only up chapter 80.)
Can you spare a minute to help this campaign?
Please sign and share
KyokoxRen Week 2023!
It's time for a KyokoxRen Shipweek 2023! It's an inconsistent fandom hobby, but why not celebrate two decades of this delightful manga? The point is the creation of material celebrating our favorite pair.
When: June 12-18
What: Making fic, or art, or gifs and memes!
The Skip Beat Discord helped narrow down the prompts and here were the finals:
PAIRED word prompts, in which people can pick one of the words, or both.
12th: Never/Always 13th: Trick/Truth 14th: Moonlight/Sunshine 15th: Found/Lost 16th: Change/Same 17th: Belong/Alienated 18th: Free Day
Creators, hopefully this will be lovely inspiration! Here is a FAQ for anything this post doesn't cover. @fyeahkyokoren please reblog this, and maybe the FAQ you've made in the past just to be safe.
What is Kyoko/Ren Week? Our very own shipping week for the Kyoko/Ren pairing! What’s a shipping week, you ask? It’s when fans get together
I know I’ve fallen off with this as life caught up with me, but I’m so so happy to see it picked up again! Thank you @artloife for taking the initiative and putting in so much work! I’m so excited to see what everyone comes up with.
Almost time, folks!!!
TWO DAYS REMAIN! :D Exited to see the results. 😆
Thank you for organising it Artloife
KyokoxRen Week 2023!
It's time for a KyokxRen Shipweek 2023! It's an inconsistent fandom hobby, but why not celebrate two decades of this delightful manga? The point is the creation of material celebrating our favorite pair.
When: June 12-18
What: Making fic, or art, or gifs and memes!
The Skip Beat Discord helped narrow down the prompts and here were the finals:
PAIRED word prompts, in which people can pick one of the words, or both.
12th: Never/Always 13th: Trick/Truth 14th: Moonlight/Sunshine 15th: Found/Lost 16th: Change/Same 17th: Belong/Alienated 18th: Free Day
Creators, hopefully this will be lovely inspiration! Here is a FAQ for anything this post doesn't cover. @fyeahkyokoren please reblog this, and maybe the FAQ you've made in the past just to be safe.
What is Kyoko/Ren Week? Our very own shipping week for the Kyoko/Ren pairing! What’s a shipping week, you ask? It’s when fans get together
I'm so glad kyoko/Ren week is back and hoping I will be able to participate this year.
Thank you artloife!
Boring old werewolf instincts:
Sexual jealousy
Constant aggression
Rigid hierarchy
Must win sports
Homophobia And Sexism Is Normal™
Eat people
Cool new werewolf instincts:
There is no five second rule
Corvids are friends
Hang out as a pack
Karaoke
Gotta pee
Also consider:
Separation anxiety
Unconditional love and loyalty
Being able to sleep in almost any situation or position
Irresistible urge to chase squirrels and rabbits
Hating the vacuum cleaner
Wanting to do everything with friends
Loudly and repeatedly announcing to housemates that someone is at the door
Long, shouted conversations to other werewolves across the neighborhood (bonus points at 2am)
Taking advantage of any and all free food
Werewolf-vampire solidarity
Fighting any animal that trespasses into the backyard
Boundless energy
Too much energy
Eating out of the trash if it smells tasty
Being bad at sports because you don’t want to let anyone else take the ball from you. Then destroying the ball in front of everyone because you want to make a point
Trying to fight things 10x your size like a fucking idiot
Being unable to hold a grudge for more than a few hours
Trying to make people feel bad for you over mundane things that aren’t actually that bad. And somehow succeeding.
Snoring
Needing to try a bit of your friends’ food, even if you’ve tried it 5645674 times before and have never once liked it
Getting way too friendly with random strangers
Being in a love-hate relationship with water
Digging. For no reason.
Thinking you’re a badass despite being a hyperactive ball of emotions and hedonism
Loud sobbing while pressing yourself up against the sliding glass door at your friends who locked you out because they were tired of your bullshit and wanted some goddamn peace and quiet
Okay this one is a gem:
“ Loudly and repeatedly announcing to housemates that someone is at the door “
No alpha/beta/omega werewolves because science figured out LONG ago that that concept is, for wolves, incorrect.
@margoteve @followmetoyourdoom
So most of these are very dog oriented, which makes sense to me, since dogs are just wolves that have co-evolved with us for thousands and thousands of years BUT I wanted to add a few that are wild wolf based:
Multigenerational households!
Kids get really excited when someone comes home with groceries
“I can HELP put away the food!” “Oh, and have you whisk away the ice cream like last week? I’m fine, dear.”
Love to travel and follow food trends
Mostly very social and must have roommates/family/significant other/kids/friends around
However, not uncommon to travel alone for periods of time, especially after leaving home
Big friendly communal meals with lots of ritual around who gets served in what order
“Let grandma take her pick of the turkey first. It’s respectful, and she won’t take kindly to you cutting the line.”
Full pantries, stocking up on basics, the kind of people who always have extra oatmeal, or batteries, or a jump cable
Can hold conversations using body language and eye contact without saying a word
Cuddlers, especially with the social group
Yelling to get everyone to gather, and phone chains for anyone who lives further away
Lots of singing, the pack has a bunch of favorite songs that everyone knows by heart, and some may be song writers
“Can you smell this? Does this smell weird? Does this smell good?”
Lots of candles and incense with unusual scents
Passing houses and farms and land down through generations
Love home renovation
Communal child care and sometimes communal nursing
Kids are all really into wrestling and being outside
When someone is ready to leave the household, the younger they leave the further they tend to travel. Someone who leaves at 18 might go to another country, but someone who leaves at 26 might just move a town away.
Whether someone moves far or close to home, it’s not unusual to move back in at home a few times before settling down
“You know the futon is always open for you. Your cousins are in your old bedroom, but you’re always welcome!”
Kinda grumpy about neighbors pushing property boundaries
“Why do they have to let the damn mulberry tree hang over OUR driveway?”
Good endurance runners
Late walks at night, naps in the middle of the day
Really playful, especially with kids
Lots of rough housing and board game nights!
I’ve been looking for the one with the wolf-aspects added for a while and I found it again! Reblogging for A+ extra wolfy content!
@theosartisticthematics
I love love love everything about this
@dserpentes
https://tapas.io/episode/1559785
@leaking-fountain-pen
FINALLY GOOD WEREWOLF CONTENT
It is good werewolf content but let say there is no way the ones proposing those didn't read Mercy Thompson there is just no way! The references, the references!
... Kinda grumpy about neighbors pushing properties bomdaries, comrades with vampires, trying to fight thing 10x the size of you like a fucking idiot, having pack songs... Am i the only seeing so much inspiration coming from Patricia briggs? 😂😂😂😂😂😹
7 Point Story Structure Explained in 5 Minutes
Hi there! Today we are doing a basic introduction to and breakdown of 7 Point Story Structure–all in ~5 minutes.
This is a great story structure to learn when you already know the basic, basic story structure:
And are ready to go a little deeper, without doing a deep dive into more complex approaches like The Hero’s Journey or Save the Cat! (Or other, more complicated renditions of 7 Point Story Structure.)
And a lot of best-selling writers stick to this structure alone.
It doesn’t seem like anyone knows definitively where this structure originated. Some say here. Some say there. Dan Wells, a best-selling writer, is sort of famous for (and sometimes misattributed for having come up with) it, but he says he learned it from a role-playing guide book, but I’ve also seen it in other places. It’s used a lot in screenwriting.
It’s also worth noting that both Larry Brooks and K. M. Weiland use a rendition of this structure as well.
While some, like Wells, use the term “Plot Turn,” others, like Brooks and Weiland, use the term “Plot Point.” (You know how writing terms are–not regulated 🙄) So please note that they mean the same thing, should you listen to people talk about this structure. So let’s get to it.
7 Point Story Structure
Hook –This is the starting of the story. It includes the setup, which grounds the audience. Who is this story about? Where is this story taking place? Everything you need before problems really take a turn.
Here, the protagonist will start in a state that is the opposite of where he ends up (typically). Plot Point 1 – At Plot Point 1, something enters the story that challenges the established normal and leads the protagonist to go a new direction. This shifts the story from the Hook section and gets it on course to hit the Resolution at the end.
Pinch Point 1 – A pinch point is what it sounds like. It’s a key moment where the antagonistic forces apply pressure to (“pinch”) the protagonist. It reveals to the audience that the antagonist is a legit force and foe. Typically, this pressure forces the protagonist to take further action. It forces her to step up and try to solve a problem. Midpoint – The midpoint is the moment the protagonist decides to move from responding to acting. Since Plot Point 1, he’s been responding to what’s happening. Here, an event leads the protagonist to become more proactive at defeating the antagonist. This happens at the middle of the story. Pinch Point 2 – Another pinch from antagonistic forces that is worse or more dangerous than the first. Now or eventually it leads to a moment where it feels like all is lost. Plot Point 2 – This is the final turn to the end. Here, the protagonist gains something significant that will help with the climax. He rushes to defeat the antagonistic forces.
Resolution – This is the climax of the story, where the protagonist achieves (or fails) in her goals. She usually ends the story in a state opposite of the Hook.
A Note on Ambiguity Concerning Plot Points 1 & 2
Story structure can be more complex than this (as I mentioned), and as a result, you may see places where Plot Point 1 and Plot Point 2 are defined a little differently by writers. For clarity, I’m going to break this down a touch further.
Plot Point 1 Ambiguity:
After the story’s setup, something unexpected enters the picture that disrupts what’s “normal.” You may have heard this called the “inciting incident,” a “catalyst,” or the “Call to Adventure.”
This moment eventually leads the protagonist to choose a new path forward.
In some cases, this happens back to back. Prim has her name called out, and almost immediately after, Katniss volunteers.
In other stories, there may be entire scenes between those moments. In The Hobbit, Gandalf comes and invites Bilbo to go on an adventure, but Bilbo doesn’t actually choose to go on the adventure until quite a bit later.
I have heard some writers refer to the former as Plot Point 1, and others refer to the latter as Plot Point 1.
What matters is that you understand that something enters the story and disrupts the normal, which leads the protagonist to choose a new path forward. This may happen back to back, or it may be spread out.
In some approaches, Plot Point 1 is seen as the moment where the protagonist definitively moves away from the established normal–when there is no turning back–and begins the new journey into the main conflict.
Call them what you want, but understand these different moments.
Plot Point 2 Ambiguity:
Likewise, at the end of the middle, two things usually happen:
The protagonist has an “all is lost” moment, where after a big loss, it seems like there is no way they can succeed.
However, soon after this, they gain something that empowers them, and that allows them to move forward toward the climax.
Some writers call the former Plot Point 2, while others call the latter Plot Point 2.
What matters is that you understand that the protagonist suffers a painful loss before gaining something empowering (usually).
Example: His Dark Materials
Hook – The story starts in Oxford, England, with Lyra who has a daemon named Pantalaimon. We are introduced to her world, which is a parallel of our own.
Plot Point 1 – Mrs. Coulter arrives to take Lyra to live with her in London. After Roger is kidnapped, Lyra chooses to go with Mrs. Coulter, in the hopes she’ll help her find Roger. (Worth noting is that Lyra is also given the alethiometer and told it was her uncle’s)
Pinch Point 1 – Lyra discovers that Mrs. Coulter is actually the head of the General Oblation Board (a group linked to Roger’s kidnapping), so she runs away.
Midpoint – After gaining more allies (Iorek and Lee Scoresby), Lyra and the Gyptians are now more proactive on their quest to rescue those kidnapped (and for Lyra to reunite with her uncle).
Pinch Point 2 – Lyra is captured by villains and sent to go through intercision.
Plot Point 2 – When it seems like Lyra has no escape from intercision, she is rescued by Mrs. Coulter, which then allows her to rescue the other children, including Roger, who accompanies her on her journey to find her “uncle” (she is empowered by freedom and an ally).
Resolution – Lyra helps Iorek regain his place as rightful king. She takes the alethiometer to Lord Asriel (her “uncle”), who later uses Roger for an experiment that opens a gateway to another world, which Lyra chooses to go through.
And that makes up our five-minute explanation.
If you want to see the pros and cons of this structure, continue on.
Afficher davantage
omfg that is just too adorable
This kitteh having a little halloween adventure is one of my favourite posts of all time :)
Every fall like clockwork this photo set pops up and we all must reblog it
You know it’s getting close to Halloween when you see it appear :D
my heart….
Oh little baby kitty ❤️
You can buy a mini comic of this from the artist!
https://www.heatherfranzen.com/shop/scaredycat
How to Focus a Novel: 3 Key Things
Ever take a look at your story and notice it’s wandering here, there, over the river, through the woods, and all the way to grandmother’s house?
Whether you are brainstorming, writing, or revising, it can be difficult to discern what belongs in your story and what belongs on the cutting floor–what is a good, appropriate idea, and what is a less-than-good, not-quite-appropriate idea.
Unless you know about the holy trinity of writing. What is the holy trinity of writing, you ask?
Well, nothing …
EXCEPT THE THREE KEY ELEMENTS THAT MAKE A STORY EXCELLENT.
(Spoiler: I’m the only one who calls them “the holy trinity of writing,” so don’t use that term elsewhere unless you want strange looks (which, let’s be honest, sometimes makes life more exciting 😉).)
With these three elements, you should–theoretically–be able to evaluate what content belongs in your manuscript and what belongs in the recycle bin (oof, so harsh). Have I always thought of these three elements as the holy trinity of writing? Definitely not. In fact, years ago, I would have scratched my head at one of them. But as I’ve grown and gained experience, I have found this fact to be largely true:
Everything* in the story must connect back into one of these three components.
*Well, “everything”–you know how writing “rules” are. Character (arc) Plot (cause and effect events that make up “what happens”) Theme (what character arc + plot is teaching us about life)
99% of what you write should be touching and progressing one of these things, and often, all three.
Really? Really. When you have and know all three components of your story, you are able to brainstorm better or evaluate better. You are less likely to wander down roads that lead to hundreds of pages needing to be cut. Knowing each of these three things will help you refine everything you write. The good news is, you don’t have to know everything about each of these topics. (Well, at least not until the end, perhaps (though some writers may even argue against that).)
What You Actually Need to Know About Character
Often newer writers will write scenes that don’t actually progress the story. When asked why the scene is there, they may point to the fact that it provides characterization. But just providing characterization usually isn’t enough. Don’t confuse characterization with character. Characterization is often surface details and, sometimes, irrelevant personality traits. While that has a place, the most important thing about your protagonist is how he or she changes (or … doesn’t change) and the way they do (or … don’t …). The character arc (or lack thereof) is the most important part of character when crafting a story. If you are writing a protagonist that “changes,” he or she will start with a misbelief, flaw, or inaccurate worldview that will do more or less a 180 by the end of the story.
If you are writing a protagonist that is “steadfast,” he or she will start with a belief, trait, or worldview that will then be tested through the story. In the end, he or she will stay true to that belief/trait/worldview, regardless of the cost. Typically, a steadfast character will grow by degree, not a 180 flip. (Though it is true that some steadfast protagonists may not grow at all.) As the plot progresses, it will need to illustrate how your character changes or holds steadfast.
Because of this, one of the most critical things to know about your protagonist, is how he is at the beginning of the story vs. how he is at the end of the story, and which belief/trait/worldview is being challenged or called into question. Even if you do not know how the story ends yet, you should probably have at least an idea of what the character is like in the beginning–which will give you a clue as to what aspect of him is going to be challenged in the story. If a scene or idea feeds into or illustrates that, then it’s a better than one that does not. If a scene does not illustrate that, then its significance may be called into question. However, as long as the scene hits one of the other components, it has a chance of being safe.
What You Actually Need to Know About Plot
Plot is a series of cause and effect events, at least to some degree. Sure, there are exceptions, but almost none.
Once you understand that plot is cause and effect, you’ll be able to avoid random, irrelevant events that can make the story convoluted. Every event must somehow connect into another event–even if that is strictly based on how the character arcs or what the theme is saying.
Sometimes you may come up with a great idea for an event–you can use it as long as you can find a way to make it connect significantly. (And what makes something significant is its cause-and-effect potential.)
To put simply, plot isn’t just random good ideas. It’s events that feed into one another.
To start a story, you at least need a premise.
When Fa Mulan learns her weakened father must go to war to fight the invading Huns, she secretly disguises herself as a man to take his place.
The premise of Mulan already suggests a series of connected events.
Because her father is called to war, Mulan goes in his place.
Now the events in the story must build off that concept. They can build in surprising ways. But they need to somehow connect.
Afficher davantage
How to Focus a Novel: 3 Key Things
Ever take a look at your story and notice it’s wandering here, there, over the river, through the woods, and all the way to grandmother’s house?
Whether you are brainstorming, writing, or revising, it can be difficult to discern what belongs in your story and what belongs on the cutting floor–what is a good, appropriate idea, and what is a less-than-good, not-quite-appropriate idea.
Unless you know about the holy trinity of writing. What is the holy trinity of writing, you ask?
Well, nothing …
EXCEPT THE THREE KEY ELEMENTS THAT MAKE A STORY EXCELLENT.
(Spoiler: I’m the only one who calls them “the holy trinity of writing,” so don’t use that term elsewhere unless you want strange looks (which, let’s be honest, sometimes makes life more exciting 😉).)
With these three elements, you should–theoretically–be able to evaluate what content belongs in your manuscript and what belongs in the recycle bin (oof, so harsh). Have I always thought of these three elements as the holy trinity of writing? Definitely not. In fact, years ago, I would have scratched my head at one of them. But as I’ve grown and gained experience, I have found this fact to be largely true:
Everything* in the story must connect back into one of these three components.
*Well, “everything”–you know how writing “rules” are. Character (arc) Plot (cause and effect events that make up “what happens”) Theme (what character arc + plot is teaching us about life)
99% of what you write should be touching and progressing one of these things, and often, all three.
Really? Really. When you have and know all three components of your story, you are able to brainstorm better or evaluate better. You are less likely to wander down roads that lead to hundreds of pages needing to be cut. Knowing each of these three things will help you refine everything you write. The good news is, you don’t have to know everything about each of these topics. (Well, at least not until the end, perhaps (though some writers may even argue against that).)
What You Actually Need to Know About Character
Often newer writers will write scenes that don’t actually progress the story. When asked why the scene is there, they may point to the fact that it provides characterization. But just providing characterization usually isn’t enough. Don’t confuse characterization with character. Characterization is often surface details and, sometimes, irrelevant personality traits. While that has a place, the most important thing about your protagonist is how he or she changes (or … doesn’t change) and the way they do (or … don’t …). The character arc (or lack thereof) is the most important part of character when crafting a story. If you are writing a protagonist that “changes,” he or she will start with a misbelief, flaw, or inaccurate worldview that will do more or less a 180 by the end of the story.
If you are writing a protagonist that is “steadfast,” he or she will start with a belief, trait, or worldview that will then be tested through the story. In the end, he or she will stay true to that belief/trait/worldview, regardless of the cost. Typically, a steadfast character will grow by degree, not a 180 flip. (Though it is true that some steadfast protagonists may not grow at all.) As the plot progresses, it will need to illustrate how your character changes or holds steadfast.
Because of this, one of the most critical things to know about your protagonist, is how he is at the beginning of the story vs. how he is at the end of the story, and which belief/trait/worldview is being challenged or called into question. Even if you do not know how the story ends yet, you should probably have at least an idea of what the character is like in the beginning–which will give you a clue as to what aspect of him is going to be challenged in the story. If a scene or idea feeds into or illustrates that, then it’s a better than one that does not. If a scene does not illustrate that, then its significance may be called into question. However, as long as the scene hits one of the other components, it has a chance of being safe.
What You Actually Need to Know About Plot
Plot is a series of cause and effect events, at least to some degree. Sure, there are exceptions, but almost none.
Once you understand that plot is cause and effect, you’ll be able to avoid random, irrelevant events that can make the story convoluted. Every event must somehow connect into another event–even if that is strictly based on how the character arcs or what the theme is saying.
Sometimes you may come up with a great idea for an event–you can use it as long as you can find a way to make it connect significantly. (And what makes something significant is its cause-and-effect potential.)
To put simply, plot isn’t just random good ideas. It’s events that feed into one another.
To start a story, you at least need a premise.
When Fa Mulan learns her weakened father must go to war to fight the invading Huns, she secretly disguises herself as a man to take his place.
The premise of Mulan already suggests a series of connected events.
Because her father is called to war, Mulan goes in his place.
Now the events in the story must build off that concept. They can build in surprising ways. But they need to somehow connect.
Afficher davantage
HEY!!
if youre an artist who cant afford photoshop definitely DO NOT go to my google drive to pirate the program, that would be so bad!!!
do NOT click this link right here and DO NOT enter the password ghostE2008 when it asks for it!!! thatd be super bad!!
cultural posturing elves with superiority complexes are way out, now we’re doing elves who literally cannot stop adopting other species and imparting elvish wisdom on them
because elves have a very low fertility rate to counterbalance their remarkable longevity, to the point that childbearing elves are lucky if they’re able to get pregnant, say, more than twice a century
but some elves just want to Nurture and they’ve noticed that adoption is a pretty sick deal, and that their human neighbors in particular always seem to have a veritable cornucopia of orphans sitting around in need of shelter and food and loving guidance and someone to teach them the finer points of communing with nature.
elves reaching out to their human neighbors nervously for guidance because their beautiful adopted human son has decided he wants to get married but he’s only 25, he’s only completed one apprenticeship, he’s so young, is that really normal? are they sure? are they sure sure?
a 400 year old elf eagerly introducing her friends to her younger siblings: a 100 year old elf, 55 year old human, 27 year old tiefling, and 12 year old human.
elf parents spending centuries proudly maintaining large and convoluted family trees where some of their great grand-kids are older than their most recently adopted children. elves highly prizing sprawling systems of family that span species and culture and share everything they can with each other.
I’m just. I really charmed by the idea of elfin culture having the potential to be remarkably set in its ways, since they lack the relatively quick generational turnover of other species, but instead being almost infinitely open-minded and fluid to accommodate the needs of their many adopted community members.
even elves who have left home to become professional adventurers aren’t immune to this; no wandering elfin bard or warrior is going to pass up a perfectly good opportunity for adoption. it’s relatively commonplace to run into adventuring parties followed by one or two or five wayward children in tow, on the way to the elf’s parents to deposit those kiddos for safekeeping. the rest of the party are a little confused about whether their elf friend is those kids’ parent now, or if their parents will be considered the parents and that makes the elf in question a big sibling now, or what. the elf shrugs it off. they’re family, what do the specifics matter?
it’s a fantasy meme that elves will see an orphan sitting around and ask if anyone’s going to adopt them then not wait for an answer.
and they’re all considered elves which means that within like. a generation or two? the word ‘elf’ starts to become more of a broad cultural descriptor than a specific species. there’s an orc on the elfin high council, and at first visiting dignitaries assume that, obviously, she was adopted by elves. but no, actually she was raised by a lovely human/lizardman couple, but both of them come from adopted elf families, which makes them elves by association, and obviously the grandparents would never allow anyone to imply that their cherished granddaughter isn’t an elf just because she happens to be an orc.
after a few centuries of this calling someone an “elf” means “someone somewhere in their family was probably an elf at some point, don’t worry about who it was.”
Keep going. Your hardest times often lead to the greatest moments of your life. Keep going. Tough situations build strong people in the end.
— Roy T. Bennet, The Light In The Heart
Thank you for reminding me to never give up when I'm in a bad place. Really, thank you 😘😘💐
