She clarified on this:
taylor price
Claire Keane

★

izzy's playlists!
sheepfilms
Acquired Stardust

⁂

祝日 / Permanent Vacation

roma★
Show & Tell
AnasAbdin
YOU ARE THE REASON

blake kathryn
hello vonnie
Keni

Andulka
let's talk about Bridgerton tea, my ask is open
$LAYYYTER
Today's Document
will byers stan first human second

seen from France

seen from United States

seen from Poland

seen from Romania

seen from Germany

seen from France

seen from Türkiye

seen from Malaysia

seen from Australia

seen from United States
seen from South Korea

seen from Australia

seen from Belgium

seen from China

seen from Canada
seen from United States
seen from T1
seen from France
seen from United States

seen from Finland
@mrsmileaday
She clarified on this:
Reblog this and money will be entering your life this week
The Mummy
Art by Stephanie Pepper
Writing Tips from an Editor (Who Also Writes)
People throw around the phrase “Show, don’t tell” all the time. But what does it mean? Really?
When I’m editing a client’s work, I always explain what I mean when I say “Show, don’t tell,” so I know we’re on the same page (pun intended).
FYI: This advice is really 2nd or 3rd draft advice. Don’t tie yourself in knots trying to get this perfect on the first go. First drafts are for telling yourself the story. Revisions are for craft.
Ruthlessly hunt down filter words (saw, heard, wondered, felt, seemed, etc.). Most filter words push the reader out of narrative immersion, especially if you’re writing in 1st person or a close 3rd person. “She [or I] heard the wind in the trees” is less compelling than “The wind rustled through the trees” or “The wind set the bare branches to clacking.” Obviously, the point of view character is the one doing the hearing; telling the reader who’s doing the hearing is redundant and creates an unnecessary distance between the character’s experience and the reader’s experience of that experience. Was/were is another thing to watch out for; sometimes, nothing but was will do, but in many instances—“There was a wind in the trees” “There were dogs barking”—“was” tells, whereas other phrasing might evoke—“The wind whispered/howled/screamed through the trees” “Dogs snarled/yipped/barked in the courtyard/outside my door/at my heels.”
Assume your readers are smart. What does this mean? Don’t tell the reader what your characters are thinking or feeling: “Bob was sad.” How do we know? What does Bob’s sadness look like, sound like? What actions, expressions, words indicate Bob’s sadness? Does Bob’s sadness look different than Jane’s would?
It also means that you need not repeat information unless you have something new to add to it—even if it’s been several chapters since you first mentioned it. I think a lot of readers fall into this trap because writing often takes a long time. But what takes a writer days or weeks or months to write might take a reader fifteen minutes to read. So, if the writer keeps telling the reader about so-and-so’s flaming red hair or such-and-such’s distrust or Bob’s blue eyes or Jane’s job as a neurosurgeon, the reader gets annoyed.
The last thing you want is your reader rolling their eyes and muttering, “OMG, I KNOW” at the story you’ve worked so hard to write. It certainly means you don’t need to have characters tell each other (and through them, the reader) what the story is about or what a plot point means.
Along these same lines, let the reader use their imagination. “Bob stood, turned around, walked across the room, reached up, and took the book from the shelf.” Holy stage directions, Batman! A far less wordy “Bob fetched the book from the shelf” implies all those irrelevant other details. However, if Bob has, say, been bedbound for ten years but stands up, turns around, and walks across the room to fetch the book, that’s a big deal. Those details are suddenly really important.
Write the action. Write the scene with the important information in it. Let the reader be present for the excitement, the drama, the passion, the grief. If you’re finding yourself writing a lot of after-the-fact recap or “he thought about the time he had seen Z” or “and then they had done X and so-and-so had said Y,” you’re not in the action. You’re not in the importance. Exceptions abound, of course; that’s true of all writing advice. But overuse of recapping is dull. Instead of the reader being present and experiencing the story, it’s like they’re stuck listening to someone’s imperfect retelling. Imagine getting only “Last week on…” and “Next week on…” but never getting to watch an episode. I’m editing a book right now with some egregious use of this. The author has a bad habit of setting up a scene in the narrative present—“The queen met the warrior in the garden.”—but then backtracking into a kind of flashback almost immediately. “Last night, when her lady-in-waiting had first suggested meeting the warrior, she had said, ‘Blah blah blah.’ The queen hadn’t considered meeting the warrior before, but as she dressed for bed, she decided they would meet in the garden the next day. Now, standing in the garden, she couldn’t remember why it had seemed like a good idea.”
That’s a really simplified and exaggerated example, but do you see what I’m getting at? If the queen’s conversation with the lady-in-waiting and the resulting indecision are important enough to be in the narrative, if they influence the narrative, let the reader be present for them instead of breaking the forward momentum of the story to “tell” what happened when the reader wasn’t there. Unless it’s narratively important for something to happen off-page (usually because of an unreliable narrator or to build suspense or to avoid giving away a mystery), show your readers the action. Let them experience it along with the characters. Invite them into the story instead of keeping them at a distance.
Finally, please, please don’t rely on suddenly or and then to do the heavy lifting of surprise or moving the story forward; English has so many excellent verbs. Generally speaking, writers could stand to use a larger variety of them.
(But said is not dead, okay? SAID IS VERY, VERY ALIVE.)
Reblog in 10 seconds and $1700 will come your way
I have nothing to lose and 1700$ to gain
I literally just spent $1700….
It would solve my life
Historic home in New Orleans | photos by Jacqueline Marque
THENORDROOM.COM - INSTAGRAM - PINTEREST - FACEBOOK
A ceramic jar filled with thousands of bronze coins was recently unearthed at the site of a 15th-century samurai’s residence just north of Tokyo [710x470]
reblog in 30 seconds to find a clay jar of bronze coins
I waited 31 seconds because where the fuck am I going to put a clay jar full of bronze coins I mean honestly.
Cathédrale Notre-Dame-de-l'Assomption, Clermont-Ferrand, France
i think about this video a lot
Wtf is going on
omg how have i never seen this omg
it irritates me to no end when people say north american birds are dull in comparison to other countries’ birds
blue jay
american kestrel
painted bunting
yellow-throated vireo
cerulean warbler
baltimore oriole
american goldfinch
northern cardinal
x
You’re forgetting the red wing black bird and the great and snowy egret. Best birds of the marsh!
I love how they’re all looking into the camera like they’re modeling.
other beautiful featherbeasts include orb bird
stylish accessory bird
loud and delicious bird
bird that will kung fu your face while you are grilling in your backyard
overly dramatic fishwizard bird
demonic creepy noise duck
assorted sky-cats
screaming inflatable doofus bird
stump
not technically native but it poops on my lawn
toasted marshmallow friend
How.. could you forget… MEEP… MEEP
Make room for this asshole
Dolly is a national treasure, TBH.
I’ve never identified with something more than this
Apartment with vintage touches | stylin by Rydman & photos by Boukari
THENORDROOM.COM - INSTAGRAM - PINTEREST - FACEBOOK
kitchen interior pictures #kitchendesign