The Concept: Punk Till x Goth Ivan and they're both pathetic
NASA

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Sweet Seals For You, Always

Love Begins
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The Stonewall Inn
Fai_Ryy
TVSTRANGERTHINGS
trying on a metaphor
EXPECTATIONS

ellievsbear
taylor price
we're not kids anymore.

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tannertan36
official daine visual archive
Game of Thrones Daily
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Today's Document

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@nai-den
The Concept: Punk Till x Goth Ivan and they're both pathetic
Putting these two together
Happy birthday, till 🤍
Tillivan school au ideas
I made an animatic of a possible reconciliation scene, here's a teaser :33
My babies
saw it for meljayvik i knew i had to do it to him
in 2026 DO NOT ask yourself whether your art is GOOD
instead ask:
is it SINCERE
was it CATHARTIC
was it FUN TO MAKE
is it MADE BY ME
and don't forget to stay silly
Writing Fantasy
✧ Writing fantasy that actually feels real isn’t about how many mountains your magic can shatter; it’s about making the world feel like it’s been there long before your characters ever showed up. Even if your creatures can breathe lightning, you’ve got to give your magic some grounded logic. You don’t need a massive, ten-page manual, but you do need rules that make sense. Think of magic like the weather—it’s predictable in the big picture but totally chaotic when you get down to the details. Ask yourself what’s fueling it, whether it’s blood, belief, or just pure conviction, and what it actually costs the person using it.
Look at Fullmetal Alchemist and its rule of "Equivalent Exchange"—you can’t just make something out of nothing, and that boundary is exactly what makes the stakes feel so high. When fire magic is powered by a character’s will, a weak flame suddenly tells the reader everything they need to know about that person’s mental state.
✧ Your creatures should feel like they have lives of their own, too. Dragons shouldn't just be cool props that show up for a fight; they should behave like actual animals with instincts, territories, and even their own cultures.
Think about the dragons in How to Train Your Dragon or the Temeraire series—they have migration patterns, nesting habits, and emotional triggers that make them feel like a natural part of the ecosystem. Maybe a lightning dragon sparks when it’s startled, or a fire dragon runs hot when it’s angry. Even if you don't explain every detail to the reader, knowing the "why" behind their behavior makes the world feel way more lived-in.
✧ You can add a lot of depth by making your world’s history feel a bit messy. Real myths aren't perfectly preserved; they’re full of half-remembered songs, crumbling scriptures, and stories that contradict each other. Readers love piecing things together, like realizing a village’s innocent winter hymn is actually an ancient warning about a monster sleeping under the mountain.
It’s that Dark Souls or Lord of the Rings vibe where the ruins and legends tell a story that’s much bigger than what’s happening right now. Build your cultures around the small stuff, like how people eat, how they swear, or how they bury their dead. In The Stormlight Archive, even the way characters use "storm" as a curse word tells you everything about how the environment has shaped their entire worldview.
✧ Geography should have consequences, too. People don't live on floating islands just because it looks cool; they live there because the ground is poisoned or because it’s the only way to stay safe from whatever is hunting in the valleys. When your locations have a reason for existing, the world feels intentional. You can even tie everything together with recurring symbols—like fire representing both renewal and fury, or stone standing for steadfast oaths. If your dragons, religions, and architecture all echo these same themes, the whole world starts to feel like one cohesive, ancient place that’s just waiting to be explored.
✧ One of the best things you can do for your story is to keep some of the mystery alive. You don’t have to explain every single detail just because you’re worried a reader might miss it—people actually love the feeling of discovering things for themselves.
Think about the way Studio Ghibli movies or the Dark Souls series handle their worlds; they don’t give you a textbook on how everything works, but the world feels solid because the tone and the internal rules are always consistent. If a dragon disappears, it shouldn't just be for "plot reasons," which feels cheap. But if it disappears because a massive storm has disrupted its migration pattern, that feels like a world with its own living, breathing logic.
✧ Magic really becomes compelling when it’s tied directly to the emotional core of your characters. Instead of just being a tool, let it reflect what’s going on inside them. Imagine a hero whose powers only flare up when they’re terrified, or a mage whose spells start to frost over whenever she thinks about someone she’s lost.
In Howl’s Moving Castle, Howl’s magic is deeply tied to his vanity and his fears, making the fantastical elements reveal something real about the people within them. That’s what makes it powerful—it’s not just about what the magic can do, but what it says about the person using it.
✧ You can also make your world feel way more authentic by letting your characters get things wrong. In real life, people have superstitions, they misquote old stories, and they argue over where things came from. Let the locals have their own weird theories about the dragons, or have a priest totally misinterpret an ancient scripture.
✧ When you finally reveal the actual truth later on, it hits so much harder because the reader has been living with the characters' misconceptions.
✧ Above all, just focus on consistency. You don't need to explain exactly how a dragon can fly with wings that look too small, as long as the world accepts it and the rules don't suddenly change when it's convenient for the plot. Whether your gods are everywhere or nowhere at all, their influence should be felt in a way that feels believable to the people living in that world.
Fantasy Guide to Political Structures
A Horse! A Horse! My X for a Horse!
Let's be honest, fantasy authors love their kingdoms and empires. You can throw a rock in a bookshop or a library in the fantasy section and you will 99.99999% hit a fantasy book that will be set in or mention either of those structures. But what are they really? What's the difference between them all? Are there any more examples of structures that would suit your WIP better? Are you using the right terms? Let's have a closer look.
Duchy
A Duchy is a small territory ruled by a Duke/Duchess. While Duchies can be found in kingdoms, some duchies were sovereign states in their own right. Duchies are usually small by land mass but some duchies such as Burgundy were extremely powerful and influential. Independent Duchies were usually apart of a kingdom but grew so powerful that they eventually broke away to become a sovereign state in their own right. An example would be modern day Luxembourg, historic Milan and Burgundy.
Principality
A principality is territory ruled by a Prince/Princess. A principality is typically smaller than a kingdom and in some instances, can be apart of a larger kingdom or be a sovereign state. Principalities have a history of having broken away from a larger kingdom or eventually becoming apart of a kingdom. A principality within a kingdom is ruled by a Prince/Princess, usually an heir of the monarch and can be used to train them up to assume the throne in the future. Examples include Monaco, Liechtenstein and Andorra.
Kingdom
A sovereign state/country that is ruled by ruling King or a Queen. A kingdom is much larger and more powerful than a principality. Kingdoms can be feudal, meaning they are ruled in a strict hierarchy or an autocracy where the monarch rules alone with minimal input from the government or constitutional where the monarch is more of a figurehead and the government has a good chunk of control. Examples include England, Thailand and modern day Spain.
Commonwealth
A Commonwealth isn't a popular choice in fantasy but it is an interesting structure. A Commonwealth in its most basic form is a collection of states that are linked by either a shared culture or history. A Commonwealth can be a politically power or an economic power, with every state allowed to participate as much as they like. Not one state leads the others, it is all one group of equals. A Commonwealth can be a good idea for a group of nations that are more powerful together with them keeping their own independence.
Federation
A Federation is a political structure that is made up of united states or countries that are under a single government but each state is still independent and rules itself. Each state can have different laws, different cultures and economies but they all answer to the single government. Examples include the United States of America.
Republic
A Republic is a territory that is ruled by leaders and heads of state that have been elected on merit and by choice of the people. Republics are not just countries but can also be much smaller areas such as cities. Republics are democratic in nature, with the people having a say in who leads them in accordance to a constitution. There are many kinds of Republic: presidential, parliamentary, federal, theocratic, unitary. Examples of Republics include the Republic of Ireland and the city of Florence.
Protectorate
A Protectorate is a country/region/territory that is independent but relies on a larger, more powerful state for protection either in a military or diplomatic sense. A Protectorate was often used by Empires in order to maintain control over an area without annexing it. There are many reasons a larger state and the protectorate would agree to this, mainly the protectorate is much smaller meaning it is far more vulnerable to attack or it has very little power when compared to other states. A Protectorate allows the territory some power to rule itself but the larger state may feel the need or desire to interfere in the dealings of the territory. Examples of protectorates include the client kingdoms of the Roman Empire like Egypt before its annexation and Puerto Rico.
Empire
An Empire is a collection of nations that are united under one sovereign head of state or government. An Empire is formed by one nation steadily taking control of other nations, either through straight invasion and colonization or acquiring them through marriage and other less violent ways. An Empire is powerful mainly because it can drum up more resources, more influence and more military power. An Empire might impose the traditions, beliefs and culture of its principal nation - the nation that started it all - onto its colonies for better control and feeling of uniformity. Empires never last, that is something to always remember. Empires will eventually fragment due to the vast size and sometimes revolt among the conquered states. Examples of empires include the Roman Empire, the Byzantine Empire, the Ottoman Empire.
[DC] oh no…I turned timkon into a miraculous ladybug lovesquare 🤒
Anyways this will barely make sense but Conner -> Tim / Robin -> Superboy is sort of supposed to be like the early timkon dynamic in the comics where they’d sometimes butt heads, but then the Tim -> Conner/Superboy-> Robin is supposed to be like later timkon where there’s more obvious admiration lololol
transcript/description
I love characters who crave validation I love characters who have deeply selfish wants and they desperately try to fulfill them, I love characters who think they deserve better than this and lash out about it, I love characters who Need to be Important and wanted and cared about, I love characters who end up sacrificing others and hate it, I love characters that Really, Really need what they want. I love characters who can't decipher between what they want and what they actually need. Characters who's desires are so world bending that it aches. Characters who kinda hate themselves about how selfish they are. Characters who are fucking rancidly envious and angry about what they don't have. Characters who need attention and love. Characters who are emotional vampires - and cling to you and say PLEASE
Fuck kissing , I need to see two bitches HUG. I need to see them EMBRACE. I want them to hug so tightly and so sweetly , because they never want to separate again, they both fear that when the hug is over, they will never be able to embrace each other again. I want them to throw every emotion they’ve ever felt for each other into that soul cradling hug. I NEED to see them tho blue from the grip, and never, ever let go.
I'm not asking for much. I just need them to be deeply emotionally repressed, haunted by inconceivable trauma and made to believe they are an innately unlovable weapon and/or tool.
Also, they must look hot covered in blood.
Dialogue tips that actually work:
You are not writing a movie (ignore this if you are). The reader doesn't need to know every word the characters say for the duration of the story. Less is more.
Dialogue can happen within the prose. "And they awkwardky discussed the weather for five minutes" is way better than actually writing five pages of dialogue about the weather.
Balance your dialogues. Surprise yourself with a monosyllabic answe to a dialogue that's ten sentences long. Don't be afraid of letting your character use half a page for a reply or nothing at all!
Don't write accents phonetically, use slang and colloquialisms if needed.
Comma before "said" and no caps after "!?" unless it's an action tag. Study dialogue punctuation.
Learn the difference between action tags and dialogue tags. Then, use them interchangeably (or none at all).
Don't be afraid to use said. Use said if characters are just saying things, use another word if not. Simple. There's no need to use fancy synonyms unless absolutely necessary.
Not everyone talks the same way so it makes sense for your characters to use certain words more often than others. Think of someone who says "like" to start every sentence or someone who talks really slow. Be creative.
Use prose to slow down the pace during a conversation.
Skip prose to speed up the pace during a conversation.
When the sarcastic, grumpy, walls up type of character lets something slip randomly that hits with the most devastating sincerity like dude- dude oh my god-
When a character is assured enough in their own power that they are completely relaxed in dangerous situations??? When that same character becomes tense and uncomfortable in the mundane because they don't have a framework for peace?????? When they help navigate violence for another character and in return that character helps them navigate softness??????????? That's all, your honour