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toskarinfr

must feel good as fuck to curse a prince for being rude to you while you were larping as an old woman for no reason

fellator

this fetish stuff is getting out of hand what the fuck is word play

dogpuppy

hoseoch

“what are you gonna do, cry about it?” yes . the fuck

charlesoberonn

Heartwarming story: Little girl doesn’t have to do anything to fund her dad’s surgery because his expenses are covered by his country’s universal healthcare.

charlesoberonn

Human determination: Man bikes 18 miles to work every morning because he wants to and not because he can’t afford a car and would be fired if he’s late.

charlesoberonn

Spirit of Brotherhood: Neighbors host housewarming party for elderly resident who doesn’t need help in paying rent because his pension is more than enough.

hyperlexichypatia

SO INSPIRING: Local middle school students bake dozens of cupcakes because their home economics class is doing a baking unit. Their school is fully funded with everything they need.

blandandtasteless

This feels like calibrating my normal detector

hollowistheworld

I've seen so many posts about Mensah's perspective of ART/Network Effect, how have I not seen one's about ART's crew's perspective. Network Effect as told by Seth.

You have a child who is an extremely powerful (somewhat illegal) machine intelligence. It's a good kid, mostly, except it doesn't play well with others. Your kid periodically goes on short trips by itself, and this has always been fine.

One time, it comes back and it's acting... weird. It keeps bringing up things it has no reason to know about and then dodging questions about it. Finally, you get it to admit that it picked up a hitchhiker on this on this trip, even though you have very strict rules about never picking up hitchhikers. This hitchhiker is obviously it's new favorite person. They watched soap operas together. Your kid loves soap operas now. Your kid shows you a bunch of pictures of this hitchhiker, but won't tell you details because the hitchhiker in question is a wanted criminal on the run and also an escaped slave. This is probably fine (you sure hope it's fine).

Then, you and the rest of your family/friends get fucking kidnapped and used as hostages to make your kid behave. You know that your kid 1) will do anything to protect you, and 2) pretty much always goes for violence first, so you have your doubts about any of this going well.

Then, the hitchhiker your kid will not shut up about appears out of thin air in the middle of a firefight on a planet pretty much no one has any reason to be near and says your kid sent it. It proves this by telling you your kid is a dickhead (this is true and works, but still).

After a lot of mutual rescuing, you're back on board the ship that is also your kid, and find out that your kid kidnapped it's wanted-criminal-hitchhiker-friend and all of it's friends, and has been telling them all of your top secret confidential spy information. The hitchhiker is responsible for 90% of the top news stories you've seen in the last six months. Three different governments want this person dead or alive.

Your kid pushes the hitchhiker's resume across the table at you and makes big sad puppy eyes.

suckunit

human au first meeting. dont worry about art, it also has a gun

biggest-gaudiest-poltergeist

the Murderbot Diaries opens from the point-of-view of a character who, from essentially the moment it gained (clawed its way to) free will, has made decisions based purely on two very specific motives:

to self-soothe and self-educate (through media consumption)

to protect the people around it

and this protagonist, who deescalates violence at every opportunity, who takes a thousand personal injustices in stride and only strives to do better, whose first-and-worst-and-most-brilliant act of self-reclamation—literally reclaiming its mind—was fuelled not by its need for freedom but by a desperation to never be forced to hurt anyone against its will ever again.

this person, when choosing a name for itself, a name it has full reason to believe no-one else will ever learn, a name it uses only in its thoughts, a name that serves solely as a personal reminder that it is a person—chooses MURDERBOT? i am thrashing writhing screaming into the palms of my bloodstained hands BABE

throwusaboner

murderbot and arts first meeting is literally so funny. like imagine you meet a biblically accurate angel and instead of being all 'be not afraid' it says actually you SHOULD be afraid. and then when you are in fact afraid it goes oh shit oh fuck. not THAT afraid, sorry. wanna watch tv? and then you watch tv with it and it keeps telling you to pause it when its favourite characters are in danger so it can calm down. and then it asks to do surgery on your bones. Asshole Research Transport character of all time

thehappysmiler

favorites

unforth

sic-semper-hominibus

duckingwriting

This thread lives rent free in my brain. And randomly came across my FB feed so of course I had to dig it up out of my Tumblr to share what fb shared.

notemily

I like this one

dogpuppy

psychotic-gerard

knew this woman who used to be a gay man and when he was a gay man he liked ‘ironically’ referring to himself as she/her and so when he came out as a woman he decided the next logical step was to also switch his pronouns to he/him.

skarnish

tammog

pantserspen

How to Fix Underwriting

1. Slow down at emotionally important moments.

Big emotions need space to land. If a scene feels rushed, pause the plot briefly to show how the moment affects the character.

2. Add reactions, not explanations.

Instead of explaining what a character feels, show it through physical responses, hesitation, or small actions that reveal emotion naturally.

3. Ground every scene in the senses.

If a scene feels thin, add one or two sensory details—sound, texture, smell, or temperature—to make the moment feel lived-in.

4. Let thoughts interrupt action.

A line of internal thought can deepen a scene without slowing it too much. Thoughts show stakes, fear, longing, or conflict beneath the action.

5. Expand consequences, not events.

You don’t need more things to happen—you need to show what matters. Focus on how events change relationships, decisions, or self-perception.

6. Strengthen setting where emotion peaks.

The environment should echo or contrast the emotion of the scene. Setting is not decoration—it’s emotional reinforcement.

7. Add specific details instead of general ones.

Underwriting often relies on vague language. Swap “they argued” for one sharp line of dialogue or a specific breaking point.

8. Let dialogue breathe.

Short dialogue exchanges without pauses can feel flat. Add beats—silence, gestures, interruptions—to give the conversation weight.

9. Show transitions between scenes.

If scenes jump too quickly, readers feel disoriented. A brief transition helps establish time, mood, and emotional continuity.

10. Clarify stakes early in the scene.

If readers don’t know what can be lost, scenes feel empty. Make sure the character wants something specific and fears losing it.

11. Use the “what are they feeling right now?” check.

After each major beat, ask what emotion is dominant in that moment. If it’s missing on the page, the scene is likely underwritten.

12. Expand scenes that feel “too clean.”

If a scene resolves too neatly or quickly, it probably needs more tension. Messy emotions and unresolved feelings add depth.

wifegideonnav

“bits to use in everyday conversations”

ilovetodrinkwater

Yesterday = Death approaches from all sides

Today = Shaggadelic baby

libraryleopard

I threw together a little rec list for fans of Murderbot :)

This is aimed at fans of the novellas and the TV show and I tried to capture various different elements of the story and characters.

Text of slides below the cut

#books

crawfishcomic

Genie

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