Leucistic Coyote in Falmouth, Virginia [x]

No title available
NASA
TVSTRANGERTHINGS
todays bird

Kiana Khansmith

Product Placement

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$LAYYYTER

祝日 / Permanent Vacation
Sade Olutola
occasionally subtle
almost home
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blake kathryn
Alisa U Zemlji Chuda

titsay
KIROKAZE
d e v o n
dirt enthusiast

Discoholic 🪩

seen from Belgium

seen from Malaysia
seen from United States
seen from Greece
seen from Greece

seen from Saudi Arabia

seen from United Kingdom
seen from Greece
seen from Germany
seen from Denmark

seen from United States
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seen from United States

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seen from Vietnam
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seen from United States
@rendilosa
Leucistic Coyote in Falmouth, Virginia [x]
soft asks to get to know people
what song makes you feel better?
what’s your feel-good movie?
what’s your favorite candle scent?
what flower would you like to be given?
who do you feel most you around?
say three nice things about yourself (three physical and three non-physical).
what color brings you peace?
tag someone (or multiple people) who make you feel good.
what calms you down?
what’s something you’re excited for?
what’s your ideal date?
how are you?
what’s your comfort food?
favorite feel-good show?
for every emoji you get, tag someone and describe them in one word.
compliment the person who sent you this number.
fairy lights or LED lights?
do you still love stuffed animals?
most important thing in your life?
what do you want most in the world right now?
if you could tell your past self one thing, what would it be?
what would you say to your future self?
favorite piece of clothing?
what’s something you do to de-stress?
what’s the best personal gift someone could give you (playlist, homemade card, etc.)
what movie would you want to live in?
which character would you want to be?
hugs or hand-holding?
morning, afternoon or night?
what reminds you of home (doesn’t have to mean house… just things that remind you of the feeling of home)?
A Simple Structure to a Compelling Story
(@punkrocksherlock on Instagram)
So, you’re early in your passion for writing, the pencil’s just tapping the paper and you’re not quite sure exactly where to drag your protagonist to next. Not to worry! Thankfully, Dan Harmon’s Story Circle has saved me more than once when it comes to structuring a whole, coherent plot with a satisfying payoff.
It’s a very basic structure of only 8 steps:
A character is in a zone of comfort - Here is where your protagonist is established so that your audience can root for them in their journey; the easiest way for that to happen is for your audience to relate to your character. It only takes unfortunate happenings, personal ambitions or anything remotely human for any human being to relate to it.
But they want something - Your character may not be in total satisfaction with their zone of comfort or they may be pushed slightly outside their zone of comfort and thus want something in order to return. Your character may even refuse the call to adventure several times before something compels them to accept it.
They enter an unfamiliar situation - This is where your protagonist crosses the threshold and steps into a world of chaos. Their adventure has just begun.
Adapt to it - Your character will continue delve deeper and deeper into this abyss of chaos; they will encounter obstacles, solve a few, but encounter more. Anything that was once deemed important no longer is except for the new skills they’re learning along the way.
Get what they wanted (although perhaps ‘it’s not quite what they were looking for’) - At last, your protagonist has a moment to breathe. Whatever the thing is, good or bad or both, they finally have it. It’s a break from the constant struggle; but this break is not to last for long since - as Dan Harmon states - ‘This is a time for major revelations, and total vulnerability’.
Pay a heavy price for it - Things haven’t gone the way they were planned. Give your character a moment to relfect (including upon their previous behaviour), to evaluate the options given and to decide which one will lift them up from the depths. There is now a more personal or honest call for what they now want.
Then return to their familiar situation - The penultimate phase. Your protagonist will now take what they’ve learnt and everything they’ve gained on the way to their final goal. It’s a similar type of path they’ve found themselves on before but this time something’s different. This time, there’s a sense of reformation, stability, and order.
Having changed - The final showdown. The one piece of conclusive evidence. The beginning of a rebuilt relationship. Your character is ready for the climax because they have changed.
You may be able to use several story circles within the same one story and you can even omit certain elements of the story circle to subvert conventions; whether you’re capable of doing this effectively is down to your skill. But as Dan Harmon himself concluded, 'It doesn’t matter […], you know the answer instinctively. You know all of this instinctively. You are a storyteller. You were born that way’.
This is pretty similar to the Hero’s Journey story arc.
The Hero’s Journey works great for coming-of-age stories and for action-adventure stories. It absolutely sucks for romance and mystery. It works for thriller-horror but not psychological-horror where there is no overcoming of the enemy. Doesn’t work for erotica. It works nicely for action in a scifi setting but not for scifi with themes of cultural change or stories questioning what it means to be human/a person.
And it doesn’t work for any story in which the protagonist doesn’t “return” to their starting point. (That point doesn’t need to be a location - it could be a state of mind, or just the condition of being a citizen.) If the story is about letting go and moving on, rather than overcoming problems and finding home, the whole arc falls apart.
Don’t get me wrong - it’s a very good story structure! I’m just wary of posts about writing that don’t mention, “there are, in fact, many ways to tell a great story that don’t connect with this at all.”
Y'know what doesn’t fit this structure? (Either version above.) Cinderella. Seven Samurai. Forrest Gump. The Little Mermaid (the original story; the Disney version was radically changed to shove it into the Hero’s Journey format). Jurassic Park. Anything with multiple protagonists who aren’t “a team facing their challenges together.”
There are a LOT of different types of stories out there. Finding an outline that works for you is great! If this one doesn’t, it’s not because you don’t have skills or are approaching writing wrong - it can just be that those aren’t the stories you want to tell.
she is going home to make soup. (via)
Reblog for soup girl
REBLOG FOR SOUP GIRL‼️
This is such a specific pet peeve that I know is petty but
As a linguistics major who is also trilingual and has real life experience code-switching (changing from one language to another) mid-sentence on the daily, one of the BIGGEST bothers to me in fanfics is when it happens unnaturally.
I get that we all think ‘wow, a character suddenly speaking in another language is sexy ;)’ but the truth is, there are natural AND also really awkward and unnatural ways to codeswitch, and unless you have first-hand experience, there is a high risk that your sexy insertion of a foreign word in the middle of a sentence is actually making someone who speaks that language natively cringe just a little bit.
And - I want to make this clear - that’s not your fault! It’s a difficult thing to write well.
But I beg you, if you are using a REAL language in your fanfics (not a made-up conlang), please find a native speaker to check your work, don’t just pick random words and don’t just insert them into the slot where the English word would go.
Some people are wondering about how to go about doing it ‘the right way’ in the comments, so I will preface it first with:
There is no singular ‘right’ way to do this! Even people who speak the same language will speak differently. Dialects, personal verbal habits, etc, all exist! So naturally this can be stretched.
However, there are typically more ‘natural’ patterns of when people codeswitch - flip from one language to another.
✪ Mutual bilingualism ✪
Situation: Two or more people both share a second language, aside from the ‘lingua franca’
Most of the time, if you are both speaking, you will pick a language and stick to it. Not because it’s impossible - just because it’s easier. In most cases, it takes more braincells to switch between languages than it does to continue in the same language. (*Remember this later, this is important.)
However, a common thing that happens is that one person will speak one language, and another will use the second one.
If they both mutually understand one another, this is not an issue, and a comfortable way to converse. This happens often with bilingual kids who talk to their parents. They may speak in English to their parent, who will respond in another language.
For example, conversations between my mother and I frequently take this format:
Text: A conversation between two people. The one on the left side of the screen is speaking in Russian. The right side is answering in English.
However:
When code-switching does happen, it happens most often:
at a paragraph level (starting a new topic in a different language)
at the sentence level (starting a new sentence in a different language)
at the clause level (switching mid-sentence, but after a comma)
at a word level (BUT only in specific cases! More on this below.)
in that order of frequency.
For example, THIS type of codeswitching:
Text: (In English:) “There’s no snow, so we’re all good! I’m ready whenever you are” (New line, in Japanese:) “When you’re finished, I’ll be on the left side right outside that same exit.”
is proportionately more common than THIS:
Text: (In Japanese, except the bolded parts) “Does that sort of meme exist?” “Huh? Oh… no, wait. Why ‘Amazing Grace’?”
“But wait! What about words? Don’t people constantly insert words from foreign languages into their speech?”
Sure, they do. This happens all the time.
Under the right circumstances.
For example:
When you are trying to name a specific place or location which would not have an immediate translation
When you are a using a cultural word specific to a certain language (such as an artifact that only exists for one culture, or a specific holiday which doesn’t have an immediate translation into Common).
When you are swearing, and you have a strong preference for a swearword in one language
When you are specifically teaching someone a word, or explaining a word from one language
Example: If I want to tell my mom I’m playing DnD with friends, so I can’t call her right now, I will say ‘DnD’ in English, because there isn’t any other way to say it.
Text: “(In Russian) Can I call in 5 minutes?” “Can we do it tomorrow? I’m playing (in English) DnD (in Russian) right now.” “Gotcha.”
HOWEVER, of course weirder examples exist.
The prime ones are when you can’t remember a specific word in one language, and HAVE to dip into the reserves of the other. This happens to me constantly.
Text: In russian, this says “I dunno, it just seemed very….. sudden. lol” - the word ‘sudden’ is not the Russian word for ‘sudden’. It’s just the English word ‘sudden’ transliterated into cyrillic, because I blanked for a moment and forgot how to speak.
OR when a you just pepper in a specific word because the ones in English will not convey the message properly:
Text: “How’s [NAME REDACTED]?” Reply: “(In Japanese) Otsukaresama!” which translates loosely to ‘hey, you worked hard, you deserve a break, etc’ but doesn’t have a direct translation into English. “He’s good. Seems (in Japanese) genki.” Again, the ‘genki’ here is a specific mood that I associate with that word, and felt couldn’t be replaced with the English equivalent.
Of course, this is somewhat terrible in showing you SPEECH patterns, because texting and speech are quite different.
But the points you need to take away is:
Very few people will codeswitch in the middle of the sentence without a good reason to do so. If you have a character who is trying to confess their love, unfortunately it IS unrealistic to have them go
“And I…. must confess that… Я люблю тебя.”
It looks cool, but it’s not actually intuitive. Of course, anyone CAN do it. But it has to be a very conscious choice. No one would do that on accident. It’s not actually easier than simply staying in one language and continuing to finish “I love you.”
Similarly, most people DON’T drop in and out of languages several times in one sentence.
It’s just not useful, and it actually takes more brainpower to do so.
(To those of you yelling: But I do that! - I ask - but how OFTEN? Sure, I’ve also weirded up my language. Sometimes, my mom and I make Frankenstein sentences which are REALLY weird. But it’s not a constant thing. It’s usually a one-off.)
Sorry, these are a a real bitch to transcribe, but suffice it to say that this is an English-Russian soup.)
….
These are prime examples. They absolutely DO happen— (
….
wait for it…
…
….
WHEN BOTH SPEAKERS NATIVELY SPEAK THE SAME TWO LANGUAGES.
This brings me to a very important point:
If your character, who is bilingual, is speaking to another character, who would NOT understand them…………….. there’s a good chance they’re being a bit of an asshole.
Look, here’s the thing.
I live with my partner, who speaks Japanese and English fluently. I also speak Japanese at a conversational level, and English fluently.
I also speak Russian at a native level. He barely knows much of it at all.
The amount of times I insert random Russian phrases into my conversations with my partner?
Once a month. Tops.
(Once, I tried to teach him how to say ‘I love you’ - [ Я тебя люблю ] in Russian, and he mispronounced it as [ Я тебя убью ] ‘I’ll kill you’ and it has been a meme in our household ever since. Shadowgast fans who write Essek speaking Russian, I give you this anecdote freely. Do with it what you will. It’s yours.)
It’s not actually conducive to conversations, and it’s not as natural as some fanfics might have you believe. And even in the throws of passion, it’s not really that easy. If you and your partner both know a common language, you won’t actually deviate from it unless you have a good reason. Such as, if you want to teach someone to say something in that language!
…..and their pronunciation will likely be silly! (Nothing wrong with that.)
I have a complicated answer to this:
The truth is, this greatly depends on the person.
So I know that as soon as I say my own opinion, I will have 50 people descend on me in rage, protesting the opposite.
BUT - personally, I think petnames in a foreign language have to do the following things:
they have to be short enough to be usable. Long-ass nicknames in a foreign language will be clunky in the middle of the sentence, even more so than native-language nicknames
they have to make sense for the age/relationship/culture of the characters.
Russian, for example, has thousands of petnames. But there are some that scream ‘I’m your grandmother!’ and some which have very romantic connotations. You have to actually ask native Russians if it works or not.
Also - keep in mind that OVERUSING a petname is a thing! If you’re constantly using that word, every other sentence, it might become tedious to go back and forth between the pronunciation of one language and then back into another. If I call my Japanese partner a petname which has a specific set of sounds unique to Russian, my brain has to do the legwork of switching gears back into Japanese or English pronunciation. That takes braincells! Which I do not have!
However, that’s a problem that’s more unique to languages which are completely dissimilar in grammar and phonology. I’ve heard that it’s easier between languages which are more closely related, such as German and English, or Spanish and English.
BUT for that I turn it over to you, fellow bye-linguals and try-linguals.
What do we think? Petnames in our native languages for our partners - yay or nay?
Wandercraft 12: A Brief Interlude
Still alive! Wandercraft 12: A Brief Interlude
Summary: Rena and Dil get playful, then discuss possibilities before heading to the Captain's quarters. -------------- For those of you asking yourselves what is Wandercraft? It is an ongoing story on ao3 co-written by two people and loosely set in the World of Warcraft/Azeroth sandbox. It is made up of original characters and barely touches on the main game's storyline. Blurb: Rena is still finding her place in the world, Ehrendil is running from a vaguely-remembered past, and Tulosa is simply trying to hold it all together as he both evades and helps to undermine the Elune-based shadow cult who broke his mind in the first place. Primary setting is a kaldorei ship. Go go high seas adventure!
Click the read more for chapter notes CW: Explicit, Overall story contains elements/mentions of past neglect, spiritual, physical, and sexual abuse/noncon and deals with PTSD as well. It is listed “Chose not to use archive warnings” on ao3 to cover our bases just in case (my memory is bad and I will not remember every possible tag - please take care of yourselves). By clicking the links and read more you agree you are over 18.
Ten questions to ask a friend who just read your novel
Here are ten questions to ask that will not put your friend in a tough spot, but will still give you some useful input on your novel:
1. At what point did you feel like “Ah, now the story has really begun!” 2. What were the points where you found yourself skimming? 3. Which setting in the book was clearest to you as you were reading it? Which do you remember the best? 4. Which character would you most like to meet and get to know? 5. What was the most suspenseful moment in the book? 6. If you had to pick one character to get rid of, who would you axe? 7. Was there a situation in the novel that reminded you of something in your own life? 8. Where did you stop reading, the first time you cracked open the manuscript? (Can show you where your first dull part is, and help you fix your pacing.) 9. What was the last book you read, before this? And what did you think of it? (This can put their comments in context in surprising ways, when you find out what their general interests are. It might surprise you.) 10. Finish this sentence: “I kept reading because…”
Your friend is probably still going to tell you, “It was good!” However, if you can ask any specific questions, and read between the lines, you can still get some helpful information out of even the most well-meaning reader.
Source: Examiner
This is really useful advice, especially if the person you’ve shared your story with hasn’t had much/any experience critiquing.
It does a great job of asking for a balance of both positive and negative feedback in a way that’s comfortable for both the author and reader.
If you’re just getting into critique, this is a great starting list. Often it’s hard to give really solid feedback, as it requires time and training. This can really help!
How to come up with a story title
By Writerthreads on Instagram
I’ve identified a few types of story titles, and I’ll briefly describe them below:
Common saying/phrase
Eg. When the Cows Come Home, Cruising for a Bruising
Usually, the saying might describe the events of the book or men’s something
Something with a character’s name
Eg. The Redemption of Fletcher Cheung (my old title), Harry Potter and the _______
Or literally the character’s name
Eg. Oliver Twist, Doctor Strange, Hansel and Gretel
A location
Eg. Schitt’s Creek, The Good Place, Brooklyn Nine-Nine, The Secret Garden
Choose an location where a part of the plot takes place. It would help if that location has a unique name (eg. Earhart High School would be boring).
A memorable line
Eg. The Stars are Burning (my WIP lol), To Kill a Mockingbird
Use a memorable or important line, or a version of it. Bonus points if it’s in the first or last sentence of the book!
Use an allusion
Eg. These Violent Delights, The Grapes of Wrath
An allusion is a reference to or a phrase taken from an external source. The title usually alludes to something in the plot or a main theme.
If all else fails...
Use an unusual word
Warning: this makes the title less memorable, imo
Use a song title or lyric
Warning: copyright?? Also it might be cliche.
Now that we’ve covered the main types of titles, let me give you some advice on book titles;
Long titles
They’re hard to remember and hard to type/say, which reduced visibility. Try to shorten the title if you can :)
Make it interesting
Eg. Gone With the Wind
Titles that use poetic language, vivid imagery, or a bit of mystery tend to be alluring to potential readers.
Use alliteration
Eg. The Count of Monte Cristo
Alliteration is especially popular because it’s punchy and sounds good lol.
Anyways, this is all I can think of! Comment below your book title(s) and anything I’ve missed.
“All that is gold does not glitter, Not all those who wander are lost; The old that is strong does not wither, Deep roots are not reached by the frost.
Wandercraft 11: Dream Come True
Sorta like this, except with a freckled red-head. In other news, yes we’re alive!
Wandercraft 11: Dream Come True Summary: Dil has some waking deja vu.
--------------
Alternatively, for those of you asking yourselves, ‘What the hell is Wandercraft?’: Ongoing story on ao3 (Original character fic loosely set in the World of Warcraft universe) About:
Rena is still finding her place in the world, Ehrendil is running from a vaguely-remembered past, and Tulosa is simply trying to hold it all together as he both evades and helps to undermine the Elune-based shadow cult who broke his mind in the first place. Primary setting is a kaldorei ship. Go go high seas adventure!
Click the read more for chapter notes CW: Explicit, Overall story contains elements/mentions of past neglect, spiritual, physical, and sexual abuse/noncon and deals with PTSD as well. It is listed “Choose not to use archive warnings” on ao3 to cover our bases just in case. By clicking the read more you agree you are over 18.
Cinnamon role
Juniper
This is a request. He smiles while Jesse sleeps , yep.
508: Exposure
there are places to go! flowers to sniff! 🦊
{ this fox friend is now up on redbubble }