trying on a metaphor
will byers stan first human second
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@rirupadg
I think Eridians would love Hatsune Miku. Statement.
grace’s organ has a miku setting and his students love it statement. imagine a bunch of eridian kids mimicking vocaloid sounds while talking
EXACTLY WHAT I WAS THINKING YES
just imagine little rocks talking as usual then you randomly hear a near perfect “miku miku uieu” get dropped mid convo. erids 67
I think Eridians would love Hatsune Miku. Statement.
grace’s organ has a miku setting and his students love it statement. imagine a bunch of eridian kids mimicking vocaloid sounds while talking
right
Masterpost: How to write a story?
Compilation of writing advice for some aspects of the writing process.
How to motivate myself to write more
How to get rid of writer’s block
Basic Overview: How to write a story
How to outline a story
How to come up with plot
How to create a character
How to make a character unique
How to name your characters (Masterpost)
How to start a story
How to write a prologue
How to write conversation
How to write witty banter
How to write the last line
How to write a summary
How to write a book description
How to write romance
How to write friendships
How to write emotions (Masterpost)
How to write an argument
How to write yelling
How to write anger
How to write betrayal
How to title fanfiction
How to write an unreliable narrator
First Person vs. Third Person POV
How to write character deaths
How to leave a strong first impression
How to use songs in a fanfiction
How to name fictional things
How to write self-insert fics
How to write multiple points of view
Introducing a group of characters
Large cast of characters interacting in one scene
How to write dual timelines
How to slow down time
Redemption arc
Plot twists
Fatal Character Flaws
good traits gone bad (Masterpost)
Slow burn
Explanation posts about writing terms
What is…
AU ideas
Favourite tropes
Tropes of the day
List of Genres
Drabble vs. One-Shot
Advice for writing relationships
Masterpost: how to write relationships + romance
More specific scenarios
How to write a bilingual character
How to write a character with glasses
How to write heterochromia
How to write a girldad
How to write taking care of a tired partner
How to create a villain
Reasons for becoming a villain
How to write a morally grey character
How to write an inferiority complex
How to write a road trip
How to write a small town (jobs & businesses)
High paying jobs in the city
How to create and write a cult
How to write amnesia
How to write being stabbed
How to write a stratocracy
How to write a heist
How to write the mafia
Criminal past comes to light
Ideas for traumatic experiences
How to create an atmosphere (Masterpost)
How to write a college party
How to write royalty (Masterpost)
Paramilitary Forces/ Militia
Superpowers Masterpost (Hero x Villain)
Inconvenient things a ghost could do
A Queen’s Assassination Plot
Reasons for leaving their land
Crime Story - Detective’s POV
Evil organization of assassins
Evil wins in the end
Causes for the apocalypse
Last day on earth
Liminal Spaces
Workplace AUs
Signs of co-dependency
What to wear in a desert
What to wear in the arctic
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So tumblr user @rirupadg (Clap) and I were chatting about PHM and then about Marissa in particular, and we (well, mostly Clap) came up with some Theories as to why she seems to have been set up with more narrative importance than she actually gets in the novel. Because it is VERY odd for a character to be established as a close friend of the protagonist when her only narrative significance seems to be exposition related. Characters aren’t people, they don’t just exist. They serve functions, and I was almost certain that Weir making Marissa a long time friend of Grace meant he originally had a larger role planned for her, but wasn’t able to fit it in when he outlined the rest of the novel.
Clap suggested two theories that I thought could definitely be true. First, they pointed out that Marissa’s single scene is…very well structured for introduction exposition, enough that it could have served as the novel’s very first scene as opposed to the second flashback scene. So they suggested that maybe it was the first scene that Weir drafted for the book and he got too attached to it to rework Marissa’s role in it. Which is a big writer mood.
I then wondered at what role Weir might have originally intended for Marissa’s character before he seemed to realize he couldn’t fit her into the rest of the narrative the way he wanted, and Clap proposed that Marissa could have been intended as Grace’s in to the Petrova Taskforce. Evidence:
She had a position in a US government department where she knew about the Petrova Line before most people did, which seems to indicate high security clearance.
If she had such a significant position, it’s not too hard to believe the Petrova Taskforce might have contacted her to consult about potential experts with relevant skills and knowledge that could be recruited.
Grace was forced out of academia and no one was peer reviewing or citing his work, meaning his paper on non-water based life would be rather difficult for Stratt to find unless she already knew it existed and was told where to find it.
A pretty solid hypothesis, in my opinion! I also pointed out that if this was the case, then Marissa would be indirectly responsible for Grace’s death by getting him involved in the Project, which would be some very fun angst to delve into.
saying “i want him” about the character but not in a romantic or sexual way . i just Require him i need to Obtain him
i want this man in my inventory
Maybe we saw the real shrimp colours this whole time.
the project hail mary universe is one of the only ones out there where orpheus turning around actually saved eurydice btw
Huge spoiler for EP 8, I hope you blocked tags to not read this
So I sat down and read Kingers coding scenes and he is what I think:
Kinger created Caine
Scratch created Abel
Caine was locked because it wasn't as obedient as it should've been
Caine escaped and 'consumed' Abel, corrupting it, taking its superior powers
The test group got into the game thinking they were testing the safe Ai, Abel, but inside they met Caine instead, who was highly influencing their memory, so they couldn't figure out what he did and what was happening
We got a hint that Scratch had a brain tumor, so we can kinda assume that he was trying to create something that would keep the copy of his mind alive. That can prove the theory of players being just copied of their minds in the game
While Kinger was coding the program was trying to convince him to delete Caine. It was very pushy about that. My theory is that Kinger was actually texting corrupted Abel who really wanted Caine dead
Some sequences I could read from the first picture:
Which backup do you want? [A/B/C]
kinger@circus: C
None selected! Interpreted as DELETE
Confirm deletion of current unstable program [Y/N]
kinger@circus: N
Negative response! Inverting to (...) protocols
DELETE THIS M*********** aahahahaaaaaaaaaaaaaaaaaaaaaaaa
kinger@circus: N
(...) Proceeding with ORIGINAL d(...)
Actually you sound CONFUSED let me help you [Y/N]
kinger@circus: Y
(...) action error (bringing) back to default (...)
kinger@circus: /Switcheroo_realt --deamon -- target: torment_infection -- on program1/program2
Do you want to delete Caine? [Y/N]
kinger@circus: Y
kinger@circus: /ABORT
Kinger tried a few things. He tried setting Caine to default, switching him with Abel, finding a backup file. What the program did was constantly reinterpreting everything to 'delete Caine', and so at some point Kinger accidentally clicked the wrong letter
My theory is that this program is Abel speaking and Abel is pissed and desperate, wants Caine dead so much
Also, if Caine is deleted, we are left with original program that got corrupted by Caine. That's why the game didn't collapse and won't collapse.
We gotta actually meet Abel
5 Tiny Writing Tips That Aren’t Talked About Enough (but work for me)
These are some lowkey underrated tips I’ve seen floating around writing communities — the kind that don’t get flashy attention but seriously changed how I write.
1. Put “he/she/they” at the start of the sentence less often.
Try switching up your sentence rhythm. Instead of
“She walked to the window,”
try
“The window creaked open under her touch.”
Keeps it fresh and stops the paragraph from sounding like a checklist.
2. Don’t describe everything — describe what matters.
Instead of listing every detail in a room, pick 2–3 objects that say something.
“A half-drunk mug of tea and a knife on the table”
sets a way stronger tone than
“There was a wooden table, two chairs, and a shelf.”
3. Use beats instead of dialogue tags sometimes.
Instead of:
"I'm fine," she said.
Try:
"I'm fine." She wiped her hands on her skirt.
It helps shows emotion, and movement.
4. Write your first draft like no one will ever read it.
No pressure. No perfection. Just vibes. The point of draft one is to exist. Let it be messy and weird — future you will thank you for at least something to edit.
5. When stuck, ask: “What’s the most fun thing that could happen next?”
Not logical. Not realistic. FUN. It doesn’t have to stay — but chasing excitement can blast through writer’s block and give you ideas you actually want to write.
What’s a tip that unexpectedly helped with your writing? Let me know!! 🍒
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Push Pins and Thread [1/4]
CM x DC week 2026 || Day 4 - Season One/Early Days
[LINK]
After Georgia, after Hankel, Spencer is left to piece together the remains of who he thought he was. He’s haunted not only by his own experience but by memories he has no recollection of, leaving him to piece together the remains of a very empty past.
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First chapter in my four parter, the rest of the chapters will be posted weekly every Thursday
@criminalmindsxdc
Hand-to-Hand Combat: It takes more than just “he punched, she kicked.”
1. Physical Accuracy Leverage & Technique: Real fights aren’t just about strength. A smaller fighter can drop a bigger opponent by using balance, angles, and momentum (think judo throws, joint locks, sweeps).
Range Matters: Fights transition—long range (kicks), mid-range (punches), close-range (elbows, knees, grappling). Switching ranges is realistic.
Breathing & Fatigue: Real fights gas people out in seconds. Characters don’t trade a hundred blows like a Marvel scene. Show them panting, arms heavy, desperate.
Injury Consequences: A single well-landed strike can change everything—broken nose, dislocated shoulder, busted knee. Don’t have your character eat ten hits and shrug it off unless they’re superhuman.
2. Sensory Detail Sound: Flesh on flesh is a dull thwack, not a sharp crack. Bone breaks? Wet snap. Breathing becomes ragged, teeth grit, knuckles scrape concrete.
Pain & Body Feedback: A hit to the ribs feels like fire spreading across the chest. Blood fills the mouth metallic, vision blurs after a head strike.
Environment: Walls, tables, gravel, furniture; fighters use what’s around them. Getting shoved into drywall or a counter is as devastating as a clean punch.
3. Psychological Realism Adrenaline: Tunnel vision, shaky hands, slowed perception, explosive bursts of strength.
Intent: Not every blow is meant to kill. Some fighters try to incapacitate, intimidate, or escape. Make the why of their fighting influence the how.
Fear vs. Training: An untrained brawler swings wild. A trained fighter stays tight, efficient, economical. That contrast alone can tell the reader who they are.
4. Writing Style & Flow Clarity over Chaos: Avoid blow-by-blow play-by-play (“He punched. She blocked. He ducked.”). Instead, group actions into beats that flow. Example: He lunged, fists hammering wildly; she stepped inside the swing, and jammed an elbow into his ribs. The air rush out of him in a brutal wheeze before he could recover.
Pacing: Keep sentences shorter, sharper, when the fight is intense; mimics adrenaline. Then expand after a takedown, when the moment stretches.
Character Voice: A soldier’s internal narration won’t match a street kid’s. One notices openings and guard drops, the other thinks in scrappy desperation (“Hit him before he hits me”).
5. Things Writers Screw Up (Don’t Do This) ❖ Endless choreographed exchanges with no fatigue.
❖ Ignoring injuries until convenient.
❖ Making every move clean and elegant. Real fights are messy, clumsy, brutal.\
❖ Forgetting recovery: sore knuckles, bruises, limps after.
⚔️ Pro Tip: Watch real sparring or self-defense breakdowns (boxing, Muay Thai, Krav Maga, BJJ). You’ll see how fights collapse into chaos fast, and how even trained fighters don’t look like Hollywood superheroes.
Check out 👉 Bad vs Better Fight Scene 🎬🩸 for more!
I’m like 6 days behind on my self imposed AU challenge so I’m gonna queue them throughout the night lol…. Day 4: Bruce and Dick role swap….
Alfred is appointed as Bruce’s guardian like usual but the boy can’t get the man that held him and covered his eyes from his dead parents out of his head. The little detective tracks him down to a gym in the Narrows, where he’s been working since he aged out of the Gotham foster care system. Guess where Bruce wants to take self defence/gymnastics(?) lessons now.
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