i should've locked in when i was thirteen
noise dept.

ellievsbear
AnasAbdin
Aqua Utopia|海の底で記憶を紡ぐ
🪼

祝日 / Permanent Vacation
hello vonnie

izzy's playlists!
KIROKAZE
will byers stan first human second

Kiana Khansmith
let's talk about Bridgerton tea, my ask is open
d e v o n
tumblr dot com
almost home
occasionally subtle
Cosmic Funnies
Misplaced Lens Cap
styofa doing anything
Show & Tell

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@stella--lunar
i should've locked in when i was thirteen
AWWW LOOK AT HIM
i'll follow you into the dark.
someone pet this man this instance
JENNIFER'S BODY
2009, dir. Karyn Kusama
You are, um, fucking incredible. The way you just opened up in front of all those people. I want to be more like you, Wellsy. Like the girl from the green room. The girl up on that stage. Fuck, everything you are. Garrett... Just hear me out. Please. You make me want to be better. To do better. And, I'm going to. Just...give me another chance. I meant what I said before. You should be with whoever you want to be with, but I really want that guy to be me. GARRETT GRAHAM & HANNAH WELLS Off Campus (Season 1)
“My body feels warmer than usual, and I become aware of the sweetest smell. Strawberries maybe? No, cherries. Definitely cherries. And something tickles the bottom of my chin, something soft and hard at the same time. A head? Yup, there's a head nestled in the crook of my neck.
My eyes open gradually and I find Hannah snuggled up against me. I'm on my back with both my arms wrapped around her, holding her tight to my body.”
-Garrett [The Deal - Chapter 12]
“So what’s next?”
“It’s your favorite, actually. Are you ready for this?”
🤝
"Wellsy... Thank you." "It's just a sandwich." "Still. Thank you."
Off Campus 1.05, "The Cold Turkey" I dir.Erica Dunton
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.
OFF CAMPUS | S01E02 "The Practice"
SIMONE ASHLEY AT CALVIN KLEIN x NENSI DOJAKA
The 25th Annual Kings and Queens Ball - May 25th, 8pm
📸 vladimir rys
Half Man / Eric Fischl, Hysterics of Love (1997)