#writing help.

[cheatcodcs]

⟨    some  tag  aesthetics  !    ⟩

hey   pals   !!!   below   the   cut   you   can   find   (   +   06   )   tag   formats.   i   will   update   this   post   over   time.   the   site   i   use   to   change   the   format   of   my   text   can   be   found   here.   enjoy   and   please   like   /   reblog   if   you   found   these   useful   !   thank   you.

˗ˏˋ 𓂃  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄  ⦂  tag. . ˚ ◞ ♡  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄 ／ tag ⋮  ❛  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄  ›  tag. ✧ 𓂅  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄  𓄴  tag. — ✎  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄  ⤾  tag. ■  𝐂𝐇𝐀𝐑𝐀𝐂𝐓𝐄𝐑 𝐍𝐀𝐌𝐄  ➮  tag.

[seniorchaser]

made Not-Donna mee Donna and….. they hate each other??? Whyy

[riconsty]

ϟ THE 13 FEMININE SEDUCTION ARCHETYPES. 

◟ ━━━ this is a masterlist of labels from the 13 feminine seduction archetypes. it’s a fun quiz to take while looking for archetypes for your characters. i’m using it as a reference for the character aesthetics i’m going to do soon but i thought, hey, why don’t i post it too.

THE INGENUE.

DESCRIPTION: “your impish mix of girlish charm and mature sensuality enthralls.” ╱ FAMOUS EXAMPLES: marilyn monroe, rihanna, carole lombard.

THE SENSUALIST.

DESCRIPTION: “you are a fount of love, affection, and robust sensuality.” ╱ FAMOUS EXAMPLES: sophia loren, nigella lawson, nia long.

THE DIVA.

DESCRIPTION: “your regal presence and glamorous nature enchants.” ╱ FAMOUS EXAMPLES: beyoncé, pamela churchill, isabel preysler.

THE BOSS.

DESCRIPTION: “you command power in the boardroom and the bedroom.” ╱ FAMOUS EXAMPLES: cleopatra, amal clooney, arianna huffington.

THE COQUETTE.

DESCRIPTION: “your emotional distance drives [romantic interests] to the extremes.” ╱ FAMOUS EXAMPLES: marlene dietrich, serena williams, josephine bonaparte.

THE ENIGMA.

DESCRIPTION: “your deep introversion and soulfulness magnetizes.” ╱ FAMOUS EXAMPLES: kate bush, frida kahlo, greta garbo.

THE EMPRESS.

DESCRIPTION: “you instinctively make a [partner] feel like a king.” ╱ FAMOUS EXAMPLES: wallis simpson, marjorie harvey, madame de pompadour.

THE LADY.

DESCRIPTION: “you sastify a [partner’s] desire for a nurturing, all-consuming love.” ╱ FAMOUS EXAMPLES: susan sarandon, sandra lee, ayesha curry.

THE GAMINE.

DESCRIPTION: “your natural charm and playful spirit lowers defenses.” ╱ FAMOUS EXAMPLES: audrey hepburn, janet jackson, josephine baker.

THE SIREN.

DESCRIPTION: “you are unbridled, erotic energy in its purest, most tantalizing form.” ╱ FAMOUS EXAMPLES: elizabeth taylor, mae west, brigette bardot.

THE BOHEMIAN.

DESCRIPTION: “your independent spirit & sexy, devil-may-care attitude is irresistible.” ╱ FAMOUS EXAMPLES: erykah badu, coco chanel, bianca jagger.

THE SOPHISTICATE.

DESCRIPTION: “you exude elegance, worldliness and a touch of mystery.” ╱ FAMOUS EXAMPLES: jacqueline kennedy, carla bruni, kate middleton.

THE GODDESS.

DESCRIPTION: “your sultry, serene presence makes you appear other-worldly.” ╱ FAMOUS EXAMPLES: sade, eva peron, grace kelly.

[myfanwymusings]

TIPS FOR WRITING STARTERS / a rp guide.

A 2021 updated reupload from my former blog !

1) Ask yourself “Do I need this part?”

One thing that can really weigh down a starter is information that isn’t vital to the scene; key word being scene not the plot entirely. That in depth character analysis might be great writing, but a writing partner can’t really reply to meta. It’s not something their muse can interact with or use to further the scene. I know sometimes our writing gets away with us, and I have often times taken parts out of replies and then later expanded on it in another separate post because it was more suited there The same thing can be said for backstory; while I am always a fan of backstory, I’ve noticed a trend where people try to summarize their entire plot in the first starter, both for their partner and for any one outside reading it. It’s always good to set up something in a starter, but keep it focused on that specific scene.  A partner cannot reply to just meta and backstory, you need to give them something to respond to.

2) “No really, do you really need this part?”

I cannot stress this enough; your starter needs to set the scene --- so it really needs to be focused on that scene. If your starter involves one or two (or more) scene changes before you even reach the part where your partner’s muse comes into play; than odds are that you need to step back and focus on what really matters. Ask yourself what the purpose of this interaction is, what is it your muse wants from mine specifically. Are they an obstacle? A goal? Scene direction and focus is very important in both starters and replies.

3) ALWAYS CUT 10% BEFORE FINISHING

This is actually something echoed in many writing classes and by authors, filmmakers, and various other content producers for years !  What this does is force you to focus on what actually is important to your scene, and help you remove anything that might be nice writing but doesn’t contribute anything.

4) Establish, thoughts, action

A starter should always be equal parts establishing information, what your muse wants, and an action to react to. It doesn’t need to be in that order, and there might be times where you need to outweigh one over the other due to the unusual nature of the scene; but 90% of the time, regardless if it’s a short para, proper para, or novella, you should always keep these three balanced.

Establish what is vital information for your partner to know right off the bat, you can always flesh things out in replies later both in character speech and in narration. Giving the reader a glimpse into their head is not only good writing, but it can communicate the direction the scene may be going further down the road. This can allow for more coherent plotting and a chance to plot a new direction if you aren’t up for that.

Give your partner some idea of what’s going on in your muses’ head. How they feel about the situation, what they want. This doesn’t need to be expository, you can convey this easily by describing the others. If they are speaking pleasantly or angrily, if they view the location as a nice or bad place. Things like that help make a scene feel more organic.

Lastly, of course there are actions. This covers: speech, physical actions or anything in your reply that’s observable to the other muse to respond to. Your partner’s character needs something to respond to

5) Remember you do not have to establish everything

While it’s important to give your partner something to work with, do not get carried away or think the sole responsibility of fleshing it out rests on you. Let your partner’s reply add more to the world, add in details and give it colour. It’s way to easy to accidentally god mod in starters by setting the scene as if you are expecting a certain response. Leave some of it to them. Its your shared scene, you both are responsible for giving it life.

6) Watch out for accidental god modding

When we think of godmodding, we often imagine someone writing out our character’s actions or feelings or outright telling us what to do. The thing is, it’s easy to do it accidentally in more subversive ways.

If you write a starter that’s clearly angled for a certain type of response or end goal, plotted or not. It can make your partner feel trapped, like their just going through the motions of your fantasy, and not your shared one.

If you haven’t plotted, ask questions like “is it okay if I say this?” if referring to their muse or past events that would involve them both. If you have plotted, than try to stick firmly to what was already discussed. Don’t embellish beyond that. You can allow things to grow naturally in the scene and continue to discuss things ooc with your partner as the thread continues.

Adding things that aren’t strictly locked to your own muse is another way of godmodding without realizing it. You are eliminating your partner’s ability to decide and choose things for themselves.

6) Communicate

Regardless if you plotted or not, it’s okay to admit it if you are stuck. Sometimes some scenes are fun to plot but don’t lend themselves to writing as a thread as easily. Sometimes you need to talk a little more to get creative juices flowing. Do not be afraid to reach out.

7) Accept that not all starters will be knockouts.

Sometimes a starter just won’t take. It doesn’t mean you’re a bad writer. It doesn’t mean their rude for not answering. Sometimes things in that set up just don’t click. Occasionally, you can fix this by taking a new approach, but sometimes you’ve gotta cut your losses and try again. It’s going to happen, and accepting that this isn’t a reflection on you can be the biggest challenge yet.

8) BE FLEXIBLE

Roleplaying is a mix of writer’s craft and drama/improv; the writer’s craft part is obvious but there are key stage rules that apply as well due to the back and forth nature of RP. Sometimes you’ll set a scene, and your partner might see a starter and take it in a direction you weren’t thinking of when you wrote it. That’s okay ( as long as it’s within both of your comfort zones).

The rule of improv is “Yes, and...”, meaning that if you expected your partner to say X but the end up saying Y, don’t go turn around in or out of character to say no it’s x.

This isn’t so much about writing starters as it is accepting that once you’ve written it, you have to let it go. It’s someone else’s to be creative with. It might not go the way you want it to, but that’s not a bad things inherently.

9) ACCEPT FEEDBACK AND GROW.

Let your craft develop by opening yourself up to notes and suggestions. You’ll become bored with writing if unchallenged and your partners will become bored of the same thing constantly. This doesn’t mean rebrand yourself a million times, but let yourself grow. There are many guides, books and activities that can help you do this !

[gothamincarnate]

@itsnotpatsy replied to your post “autistics are naturally better writers bc of how we see the world,...”

Heck yeah. I imagine the difference in sensory stuff must be a radical detail to be able to describe.

yeah! the sensory stuff is true, 

but i was mostly talking about... hm, how to word it. it’s a combination of a autistic people having own culture of social cues and trauma that is shared among austistic people.

for example, a lot of autistic people have had to literally learn body language and how to tell sarcasm ect to try to ‘pass’ for non autistic, which means we learn to describe body language differently, we learn to describe other people’s emotions better because we constantly have to process ‘tells’.

examples: look people in the eye, don’t clap your hands softly, if someone has their arms folded it means they’re upset, if someone’s voice is all wobbly it means they’re upset, sometimes a  voice going up and down means sarcasm. this makes it really easy for me to write actions into the scene, it’s more like a puzzle i guess.

oh boy that also ties into the trauma of having to pass, the teaching isn’t always nice and it’s really confusing why all these rules matter-- which makes me more intentional in how i describe body language or other details.

and there is research into mindblindness, where people with autism (im speaking generally here) have trouble like, seeing other people’s perspective? like, if something is happening and someone is upset, my first reaction is ‘i’m not upset, why is this person upset?’ (i respond ‘more appropriately’ now since forcing/faking empathy was drilled into me, which ironically makes me better at understanding a character’s emotions because i have to literally do the same thing to IRL people)

in my writing, or more my reading process (which informs my writing) i will read a book with a really specific & vivid description of a room but i still keep seeing a room i’ve seen in real life that is similar because it’s hard to imagine something wholesale sometimes? so then because i’m constantly having to tie things back into real experiences it makes my writing feel more alive, though it does limit topics i can write about sometimes. (basically Write What You Know but turned up & twisted around)

THEN there’s like, the way we organize things and sort them into categories, so when i write i sort of structure each paragraph into stages to unfold the story. like, that’s basic writing tips, to let a scene unfold in a sequence-- from the floor to the ceiling, from left to right ect, but it’s instinctual to me because of how i’ve processed the world since birth

[mvdipetsch]

Outside of London; A Guide.

Hello, friends! I think there’s a semi-substantial amount of roleplays based around England, but honestly 90% of them are in London and while that’s great, England is made up of a lot of cities and I figured I’d show some #representation. 

In this guide we cover: Housing in England, location and travel! 

Disclaimer: This is based off of my experience and the experience of those around me. Most of my knowledge is concentrated around Birmingham, as that is where I grew up, but I’ve spent a fair amount of time in Stoke-on-Trent, Blackpool and Liverpool so I feel that I have a semi-decent shot at helping out. 

If you found this guide helpful, please reblog this as it helps to show me that there is interest and I’m not just shouting into a void. If you have any suggestions or comments about things I could/should cover in these guides please let me know! Any specific questions? Shoot me an ask and I’ll do my best to help you out. 

Location, Location, Location. 

England is divided into counties. There many of them, and realistically they don’t affect anything. All it really means is that your resources (police, fire, ambulance, charities, etc.) are organised by that one area. For instance - the buses in my city are all organised by Network West Midlands. They deal with every bus service (if it’s an NXBus) in the West Midlands. Ultimately, it doesn’t really affect anything. 

From my city to my university, it’s a 3-ish hour drive. That is a long drive. I know some people regard that as nothing, but when everything is so close together, it’s a lot. It’s not really a drive that people would make a lot - this is why train transport (while not that big) tends to be used to get from city to city. 

Only really in the inner cities are things that expensive. When you move away from the main city, things can get pretty affordable, but the inner city is still often really accessible via bus, driving or even train. When I’m at my boyfriend’s I’ll get the bus into the city centre, but when I’m at my mom’s sometimes it’s quicker to just jump on a train. Train tickets are also pretty inexpensive if you’re moving within the city. It’s when you’re heading to smaller cities that the problems arise. For instance, I can get to London for under £10, and to Liverpool for not much more. However, for me to get from Birmingham (a major city) to my University (a not-so-major city of about 200k) it’s £60+ with a change. On coach, it’s £14 with a change + it takes 5-ish hours (there are direct coaches that cost £30~ which is still significantly cheaper than the train) University students will commonly take a coach to and from their university to their hometown if it’s ridiculously priced. 

The higher north you go, typically the cheaper it is. This is dependent upon where in that city you are, but the general consensus is that north = cheaper. Obviously if you’re in Manchester city centre then it’s going to be a bit more pricey, but the general cost of living / food / etc. is seen to be cheaper the more north you go. A good way to judge how expensive a place is, is by how much the bus fare is. Birmingham bus fare is £4.00 for a daysaver (one ticket, on the bus as much as you like) but when I was in Liverpool I paid something like £1.20 for an U18 ticket. That’s a big difference. (For reference - Birmingham is the smack-bang middle of England. Liverpool is about 2 hours north, near Manchester.) 

Typically, when it comes to travelling; 

Driving

Cars in the UK are predominantly manual (with a gear stick) but we can still get automatic cars. Manual cars are also cheaper than automatic and you can drive an automatic with a manual license but you cannot drive a manual with an automatic license. 

My mom lives seven minutes from her work (she timed it, she’s got no life) but there are people who live up to thirty minutes away and have to take the motorway. This means that if there’s a massive accident, you can sit there for six hours, bored out of your skull

It’s also worth saying that if you live in a/the city centre, you’re not taking your car to work. It’s ridiculously expensive and parking is so few and far between, it’s really not worth it. People can and do drive, but plenty of people will also opt for a train or bus.

Buses

If you don’t drive the bus is often a very viable option. Buses will commonly run from 6:30/7 until 11:30/12 (at least where I am) but you can get night buses or buses that run later, they’re just a bit rare. 

Students (in college or secondary school, typically) are VERY common on buses. As in public buses. Unless someone has an impairment and go to a special school suited to their needs, you make your own way. Which often means that you jump on that bus with every man and his dog. 

Sunday service is real and it’s a pain in the arse. Buses that run every 10-ish minutes during the week drop to 20 between 9 and 5 and then drop to every 30 minutes after that (sometimes even every hour.) This means that if you miss your bus... you can be waiting for a very long time. 

Trains

Train’s are far more common for longer commutes. Also trains aren’t really that common for secondary school students (they either get dropped off in a car, walk or take the bus) but college students can and do take the train. My best friend takes an hour’s train ride to and from her college every day, and a lot of my teachers will get the train to college (my college is in the city centre, so it’s pretty logical.) Regardless, trains aren’t as common. 

Housing

Houses in England are attached. It is rare that you will see detached (stand alone) houses. Most houses will share their walls with their neighbours, unless they’re the end house in which case they’re called “semi-detached” cause... only half of them is attached. That tends to mean that if your neighbours have a baby, you can hear them crying. You can hear when the tv is too loud and all that kind of stuff. 

When you move out, there tends to be a few options in terms of who actually owns where you live. The options normally are:

Council. 

You sign up on the website, the council give you a priority rating and a set amount of points. These points are determined by the people in your household and your needs. A single mother with two kids will get more points than a single person with no dependants.

There is also a ‘bedroom’ tax, which states that you have to pay a tax if you live in a council property and are seen as having more bedrooms than you need. If, for instance you have two children of opposite genders that are aged seven and three, you have to pay extra tax for that third bedroom because it’s deemed as unnecessary. However if you have two children and they’re of different genders and one of them is over the age of ten (10) then you do not have to pay the tax. If they are of the same gender, then it is until one of them is sixteen (16).

Council and Housing Associations are most beneficial to those who are receiving benefits or are not working enough to cover rent by themselves. 

Housing Association

The way a housing association works is effectively the same as a landlord and the council. You apply on the council website for the aforementioned points and begin to bid on properties. When this happens, you may bid on a property that happens to be owned by a HA. The HA then acts as your landlord. HAs are pretty okay, dependent upon the area + such. When you live in a HA, any housing benefit you receive will immediately be paid from the council to the HA. This can cause issues if your money gets fucked up (which is more common than not because the housing system in the UK is BROKEN.) 

Private Rent

Private is when you have a landlord. I mean, that’s pretty self-explanatory really. You have an issue? Call the landlord. I’ve never had a landlord so I can’t really comment much on this. I will say that most landlords likely won’t accept housing benefit as a form of payment.

Private own. 

This is just the whole mortgage, thing. You know how this goes. 

There are a few different types of housing options when it comes to England and I’d imagine that this is pretty true for up and down the city.

Blocks of flats.

Blocks of flats are huge high-rises. They’re not as common anymore but there are still quite a few knocking about. If you remember the tragedy of Grenfell Tower, that was a high-rise. 

Blocks of flats can be owned by the local council or be privately rented. I’ve never lived in a flat, so my knowledge isn’t the best. They all tend to have names and there’s normally at least two together. 

A ‘flat’ is basically an apartment. So it’s a bunch of different flats (which, in high rises, commonly have two bedrooms, a kitchen, a living room and a bathroom) High rises have a lot of flats in them. Commonly there’s at least 13 floors, with between around four and six flats per floor. So you can get a lot of people in a high rise. 

Maisonette. 

A maisonette looks like a wide house. It’s normally one to two floors, with flats that have three (or more) bedrooms. Maisonettes are considerably bigger, in terms of the flats inside, and consist of maybe two flats per floor. Maisonettes can also be council, privately rented or housing association. 

Bungalow.

A bungalow is a home without any stairs. They can be council, privately rented or privately owned. Bungalows aren’t that common anymore, but they’re great for people who have difficulty with stairs and such. Also most bungalows are actually pretty decent sizes too. 

Houses.

Houses in the UK are broken down into one of three categories:

Detached

Semi-Detached

Attached

This is literally just based upon how many of your walls are shared with your neighbour. Detached houses are really uncommon in the UK and are usually found in richer areas. Semi-detached is mainly just the house at the end of your street, so semi-detached and attached are the main two. 

Also it’s pretty common that you only have windows of two of the four house walls. Even if you’re in a semi-detached house, you’ll only have front and back windows. 

Houses can be privately owned, privately rented, housing association or council.

Most houses follow a similar layout. Typically three bedrooms, with either one bathroom or a room just for the toilet + then the bathroom (with a bath + sink + such.) It’s also super common for one room to be a ‘box room’ which is normally pretty small. My room at my mom’s house is the ‘box room’ and it fits a 3/4 bed, a chest of draws, and a metal rack that I use as a bookshelf. There is not a lot of room in there. 

And there you have it! I think I covered most things regarding transport and housing in the UK, and I really hope that it was as informative as possible. Stay groovy, my dudes. 

[cheatcodcs]

double   spacing   tutorial   /   hack   by   tiffany   !

hi   guys   !!   today   i’m   gonna   show   you   how   i   go   about   double   spacing   my   text   threads.   instead   of   using   a   generator,   i   find   it’s   more   convenient   just   to   use   my   notes   app   on   macbook.   😇   also   not   saying   people   don’t   know   this   trick   already,   just   thought   it   would   be   nice   to   share   in   case   someone   doesn’t   !

01. open your notes app and create a new note. hit the enter bar a few times so you’re not stuck in the ‘headline’ mode.

02. write out your reply like you normally would, whether that be in your drafts or even on the notes app, whichever you prefer. i do mine in my drafts then copy and paste everything over.

03. now go into your html, highlight your entire reply and copy it.

04. now open your notes app and paste your reply. 

05. afterwards you’re going to hit command + f. a search bar should pop up at the top of your notes, you’re going to ‘search’ for a space. so just hit the space bar one time in the search tab.

it’ll look something close to this ! 

06. now, you’re going to check the box that says replace at the upper right. you will then paste the code &n b s p; &n b s p; ( no spaces between the letters obviously. i just can’t show you without them ) into the bar provided.

07. now highlight all of your reply BEFORE hitting replace ‘all’ that you see right beside your bar. once you’ve highlighted your entire reply, hit the ‘all’ button and let the magic happen !

it’ll then look something like this. just copy your new reply and go back into your drafts, paste it over your un-formated reply in the html tab. it won’t look right if you do it in the rich text editor, so be sure to stay in the html !

TADA !!!!!! if you need any help or have any questions, feel free to IM me. hope this helps someone and reaches the right people.