here’s my ending because i refuse to accept that ending, REFUSE.
Today's Document
Mike Driver
official daine visual archive
he wasn't even looking at me and he found me
will byers stan first human second
hello vonnie

Andulka
ojovivo
Noah Kahan
taylor price

titsay
we're not kids anymore.

if i look back, i am lost

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$LAYYYTER
Three Goblin Art
PUT YOUR BEARD IN MY MOUTH

shark vs the universe

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@thefairyarchive
here’s my ending because i refuse to accept that ending, REFUSE.
someone made a ghost of you amv for hinako and minato and i’m literally fucking crying.
ugly crying.
But like I am definitely sure that Natsu kind of has a separation anxiety. Since he turned to END whe he thought Lucy died he panics every time he is not near Lucy also Natsu’s comfort thing would be cuddling
Omg! Okay, this is so canon }’; 💕
I absolutely agreee! Natsu knows to give Lucy her space when she needs it, but also he hates leaving her side, it’s obvious he loves being with her, but it’s also bc he needs to know that she’s okay 🥺 They’ve gone through sm trauma and loss, it’s only normal to pick up some kind of anxiety. Also i feel this is some sort of promise he made to himself and her, to never leave her again. He knows the hurt he accidentally made Lucy go through when he left to train, but also you’re very right, that after watching her die for a second time he would definitely never want to be away from her again. We’ve seen it in FT100 too, that he’s been really protective and alert of where Lucy is and who he lets close to her.
He might truly find comfort in cuddling ugh my heart ❤️ T^T It takes me back to a theory i read once too, of why this might be the reason Natsu always needs to have some kind of physical contact with Lucy, bc he needs to make sure she’s really there and not hallucinating 😭 He’d go crazy if he lost his closest friends, especially Lucy. 💔
My favorite writing advice
I rarely see great writing advice. Other than “write every day, as much as you can” it’s hard to find anything universal.
Some advice is generally better, some are generally worse, but all of them are subjective.
Here is the one piece of advice that I found both universal and practical:
Write down ten things that you value in the stories you read. Then write down ten things that you dislike in the stories you read. Keep then in mind when you write your own story.
It sounds overly simple, but it helps hugely.
Often when we start writing we feel self-conscious, not sure of our abilities and talent. It happens to me all the time. And then it’s tempting to emulate what is currently popular, pretend to be more sophisticated and create something I, personally, would never want to read.
For example, I don’t like a long detailed description of surroundings. I like them neither in fics nor in contemporary nor in classic literature. I appreciate the talent. I envy the style. But I don’t enjoy reading it. All those paragraphs of descriptions of an old tree in the back yard of their childhood house draw deadly boredom on me, and, honestly, I tend to skip them. But when I start writing myself, suddenly I feel a need to describe everything in the most pompous way.
And here is a list of sample questions that you can ask yourself to identify your preferences.
What genre do you like/dislike?
What is your favorite and least favorite tone of the story?
What point of view do you like/dislike (first-person, second-person, third-person)?
Do you like one or multiple points of view?
Do you like an omniscient or limited point of view?
Do you like present or past tense for narration?
Do you like it when the story breaks the fourth wall?
Do you like cliffhangers?
What size of the chapters do you prefer?
Do you like inner monologues or they annoy you?
Do you like romantic subplot? How much space of the story do you like it to take?
What level of conflict do you prefer personal/ interpersonal/social? Which one do you dislike?
Stories about characters of what age you like/dislike?
What is your favorite and least favorite setting?
Do you like humor in the stories?
It’s good training to understand your own preferences and it helps you to write stories that you would like to read.
PS. This advice has counter advice — go out of your comfort zone. The key here is to know exactly what you are doing, and what is your goal.
5 frustrating workshop rules that made me a better writer
Throughout the 15 workshops I joined in college and grad school, I encountered two types of writing rules.
First, there were the best-practice guidelines we’ve all heard, like “show don’t tell.” And then there were workshop rules, which the professor put in place not because they’re universal, but because they help you grow within the context of the workshop.
My college’s intro writing course had 5 such rules:
No fantasy, supernatural, or sci-fi elements.
No guns.
No characters crying.
No conflict resolution through deus ex machina.
No deaths.
When I first saw the rules, I was baffled. They felt weirdly specific, and a bit unfair. But when our professor, Vinny, explained their purpose (and assured us he only wanted us to follow the rules during this intro workshop, not the others to come), I realized what I could learn from them.
1. No fantasy, supernatural, or sci-fi elements.
Writers need to be able to craft round characters, with clear arcs. While you can hone those skills writing any type of story, it can be more difficult when juggling fantastical elements, because it’s easy to get caught up in the world, or the magic, or the technology, and to make that the focus instead of the characters. So Vinny encouraged us to exclude such elements for the time being, to keep us fully focused on developing strong, dynamic characters.
2. No guns.
Weapons have a place in many stories, but when writers include a gun, they often use it to escalate the plot outside of the realm of personal experience and into what Vinny called “Hollywood experience.” He wanted us to learn how to draw from our own observations and perceptions of life, rather than the unrealistic action, violence, and drama we’d seen in movies, so he made this rule to keep us better grounded in our own experiences.
3. No characters crying.
When trying to depict sadness, writers often default to making characters cry. While there’s nothing inherently wrong with that, tears are just one way to show grief, and they aren’t always the most subtle or emotionally compelling. That’s why Vinny challenged us to find other ways to convey sadness — through little gestures, strained words, fragile interactions, and more. It was difficult, but opened us up to depicting whole new gradients of grief and pain.
4. No conflict resolution through deus ex machina.
This is the only one of the rules I’d say is generally universal. Meaning “God from the machine,” deus ex machina is a plot device where a character’s seemingly insurmountable problem is abruptly resolved by an outside force, rather than their own efforts. These endings are bad for various reasons, but Vinny discouraged them because he wanted us to understand how important it was for our characters to confront their struggle and its consequences.
5. No deaths.
Death is inherently dramatic and can be used to good effect, but many writers use death as a crutch to create drama and impact. Writers should be able to craft engaging, meaningful stories, even without killing off their characters, so this rule challenged us to find other methods of giving weight to our stories (such as through internal conflict).
How these rules helped me grow as a writer
First things first, I’ll say it again: apart from #4 (deus ex machina), these rules were never meant to be universally applied. Instead, their purpose was to create temporary barriers and challenges to help us develop key skills and write in new, unfamiliar ways.
For me, the experience was invaluable. I liked the way the rules challenged and stretched my abilities, driving me to write stories I’d have never otherwise attempted. They made me more flexible as a writer, and while I don’t follow the rules anymore (I LOVE me some fantasy), I’ll always be thankful for how they shaped my writing.
My recommendation to you?
Give some of these rules a shot! Follow them temporarily while writing 2-4 short stories — but remember to always keep their purpose in mind, because the rules themselves will only help if you understand what they’re trying to achieve.
Write with purpose, and you’ll always be growing.
— — —
For more tips on how to craft meaning, build character-driven plots, and grow as a writer, follow my blog.
What you can say instead of the word beautiful:
lovely,
charming,
delightful,
appealing,
engaging,
winsome
ravishing,
gorgeous,
heavenly,
stunning,
arresting,
glamorous,
irresistible,
bewitching,
beguiling
graceful,
elegant,
exquisite,
aesthetic,
artistic,
decorative,
magnificent
WORDS TO USE INSTEAD OF: RUN / RAN
Do you ever find yourself over-using the word “run” (or “ran”) in your writing? Try using these words instead:
sprint / sprinted
dash / dashed
dart / darted
bolt / bolted
race / raced
speed / sped
hurry / hurried
jog / jogged
bound / bounded
hustle / hustled
scurry / scurried
tear / tore
rush / rushed
charge / charged
barrel / barreled
zoom / zoomed
scuttle / scuttled
scamper / scampered
book it / booked it
leg it / legged it
Source: @writers-hq Facebook page.
Some idioms and phrases you should know about part I :
Salt of the earth: a very good or worthy person.
Gut-wrenching: making you feel very upset or worried.
Make a spectacle of yourself: to do something that makes you look stupid and attracts people's attention.
Pass muster: be accepted as adequate or satisfactory.
Putty in someone's hands: easily influenced by someone else, excessively willing to do what someone else wishes.
Look before you leap: carefully consider the possible consequences before taking action.
Set the wheels in motion : to do something that will cause a series of actions to start.
Off the books: without being included on official records.
A long Haul: something that takes a lot of time and energy.
An end in itself: a goal that is pursued in it's own right to the exclusion of others.
Night owl: a person who prefers to be awake late at night.
Kick the Bucket: to die.
Alter Ego: a person's secondary or alternative personality immediately or extremely quickly; at once.
Freak of Nature: something or someone that is unusual, rare, or abnormal in some way / To avoid attracting attention to yourself.
Any minor inconvenience in my life: happens
Me and my sensitive ass:
if appa had gotten the taste for the human flesh earlier in the show ba sing se woulda never been taken
Lucy-
Cana-
People say fanfiction tropes are unrealistic, but I lived through the “there was only one bed” trope a few months ago while travelling so now every time I go into a coffee shop I have to check if the barista is cute because we might end up falling in love
I think these are the final versions for now. Unfortunately, I still work longer with a digital than traditional.