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oozey mess
Janaina Medeiros
@theartofmadeline
Sweet Seals For You, Always
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pixel skylines
Jules of Nature
styofa doing anything
noise dept.
h
we're not kids anymore.
❣ Chile in a Photography ❣
let's talk about Bridgerton tea, my ask is open
Cosimo Galluzzi
One Nice Bug Per Day
dirt enthusiast
Game of Thrones Daily
Origami Around
tannertan36
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@threeskullsinthewoods
being a horse owner and having your friends/family knowing that you're looking for another horse means that i can text them shit like "who wants to go to kentucky with me :)" with no other context and have them come back with a demand for pictures and a five page essay why i need that one
GROWING PAINS
@/field.of.ink The Dog // Rainbow Kitten Surprise Painkillers // image unknown Mitski A Burning Hill // W.R. On the Death of Summer and Baptismal Promises // Jeanette Winterson Why Be Happy When You Could Be Normal? // Aftersun (2022) dir. Charlotte Wells // tiktok // Zen Cho The Four Generations of Chang E // Charles M. Schulz Peanuts // Mitski Class of 2013 // Ethel Cain God's Country (Demo 3) // Richard Siken You Are Jeff from "Crush" // The Mountain Goats Birth of Serpents // 弟弟 Didi (2024) dir. Sean Wang // Noah Kahan The View Between Villages // unknown
“not unkindly” has to be one of the ultimate adverbs ever. Implies so much
This may be a very lukewarm take, but I think one of the most important ways to establish tension in a story is to give actions consequences.
Not every consequence needs to be negative, and not every negative consequence needs to be catastrophic, but one of the easiest ways to kill the tension in a story is to teach your reader that it doesn't matter what the main characters do because everything will work out for them, and any setbacks won't have long-term consequences.
Because once you've taught that to the reader, then why should they care what the characters do? What does it matter whether they make the "right" decision because every decision will ultimately be the last one.
And once you've given your reader that for long enough, you can't really go back, because that will feel like a betrayal. You can't give the first negative consequence 3/4 of the way through the story, because you've already set up the story as one where actions don't have (negative) consequences.
When you're thinking about how to give actions negative consequences, consider that there are a many different types of consequences, including:
Physical (death, injury, disease, etc.)
Emotional (fear, concern, anxiety, sorrow, guilt, PTSD, etc.)
Social (loss of a relationship or friendship, mistrust from other characters, etc.)
Temporal (loss of time trying something that didn't work, additional time required for recovery, etc.)
Locational (loss of territory, displacement to somewhere else, etc.)
Autonomous (arrest, detainment, kidnapping, loss of ability to act of their own accord, etc.)
It can make the story more interesting (and more realistic) to not just focus on one type of consequence but instead to consider different kinds of consequences (positive and negative) a character would face for their actions. Maybe they end up better physically than they would otherwise--but they lose other people's trust by their actions. Maybe they save someone but lose time.
Make your characters' actions matter.
on “the blond,” “the older man,” and other crimes against third-person limited
You know that thing where a story is written in tight third person limited — we’re meant to be inside someone’s head, seeing the world through their thoughts — and then suddenly the narration says “the blond frowned” or “the shorter woman sighed” about a person the POV character knows really well?
That’s called antonomasia — using a descriptive label instead of a name. And it’s fine when we’re talking about strangers: “the cashier handed her the receipt,” “the tall guy blocked the door.” The POV character doesn’t know their names, and we just need a quick way to tell people apart.
But the moment it’s used for someone the POV character already knows, it breaks immersion. Because that’s not how our minds work. We don’t think “the older man smiled at me.” We think “Mark smiled.” Or maybe “my boss” if that relationship matters in the moment.
Third person limited means the narration sits inside someone’s perception. Their inner monologue is the story’s voice. So when you switch from “Mark smiled” to “the blond smiled,” you’ve pulled the camera away from their mind and turned it into an outside shot.
If you want to create distance or irritation, you can do it on purpose —
“The idiot from accounting emailed again.”
That’s character voice. That’s judgment. That works.
But otherwise?
As soon as your POV character knows someone’s name, use it. While we do tend to worry about repetitions, names rarely register as such to the readers.
If you need variety for rhythm, use relational or emotional identifiers that make sense in their head: her friend, his partner, their teacher, the person they loved.
Because inside someone’s thoughts, there are no “blonds” or “brunettes.”
There are only people they know.
Really good explanation of the fundamental problem with this type of writing.
(and why it's one of my huge pet peeves)
food that’s totally devoid of nutritional value doesn’t exist. all food has macronutrients which our bodies rely on to support life, and the vast majority of food has a significant amount of micronutrients. pop tarts, cheeseburgers, french fries, pizza, cookies, chips, white flour products and other demonized foods contain vital micronutrients such as iron, calcium, magnesium, potassium, b vitamins, vitamin c, and more. meat is a better source of some essential micronutrients than plant foods.
vegetables and fruits are great, as are legumes, but they’re not the only nutrient-dense foods. they tend to be lower calorie & higher fiber foods, tho, which in conditions of scarcity (the reality for many ppl on earth, incl the ~developed world~) are far less efficient delivery systems for nutrients.
“empty calories” aren’t a thing - calories are units of energy - and you’d have to work pretty hard to find a food that contained no significant amount of any micronutrient. again, all foods have the macronutrients that keep us alive.
kindly get off my posts about the health benefits of eating foods you enjoy w this shaming nonsense about “foods that have no nutritional value”. i’m sorry your relationship w food is characterized by fear & a mistrust of pleasure, but we’re not here to keep you company in your misery
i don't know if it's winning or not but looking at the president of the company i work for and informing him that he doesn't get to have an opinion about what my pregnant coworker is eating unless he's pregnant certainly is a thing to do on a monday
like imagine being a straight cis man in your fifties and being told to get pregnant
Spin this wheel first and then this wheel second to generate the title of a YA fantasy novel!
(If the second wheel lands on an option ending with a plus sign, spin it again)
Would you read a book with this title?
Absolutely!
Sure, why not?
Probably not
You could not force me at gunpoint to read something with this title
Share what you got!
Hey kid, look at me.
I want you to T-pose. Turn your right thumb up and your left thumb doen and look at your right thumb. Move your arms up and down a bit until you feel a nerve running from your armpit to your palm. Now turn your right thumb down and your left thumb up, and look at your left thumb. Keep your chest facing forward and your shoulders back. Move your arms again until you feel that nerve again. Keep alternating between these two for a minute, or look at each thumb thirty times each.
Now sit down. Put your left hand firmly under your left buttock, palm down. Keep your shoulders back and put your right hand over the crown of your head, very gently pulling it to the right. Do this for thirty seconds, then do it again but with your right hand under your right buttock.
These are stretches for the nerves in your arms, and are very good for people who sit behind a computer a lot, or fibre artists, or you name it. Do them daily. They will hurt in the beginning, but keep doing them, even after the pain has gone, or it will return and you'll have to start all over.
Things I’ve noticed are essential in plotting and would probably have saved me a lot of time if I had considered it earlier
The START of your story - how fucked up flawed is your premise/character at the start? what do they have to change? why are they HERE?
The END of your story - How do you want your main character/theme/universe to change after your story? Does it get better or worse? THIS SETS UP THE TONE DRASTICALLY.
What you want to happen IN BETWEEN - the MEAT of it. What made you start writing this WIP in the first place. Don't be ashamed to indulge, it's where the BRAIN JUICE comes from. You want a deep dive into worldbuilding and complex systems? Then your start and end should be rooted in some fundamental, unique rule of your universe (what made you obsess over it?). Want to write unabashed ship content? Make sure your start and end are so compelling you'll never run out of smut scenarios to shove in between scenes (what relationship dynamics made you ship it in the first place?).
The ANTE - the GRAVITY of your story. How high are the stakes? Writing a blurb or interaction? start with a small day-in-the-life so you can focus on shorter timelines and hourly minutiae that can easily get overlooked in more complicated epics. Or you can go ham on it and plot out your whole universe's timeline from conception to demise. Remember: the larger the scale, the less attached your story may get. How quickly time flies in your story typically correlates with the ante (not a hard rule, ofc, but most epics span years of time within a few pages, while a romance novel usually charts out the events of a few months over a whole manuscript.)
Everything else follows….?
my mother's parents live in a house that's settled crooked. it's old enough to have seen two world wars. the cabinet in the corner of the kitchen tilts with an incline to the floor that i'd watch toys roll down as a child. in the winter, the cold seeps out from under the cupboards but the woodstove in the basement keeps the house warm. i've never been afraid of being locked out, i know where the spare key is. as a teenager, i would let myself in and be waiting by the time they got home.
my father's parents live in a house that i've never been in enough to remember the little details. i don't understand how my father grew up there but i understand there's a distance between them and my family. a line drawn somewhere in the sand that's become a trench, growing deeper as the years pass by. i've never had a key to that house, i don't know if there's a spare. i've never spent a night there.
i hold keys and codes in my hands and mind but none were given to me by my father's family. maybe there is an unkindness in me but i come by it honestly.
songs about ghost vehicles and their drivers/captains/conductors/whatever that are continuously living out their last moments, desperately trying to save people or stop some tragedy make me want to lay on the floor and cry
like i'm sorry??? whatever you may believe regarding ghosts is your own business but a sense of duty and care so strong that not even death stops it from trying to complete its mission? how could you not want to just cradle the concept in your hands?? the endless cycle of returning and returning and returning, there's no changing what happened but maybe, maybe if they just keep trying, they'll make it in time
(i also have lots of feeling about ships specifically and the captains and crews that head back out into the storm because they received a distress call or there's a ship missing.)
One and two songs in this vein that i love
me setting up an appointment for my cats to get spayed like fuck i wish that were me.
The Scorpio Races - Maggie Stiefvater (2011)
I need everyone to know that the ship Götheborg, the world's largest ocean-going wooden sailing ship, answered a distress call the other day.
Imagine waiting for the coast guard or whatever to show up and instead a replica of 18th century merchant ship pulls up and tows you to the coast.
pov: you’ve been transported to the 17th century
#in the article it says that the sailboat sailors were concerned because they could not be towed quickly because of the kind of boat#so they asked Götheborg what type of ship they were and warned that they would not be able to go above a certain speed#and götheborg went ' we are also a sailboat. 50 meters length. no worries :) '#and the poor sailboat sailors were just like ' That's not possible. they have to be messing with us' and then the ship Rolled Up (via bunjywunjy)
I'm crying. Here's a photo of a sailor from the Götheborg watching over the little sailboat in tow:
From the story:
We repeatedly emphasized that we were aboard a small 8-meter sailboat, but the response was the same each time: "We are a 50-meter three-masted sailboat, and we offer our assistance in towing you to Paimpol." We were perplexed by the size difference between our two boats, as we feared being towed by a boat that was too large and at too fast a speed that could damage our boat. The arrival of the Götheborg on the scene was rapid and surprising, as we did not expect to see a merchant ship from the East India Company of the XVIII century. This moment was very strange, and we wondered if we were dreaming. Where were we? What time period was it? The Götheborg approached very close to us to throw the line and pass a large rope. The mooring went well, and our destinies were linked for very long hours, during which we shared the same radio frequency to communicate with each other. The crew of the Götheborg showed great professionalism and kindness towards us. They adapted their speed to the size of our boat and the weather conditions. We felt accompanied by very professional sailors. Every hour, the officer on duty of the Götheborg called us to ensure everything was going well.[...] This adventure, very real, was an incredible experience for us. We were extremely lucky to cross paths with the Götheborg by chance and especially to meet such a caring crew. Dear commander and crew of the Götheborg, your kindness, and generosity have shown that your ship is much more than just a boat. It embodies the noblest values of the sea, and we are honored to have had the chance to cross your path and benefit from your help.
"Our destinies were linked for very long hours" is just knocking me out.
little experiment
if you see this post, reblog it and say which fandom you're in
i wanna see how far we can get in a week
we're starting in the ninjago fandom
timer:
random timer poll
❄️
🎉
🌸
👒
alright thank you
Optimus prime becomes a western highway ghost story.
If you’re driving in the dead of night along those long stretches of highway in the western US you might just encounter a lone big rig who will drive along side you for miles. The truckers will blow their horns as they recognize his custom paint and trailer the truck will slow its steady speed to match them. Those truckers with cbs say that there’s someone to talk to in there but he seams sad and lonely. No one ever sees him stop. Some say he’s an angel who will lead rescue workers to crashes at the dead of night. Those unfortunate enough to wander the highways at night tell story’s of the truck that stopped and got them somewhere warm and safe for the night only to wake in the morning with large sums of money in there pockets and a small note apologizing for the low sum. Children and parents smile as he always honks his horn when asked. The people of the western highways know when you see big red you’re always taken care of no matter who you are or where you came from.
