RMH
official daine visual archive
Game Changer & Make Some Noise
roma★
pixel skylines
KIROKAZE
occasionally subtle
Product Placement
let's talk about Bridgerton tea, my ask is open
blake kathryn
art blog(derogatory)
I'd rather be in outer space 🛸
🩵 avery cochrane 🩵
h
todays bird
Andulka
No title available
No title available
tumblr dot com
Xuebing Du
seen from United States
seen from South Africa
seen from Türkiye
seen from Pakistan
seen from United States
seen from United States
seen from Ecuador
seen from Algeria
seen from Australia
seen from United States
seen from United States
seen from Colombia
seen from Venezuela
seen from Malaysia
seen from United States
seen from Argentina
seen from United Kingdom
seen from Spain
seen from France
seen from Argentina
@west-indian-goddess
Can we talk about this person thread? Aka Captain America: Civil Acrylics😂😭. These memes are officially out of hand lmfaooo
Omfg 💀
CIVIL…ACRYLICS
lmaooo the fact that she basically covered the plot of the movie though
we stan a creative queen
Adidas x Ivy Park.
Available now on Adidas.com/ivypark (in stores January 18th).
some fucking resources for all ur writing fuckin needs
* body language masterlist
* a translator that doesn’t eat ass like google translate does
* a reverse dictionary for when ur brain freezes
* 550 words to say instead of fuckin said
* 638 character traits for when ur brain freezes again
* some more body language help
(hope this helps some ppl)
I use these all the time, like I literally have it saved in my drafts just so I can find this again and use it when I write
Fergie’s ex, Josh Duhamel told Draymond Green to apologize for laughing at her National Anthem. Well…
😂😂😂
🤣🤣🤣🤣🤣🤣🤣🤣
Niggas truly ain’t shit 💀💀💀💀
This something I would do
Bruh noo 😂😂😂
the level of petty but also this shit goes hard
They made it into something good
This shit...
I’ve seen a lot of curious people wanting to dive into classical music but don’t know where to start, so I have written out a list of pieces to listen to depending on mood. I’ve only put out a few, but please add more if you want to. hope this helps y’all out. :)
stereotypical delightful classical music:
battalia a 10 in d major (biber)
brandenburg concerto no. 5
brandenburg concerto no. 3
symphony no. 45 - “farewell” (haydn)
if you need to chill:
rondo alla turca
fur elise
anitra’s dance
in the steppes of central asia (borodin) (added by viola-ology)
if you need to sleep:
moonlight sonata
swan lake
corral nocturne
if you need to wake up:
morning mood
summer (from the four seasons)
buckaroo holiday (if you’ve played this in orch you might end up screaming instead of waking up joyfully)
if you are feeling very proud:
pomp and circumstance
symphony no. 9 (beethoven; this is where ode to joy came from)
1812 overture
symphony no. 5, finale (tchaikovsky) (added by viola-ology)
american (dvořák)
if you feel really excited:
hoedown (copland)
bacchanale
spring (from the four seasons) (be careful, if you listen to this too much you’ll start hating it)
la gazza ladra
death and the maiden (schubert)
if you are angry and you want to take a baseball bat and start hitting a bush:
dance of the knights (from the romeo and juliet suite by prokofiev)
winter, mvt. 1 (from the four seasons)
symphony no. 10 mvt. 2 (shostakovich)
symphony no. 5 (beethoven)
totentanz (liszt)
quartet no. 8, mvt. 2 (shostakovich) (added by viola-ology)
young person’s guide to the orchestra, fugue (britten) (added by iwillsavemyworld)
if you want to cry for a really long time:
fantasia based on russian themes (rimsky-korsakov)
adagio for strings (barber)
violin concerto in e minor (mendelssohn)
aase’s death
andante festivo
if you want to feel like you’re on an adventure:
an american in paris (gershwin)
if you want chills:
danse macabre
russian easter overture
if you want to study:
eine kleine nachtmusik
bolero (ravel)
serenade for strings (elgar)
scheherazade (rimsky-korsakov) (added by viola-ology)
pines of rome, mvt. 4 (resphigi) (added by viola-ology)
if you really want to dance:
capriccio espagnol (rimsky-korsakov)
blue danube
le cid (massenet) (added by viola-ology)
radetzky march
if you want to start bouncing in your chair:
hopak (mussorgsky)
les toreadors (from carmen suite no.1)
if you’re about to pass out and you need energy:
hungarian dance no. 1
hungarian dance no. 5
if you want to hear suspense within music:
firebird
in the hall of the mountain king
ride of the valkyries
night on bald mountain (mussorgsky) (added by viola-ology)
if you want a jazzy/classical feel:
rhapsody in blue
if you want to feel emotional with no explanation:
introduction and rondo capriccioso
unfinished symphony (schubert)
symphony no. 7, allegretto (beethoven) (added by viola-ology)
canon in d (pachelbel)
if you want to sit back and have a nice cup of tea:
st. paul’s suite
concerto for two violins (vivaldi)
l’arlésienne suite
pieces that don’t really have a valid explanation:
symphony no. 40 (mozart)
cello suite no. 1 (bach)
polovtsian dances
enigma variations (elgar) (added by viola-ology)
perpetuum mobile
pieces that just sound really cool:
scherzo tarantelle
dance of the goblins
caprice no. 24 (paganini)
new world symphony, allegro con fuoco (dvorak) (added by viola-ology)
if you feel like listening to concertos all day (I do not recommend doing that):
concerto for two violins (bach)
concerto for two violins (vivaldi)
violin concerto in a minor (vivaldi)
violin concerto (tchaikovsky) (added by iwillsavemyworld)
cello concerto in c (haydn)
piano concerto, mvt. 1 (pierne) (added by iwillsavemyworld)
harp concerto in E-flat major, mvt. 1 (added by iwillsavemyworld)
and if you really just hate classical music in general:
4′33″ (cage)
a lot of these pieces apply in multiple categories, but I sorted them by which I think they match the most. have fun exploring classical music!
also, thank you to viola-ology and iwillsavemyworld for adding on! if you would like to add on your own suggestions, please reblog and add on or message me so I can give you credit for the suggestion!
This. Is. A. Dancebreak. 🔥🔥
She ATE this. The original song sounds so wack to me now, where are the horns?!
She did a really cool thing with all the rap that she featured she basically used the horn section as the 808s so all of that bass and all of that Drumline that would be synthesized was the Deep horn section live
This. Is. A. Dancebreak. 🔥🔥
She ATE this. The original song sounds so wack to me now, where are the horns?!
She did a really cool thing with all the rap that she featured she basically used the horn section as the 808s so all of that bass and all of that Drumline that would be synthesized was the Deep horn section live
5 Moral Dilemmas That Make Characters and Stories Even Better
Readers can’t resist turning pages when characters are facing tough choices. Use these 5 keys to weave moral dilemmas into your stories–and watch your fiction climb to new heights.
#1: Give Your Character Dueling Desires
Before our characters can face difficult moral decisions, we need to give them beliefs that matter: The assassin has his own moral code not to harm women or children, the missionary would rather die than renounce his faith, the father would sacrifice everything to pay the ransom to save his daughter.
A character without an attitude, without a spine, without convictions, is one who will be hard for readers to cheer for and easy for them to forget.
So, to create an intriguing character facing meaningful and difficult choices, give her two equally strong convictions that can be placed in opposition to each other.
For example: A woman wants (1) peace in her home and (2) openness between her and her husband. So, when she begins to suspect that he’s cheating on her, she’ll struggle with trying to decide whether or not to confront him about it. If she only wanted peace she could ignore the problem; if she only wanted openness she would bring it up regardless of the results. But her dueling desires won’t allow her such a simple solution.
That creates tension.
And tension drives a story forward.
So, find two things that your character is dedicated to and then make him choose between them. Look for ways to use his two desires to force him into doing something he doesn’t want to do.
For instance, a Mennonite pastor’s daughter is killed by a drunk driver. When the man is released on a technicality, does the minister forgive him (and what would that even look like?) or does he take justice into his own hands? In this case, his (1) pacifist beliefs are in conflict with his (2) desire for justice. What does he do?
Good question.
Good tension.
Good drama.
Another example: Your protagonist believes (1) that cultures should be allowed to define their own subjective moralities, but also (2) that women should be treated with the same dignity and respect as men. She can’t stand the thought of women being oppressed by the cultures of certain countries, but she also feels it’s wrong to impose her values on someone else. When she is transplanted to one of those countries, then, what does she do?
Construct situations in which your character’s equally strong convictions are in opposition to each other, and you will create occasions for thorny moral choices.
#2: Put Your Character’s Convictions to the Test
We don’t usually think of it this way, but in a very real sense, to bribe someone is to pay him to go against his beliefs; to extort someone is to threaten him unless he goes against them.
For example:
How much would you have to pay the vegan animal rights activist to eat a steak (bribery)? Or, how would you need to threaten her in order to coerce her into doing it (extortion)?
What would it cost to get the loving, dedicated couple to agree never to see each other again (bribery)? Or, how would you need to threaten them to get them to do so (extortion)?
What would you need to pay the pregnant teenage Catholic girl to convince her to have an abortion (bribery)? What threat could you use to get her to do it (extortion)?
Look for ways to bribe and extort your characters. Don’t be easy on them. As writers we sometimes care about our characters so much that we don’t want them to suffer. As a result we might shy away from putting them into difficult situations.
Guess what?
That’s the exact opposite of what needs to happen in order for our fiction to be compelling.
What’s the worst thing you can think of happening to your character, contextually, within this story? Now, challenge yourself—try to think of something else just as bad, and force your character to decide between the two.
Plumb the depths of your character’s convictions by asking, “How far will s/he go to … ?” and “What would it take for … ?”
(1) How far will Frank go to protect the one he loves?
(2) What would it take for him to stand by and watch the one he loves die when he has the power to save her?
(1) How far will Angie go to find freedom?
(2) What would it take for her to choose to be buried alive?
(1) How far will Detective Rodriguez go to pursue justice?
(2) What would it take for him to commit perjury and send an innocent person to death row?
Ask yourself: What does my character believe in? What priorities does she have? What prejudices does she need to overcome? Then, put her convictions to the ultimate test to make her truest desires and priorities come to the surface.
#3: Force Your Character into a Corner
Don’t give him an easy out. Don’t give him any wiggle room. Force him to make a choice, to act. He cannot abstain. Take him through the process of dilemma, choice, action and consequence:
(1) Something that matters must be at stake.
(2) There’s no easy solution, no easy way out.
(3) Your character must make a choice. He must act.
(4) That choice deepens the tension and propels the story forward.
(5) The character must live with the consequences of his decisions and actions.
If there’s an easy solution there’s no true moral dilemma. Don’t make one of the choices “the lesser of two evils”; after all, if one is lesser, it makes the decision easier.
For example, say you’ve taken the suggestion in the first key above and forced your character to choose between honoring equal obligations. He could be caught between loyalty to two parties, or perhaps be torn between his family obligations and his job responsibilities. Now, raise the stakes—his marriage is at risk and so is his job, but he can’t save them both. What does he do?
The more imminent you make the choice and the higher the stakes that decision carries, the sharper the dramatic tension and the greater your readers’ emotional engagement. To achieve this, ask “What if?” and the questions that naturally follow:
What if she knows that being with the man she loves will cause him to lose his career? How much of her lover’s happiness would she be willing to sacrifice to be with him?
What if an attorney finds herself defending someone she knows is guilty? What does she do? What if that person is her best friend?
What if your character has to choose between killing himself or being forced to watch a friend die?
Again, make your character reevaluate his beliefs, question his assumptions and justify his choices. Ask yourself: How is he going to get out of this? What will he have to give up (something precious) or take upon himself (something painful) in the process?
Explore those slippery slopes. Delve into those gray areas. Avoid questions that elicit a yes or no answer, such as: “Is killing the innocent ever justified?” Instead, frame the question in a way that forces you to take things deeper: “When is killing the innocent justified?” Rather than, “Does the end justify the means?” ask, “When does the end justify the means?”
#4: Let the Dilemmas Grow From the Genre
Examine your genre and allow it to influence the choices your character must face. For instance, crime stories naturally lend themselves to exploring issues of justice and injustice: At what point do revenge and justice converge? What does that require of this character? When is preemptive justice really injustice?
Love, romance and relationship stories often deal with themes of faithfulness and betrayal: When is it better to hide the truth than to share it? How far can you shade the truth before it becomes a lie? When do you tell someone a secret that would hurt him? For example, your protagonist, a young bride-to-be, has a one-night stand. She feels terrible because she loves her fiancé, but should she tell him what happened and shatter him—and perhaps lose him—or keep the truth hidden?
Fantasy, myth and science fiction are good venues for exploring issues of consciousness, humanity and morality: How self-aware does something need to be (an animal, a computer, an unborn baby) before it should be afforded the same rights as fully developed humans? At what point does destroying an AI computer become murder? Do we really have free will or are our choices determined by our genetic makeup and environmental cues?
#5: Look the Third Way
You want your readers to be thinking, I have no idea how this is going to play out. And then, when they see where things go, you want them to be satisfied.
There’s a story in the Bible about a time religious leaders caught a woman committing adultery and brought her to Jesus. In those days, in that culture, adultery was an offense that was punishable by death. The men asked Jesus what they should do with this woman. Now, if Jesus had told them to simply let her go free he would have been contravening the law; if, however, he told them to put her to death, he would have undermined his message of “forgiveness and mercy.”
It seemed like a pretty good trap, until he said, “Whoever is without sin among you, let him cast the first stone.”
Nicely done.
I call this finding the Third Way. It’s a solution that’s consistent with the character’s attitude, beliefs and priorities, while also being logical and surprising.
We want the solutions that our heroes come up with to be unexpected and inevitable.
Present yours with a seemingly impossible conundrum.
And then help him find the Third Way out.
I hope this helped! I’ve been really busy today, seeing how my mom had surgery and I’ve been trying to continue writing my novel today as well. I thought I’d squeeze in some more stuff for you guys!
If you have any questions or just want to talk, feel free to visit my ask box!
Foreshadowing is a fantastic tool for raising the intrigue in your story, but it can be tricky to execute. Here are two strategies for how to use foreshadowing in any story.
How to Tell a Woman is Faking It: General Rules of Thumb
Peeking out of retirement to speak on this.
So I’m on PornHub getting wet over Ryan Madison vids, as you do. I come across one where he’s up to his usual shit, but according to over 230 likes in the comments, this one somehow stands heads and shoulders above the rest. Why?
Because this time, the chick “reaaaallly seems into it!” “Great chemistry!” “I think she really wanted him to cum in her!”
I re-watch, thinking I’d missed something, but nope. This chick remained one of the worst fakers, and these poor bastards didn’t know the difference.
I’m here to put you niggas on.
How to Tell a Woman is Faking: General Rules of Thumb
1.) Loud, Staccato Noises
This chick’s (and so many others’) tell was a litany of loud moans that all sounded the same in tone, pitch and volume. To the untrained (i.e. typical male) ear, the volume and consistency suggested intensity, when in reality it was just bad acting.
Her entire focus was on MAKING NOISE bc there was no PHYSICAL pleasure to preoccupy her. A woman headed for a real nut does not have the mental capacity to make sure she sounds “good”
A pleasured woman releases (notice I didn’t say “makes” as that suggests manufacture) a varied series of sounds - grunts, groans, sighs, coos, whimpers, screams and swears - all at different intensities, pitch and volume. The sounds are unchecked bc she’s too preoccupied with cumming to give a damn.
And let me tell you, if a woman’s cumming hard, she can sound every bit as guttural as a man. If all you’re ever getting is gentle, Princess Peach sighs, your stroke is likely lacking.
*If she sounds like she’s giving birth, running a marathon, enjoying a delicious meal, or reacting to a gift of money or jewelry, you’re doing it right.*
Note: A lot of ladies make little or no noise at all, and that’s fine. She will still give you physical cues. If she starts grabbing at your hair, shoulders, ass or arms, she’s into it. Rubbing her clit is a good sign too. (Watch how she rubs it, then pull out and replicate her movements with the tip of your dick. Thank me later.) Means it feels good and she’s trying to make it feel even better.
2.) Limp Feet
If she’s not a.) driving her heels into the mattress (or into your back), b.) flexing her feet, or c.) curling her toes, odds she came are SLIM to NONE. If you are a girl who can cum hard without getting your feet involuntarily involved, please let me know bc you are a rare and beautiful bird.
3.) Talking Shit
Dirty talk is great in the beginning, but if she’s doing it non-stop, she’s probably nowhere near cumming. She should’ve at least paused at the moment of climax. When it’s on, I can’t even remember my own fucking name, much less encourage you to fill my dirty fuckhole with your hot man mustard. If you’ve done your job right, your girl should barely be coherent, much less conversational.
4.) Excessive Smiling or Giggling
Same idea as above. Getting fucked to within an inch or your life is no laughing matter. If you’re really about to make me cum hard, my only concerns are grabbing onto something and trying to survive. I ain’t got no time to be flirty or cute with you.
5.) Blank or Unchanging Facial Expression
One of the last vids I watched was of a flawless black goddess clearly enjoying every stroke she was getting. Her noises were genuine and sexy, a natural expression of the pleasure she was feeling. Her expression looked a bit like she was going to cry.
Some dumbass comments, “Boy, she makes it look like it hurts.”
I’m not mad at dumbass. Just disappointed at how grossly mislead some of you guys are.
Understand, good dick humbles us. It makes us want to be better people. Makes us appreciate life, love and God’s beautiful creation. It makes us want to water our plants more consistently, suck our man’s dick better, adopt a puppy. And when we feel this way, we sometimes look like we want to cry a little because maybe sometimes we do. A lil.
An authentic female orgasm face can also include:
a.) look of actual outrage at how good the dick is,
b.) look of tender awe like we’re seeing Jesus at the Transfiguration bc your dick has saved our soul
c.) look of mild disgust with ourselves bc we know we’ll now put up with anything to keep getting such quality dick
That’s about it. I know some fellas are savvy enough to have put all this together already, but I’m shocked and saddened at the number of men are totally fooled.
Please support your pornstars. They are earning a living, and it’s not their fault the sex is garbage. Like a lot of girls irl, they just wanna make you cum, even if they can’t:(
Please take these cues to heart. If you spot your chick faking, do better.
TL;DR Too loud, monotone, smiley and consistently so - she’s faking. Looks and sounds slightly mournful, lightheaded or surprised, exhibits little control of body and voice, she’s cumming.
If ya’ll are having trouble writing an orgasm this is a perfect reference.
Morning After Pill for HIV
I think that people forget that condoms protect you from more than just pregnancy.
And there is no morning after pill for HIV.
ACTUALLY THERE IS.
It’s called post exposure prophylaxis.
http://www.who.int/hiv/topics/prophylaxis/en/
If you’ve had unprotected sex and are afraid of possibly being at risk for HIV, please go to the emergency room and ask about POST EXPOSURE PROPHYLAXIS.
Works for up to 48 - 72 hours after exposure to HIV.
BOOST!
I wouldn’t need this but this is actually really cool and I’d like to share it in case anyone might need it.
If you see this on your dash REBLOG REBLOG REBLOG!!!! You could save a life
SAVE A LIFE 🔃🔃🔃🔃🔃🔃🔃🔃
There’s a FDA approved daily medication called Truvada, or the PrEP treatment, that is 92-99% effective in preventing the contraction of HIV.
http://men.prepfacts.org/the-questions/
Private insurance and Medicaid cover it. You can also get it for free in a lot of high risk cities like Atlanta, NY, and San Fransisco.
It’s the same cocktail they give to medical professionals who have had contaminated needle sticks/blood splashes from potentially infected blood. Very effective.
BOOST !!!!!
Doesn’t match my theme but who the hell cares, this is worth it.
Nice to see it’s free in my city!!
Fierce Writer: Unlock Your MICE Quotient
by FrostFyre Jul 24, 2017 originally published on http://www.medium.com
The inimitable Orson Scott Card’s MICE Quotient is a method of looking at stories and creating story structure. As writers our role is to provide a rewarding experience for the reader. Whatever format or master plan you currently use to shape a compelling story, taking a look at your story through the lens of MICE Quotient can help:
Know your character
Better understand your story
Avoid the pitfalls of an unsatisfying ending
Tighten the work
I came across MICE Quotient via the marvelous Karen Woodward, whose work I was drawn to by our mutual admiration of Joss Whedon’s Buffy the Vampire Slayer TV series. She does a great job of explaining many things for writers.
This is a brief glance at MICE Quotient to whet your appetite. It is a beginning take on the subject. MICE equates to Milieu, Idea, Character and Event — 4 factors of stories whose emphasis and relationship create types of stories. Keep in mind that an author can create a story geared toward one main factor or toward blended factors. Also, a story can be viewed through different lenses of MICE, by the author or reader, in order to generate ideas or deepen understanding.
MILIEU
The world is the thing.
World building is your main task.
You can provide more setting details than in other types of stories.
Begin the story when the protagonist enters a new world.
End the story when the protagonist leaves that world.
Use characterization strategically to support the world but not to overshadow it.
Usually the Milieu story type is blended with another type. Example — epic fantasies such as Lord of the Rings (can also be viewed an Idea story), westerns, and utopians.
IDEA
The problem is the thing.
Your main task is to create an exciting, compelling, tricky trek toward solving the problem.
Begin the story when the protagonist encounters an obstacle or problem to be solved.
End the story when the problem is solved.
You can go wild with eccentric characters in this story type. Example — bank heist novels, locked room murder mysteries such as some of the detective stories featuring Nero Wolfe and Sherlock Holmes.
CHARACTER
A fully fleshed out character is the thing.
Characterization is your main task.
Begin the story when the protagonist is unhappy with her role in life and seeks change.
End the story when the protagonist achieves a new life, goes back to her old way of life, or becomes hopeless and just plain gives up. Example — romances, women’s fiction. Remember, in romances the hero and heroine should change and grow in order to come together and receive each other’s love.
EVENT
The out of kilter aspect of the world is the thing.
Your task is to show the character responding to and “taking on” an upside down world.
Begin the story when the protagonist responds to what’s out of kilter and seeks to restore order to the world.
End the story when the protagonist wins or loses. Example — “changing places” stories such as The Prince and the Pauper, dystopian and catastrophe stories such as Life As We Knew It by Susan Beth Pfeffer.
How can MICE Quotient help writers provide a more rewarding experience for the reader? Here are a few ways:
Know your characters — Viewing characters through the parameters of MICE can shed light on goal, motivation, and conflict. You can gain deeper insight about your characters.
Understand your story — I write paranormal fantasy romances, which are big on world building, and mine are chock-full of action and adventure. Because I love to write that way, to me plot is king. When I viewed the stories through the MICE lens, I realized how fleshed out the characters were, a realization that made me happy.
Avoid the pitfalls of an unsatisfying ending — An important rule to remember is that a story ending must be geared toward the same factor as the story beginning. The beginning is a promise to the reader. The ending is the satisfactory delivery of the promise, for example:
If you as author end a murder mystery without telling the reader who committed the murder, big NO NO.
Ditto if you dilute the murder mystery ending with overblown character details.
If you end a romance with the heroine suddenly discarding the hero and becoming a nun, big NO NO.
At ending time, we also have to be adroit in introducing new characters to clear a path for a sequel. Anything tacked on that is not part of the promise can lead to reader woe. Those characters need to be gracefully woven in earlier in a non-scene stealing way.
Tighten the work — Deciding which type of MICE you’re going with, or if it’s a blend, can help you focus on the most compelling details to include in a story and what NOT to include. Erle Stanley Gardner purposefully omitted specifics of Perry Mason’s private life. The focus had to be on Mason’s professional life. Private life focus would dilute the sheer genius of Mason’s courtroom gymnastics.
Cheers & Happy Reading!
Flossie Benton Rogers, Conjuring the Magic in Romance
Can’t risk it
The duck of creativity. I waited so long for it.
Let’s just leave this right here
By Marcy Kennedy (@MarcyKennedy) I’m teaching at a writer’s conference this week, so instead of one of my in-depth posts, I thought I’d create a quick checklist for you. Here are 10 writing mistake…
A good checklist for your first chapters. Also, am I the only one who thinks that first comment is Peak Mansplaining? – Aliya
FIRDAUS by Sabyasachi Photography: Tarun Khiwal Models: Archana Akhil Kumar, Vishakha Bharadwaj & Rasika Navare
