XAngel.VibesX

🤍🌙29 || DID &BPD || They/She🤍🌙

[mandasarts]

You’re in Wally’s home! But something doesn’t seem right-

[mandasarts]

[Animated Puppetry] AP!Wally just being AP!Wally :]

He feeling pretty :]

[mandasarts]

Wally’s daily struggle with having thick hair

Here’s the full page ^ :]

[mandasarts]

HAHA- TOTALLY NOT ME MAKING ANOTHER AU- THATS CRAAAZY-

Also I have Twitter- 👉👈

[luna-azzurra]

How to write a Compelling Ending!!

─ · · The ending should answer the question your first chapter asked. If chapter one promised your character wants something specific, the ending has to actually resolve that, even if the resolution isn't what they wanted going in. A character spending the whole book trying to get back home, and the ending is them realizing they don't want to go back anymore, still answers the question. It just answers it differently than they expected to.

─ · · DON'T RUSH IT!! earned endings genuinely take up space, and that's not the same as padding. If your climax took ten pages to build and land, the emotional aftermath deserves at least a few pages too, bc readers who just sat through the biggest moment of the book need a beat to actually feel the weight of it before you close things out.

─ · · Give the reader ONE quiet scene after the climax. Let everyone breathe together before you shut the book on them. This is the scene where nothing BIG happens, characters just exist in the aftermath, maybe eating something, maybe sitting in silence, and it matters way more than it looks like on the page.

─ · · Not everything needs to be tied in a neat little bow. some threads are genuinely allowed to stay open if it actually serves your theme, real endings often leave a few loose edges. But your main character's core arc, the thing the whole book was really about underneath the plot, that one does need to feel complete, even if it's messy or bittersweet.

─ · · The last line matters almost as much as the first. It's the note your reader carries out of the book with them, the thing they think about after they've already closed it and put it down. Don't waste it on something forgettable just bc you're relieved to be done, make it earn its place the same way your opening line had to.

[hayatheauthor]

10 Ways to Show Grief Without Making Your Character Cry

Grief doesn't always look like crying. Here are some ideas for how to realistically portray it outside of the ‘screaming, crying, throwing up’ phase.

1. Burying Themselves in Work or School: Suddenly the most productive they've ever been, taking on extra shifts, extra assignments, anything that keeps their hands and mind too busy to land on the actual loss.

2. Avoiding Anywhere That Reminds Them of the Person: A restaurant, a route they used to walk together, an entire side of town. They'll go out of their way and never explain why, and probably won't even clock it as avoidance themselves.

3. Refusing to Change Anything of Theirs: The room stays exactly as it was. The voicemail doesn't get deleted. Moving even one object can feel like erasing them, so nothing moves at all.

4. Overcompensating With Normalcy: Laughing a little too readily, insisting they're fine a little too often. This one's great for a character who thinks showing grief means burdening the people around them.

5. Picking Fights With People Trying to Help: Grief makes people prickly in strange directions. Someone offering comfort can genuinely feel unbearable, and lashing out is sometimes easier than admitting they need it.

6. Taking Care of Everyone Else's Grief Instead of Their Own: Comforting siblings, managing funeral logistics, checking in on everyone but themselves. Tip: this one's especially good for an oldest-sibling or caretaker-type character, since it lets them delay their own grief almost indefinitely.

7. Sudden Reckless Behavior: Driving too fast, drinking too much, taking risks they never would have before. It's less about wanting to get hurt and more about needing to feel something other than the numbness.

8. An Obsessive Need for Control: Rigid routines, excessive cleaning, rearranging things that don't need rearranging. When one massive thing feels completely out of their control, controlling everything else becomes the coping mechanism.

9. Talking About Them in Present Tense: "She loves this song," not "loved." A small grammatical slip that says more about where their head still is than an entire monologue would.

10. Taking Up Something the Person Loved: Picking up their guitar, rewatching their favorite show, cooking their recipes. It's a way of keeping them present without having to say out loud that they're gone.

Looking For More Writing Tips And Tricks?

Check out the rest of Quillology with Haya; a blog dedicated to writing and publishing tips for authors!

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[luna-azzurra]

Body type and shape

✧ Lean Having a slender and toned body with minimal body fat.

✧ Muscular Having well-developed muscles and a defined physique.

✧ Slender Having a thin and graceful body shape.

✧ Curvy Having an hourglass figure with well-defined curves, particularly in the hips and bust.

✧ Athletic Having a fit and muscular body, often associated with participation in sports or physical activities.

✧ Petite Being small and slender in stature, usually referring to height and overall body size.

✧ Voluptuous Having full and shapely curves, often emphasizing a larger bust, hips, and thighs.

✧ Stocky Having a compact and solid build with a sturdy appearance.

✧ Thin Having a slim and slender body shape with little body fat or muscle definition.

✧ Well-proportioned Having balanced and harmonious body proportions, with each body part in good proportion to the whole.

✧ Toned Having firm muscles and a defined physique resulting from regular exercise and strength training.

✧ Chubby Having a plump or rounded body shape, often with excess body fat.

✧ Pear-shaped Having a body shape where the hips and thighs are wider than the shoulders and bust.

✧ Hourglass figure Having a curvy body shape characterized by a well-defined waist and proportionate bust and hips.

✧ Apple-shaped Having a body shape where weight is primarily carried around the midsection, resulting in a broader waistline.

✧ Broad-shouldered Having wide and well-developed shoulders in comparison to the rest of the body.

✧ Long-limbed Having long and slender limbs in proportion to the body.

✧ Stout Having a sturdy and robust build, often characterized by a solid and thick physique.

✧ Plump Having a pleasantly full and rounded body shape, often indicating a higher percentage of body fat.

✧ Tall and slender Being tall in height and having a slim and elongated body shape.

[luna-azzurra]

Tips for Writing Trauma!

i love you all and i need you to stop writing trauma as a single breakdown scene in the rain after which the character is Healed and Ready to Love Again. that is NOT trauma :(

⊹ Trauma doesn't announce itself. it shows up as your character suddenly not being able to eat a specific food, or going very quiet in a loud room, or laughing at the wrong moment because their nervous system decided that was the appropriate response. it's mundane and weird and it makes no sense from the outside. the dramatic flashback sequence is the least realistic part. the most realistic part is your character suddenly needing to leave a grocery store for a reason they can't articulate.

⊹ The body keeps score and it keeps it in the strangest places. a particular smell. the quality of light at a certain time of day. a tone of voice that sounds like someone who hurt them. your traumatised character doesn't think "this reminds me of the bad thing." their heart rate spikes and they don't know why. they feel wrong and they can't locate the feeling. they're irritable for three days and only later, if ever, do they make the connection. write the disconnection. it's more honest.

⊹ trauma also does not make people universally sympathetic and wise. it makes some people controlling. some people funny at inappropriate times. some people very good in a crisis and completely unable to handle a normal day. some people are generously kind to strangers and absolutely terrible to people they love. trauma shapes behaviour in contradictory, inconvenient ways that don't resolve into a lesson. your traumatised character can be difficult to like. that's not a flaw in the writing. that's the WRITING.

⊹ Healing is not linear and it is not a destination. your character does not get better and stay better. they have a good month and then something small undoes two years of progress and they have to start again with slightly more tools than before. that's the actual shape of it. the spiral, not the arc. the scene where they finally open up and cry is not the end. it might not even be progress. sometimes it just means they were tired that night.

[luna-azzurra]

Character Talents & Skills!!

[keathosk]

⚔️ Neath the grove is a heart, 13th of August │ Pre-save

[promptcalender]

Twin Character Conflicts

one moves out as soon as possible, the other stays near their parents

they used to be identical twins and felt bonded by it but ever since one has been in a severe accident with extensive scaring, it has led to questioning their entire identity

two sides of the same coin

when growing up in a very difficult home, one begins to mirror the bad rolemodels while the other rebels

struggling to build individual identities because their parents really played into the twin thing; they had the same friends, the same hobbies, the same subjects…

for identical twins, one is very popular and social while the other isnt. they can‘t figure why except coming to the conclusion: maybe i‘m just not at lovable

growing up believing they are twins until one fay they discover that one is actually a clone

[Prompt Calender: August 9th, National Twins Day]

[luna-azzurra]

Plot Twist Ideas!!

⋆.𐙚 ̊ The mentor who trained the hero turns out to have trained the villain first, and taught them the exact same lessons.

⋆.𐙚 ̊ A character's entire memory of a key event turns out to be false, planted or altered by someone they trust.

⋆.𐙚 ̊ The "chosen one" prophecy turns out to have been fabricated by someone with something to gain from it being believed.

⋆.𐙚 ̊ Two characters who've never met turn out to be working toward the same goal from opposite sides of the conflict.

⋆.𐙚 ̊ The narrator has been dead, dying, or not present for events the entire time, and the story reframes around that fact.

⋆.𐙚 ̊ A minor character mentioned once in passing turns out to be central to the ending.

⋆.𐙚 ̊ The hero's victory turns out to have been orchestrated by the villain, who needed it to happen for their own plan.

⋆.𐙚 ̊ A character believed to be protecting the group has actually been the one leaking information the whole time.

⋆.𐙚 ̊ The "safe" location turns out to be the most dangerous place in the story, and everyone walked into it willingly.

⋆.𐙚 ̊ A character's greatest strength turns out to be the exact thing that dooms them later.

⋆.𐙚 ̊ The war, conflict, or crisis turns out to have been avoidable, and someone chose not to prevent it.

⋆.𐙚 ̊ A character thought to be an orphan or outsider turns out to be directly related to someone central to the plot.

⋆.𐙚 ̊ The information the protagonist has been risking everything to protect turns out to be false or outdated.

⋆.𐙚 ̊ An ally sacrifices the protagonist's trust intentionally, knowing it will cost the friendship, because it's the only way to save them.

⋆.𐙚 ̊ The rules of the world (magic system, technology, law) have an exception that's been hidden from the reader the whole time, and it changes everything retroactively.

⋆.𐙚 ̊ A character's "happy ending" in an earlier flashback or preview turns out to be a lie the story was setting up to break.

⋆.𐙚 ̊ A repeated object, phrase, or setting turns out to be a loop the character has lived through before, unknowingly.

⋆.𐙚 ̊ The villain's plan succeeds completely, and the "twist" is watching what the world looks like after, forcing a new goal entirely.

⋆.𐙚 ̊ A character's death earlier in the story turns out to have been faked, but they've become someone unrecognizable in hiding.

[luna-azzurra]

Types of Familiars!!

⤷ bonded familiar ✩₊˚. chosen at birth or during initiation, a lifelong link that shares some of the witch's senses. this is your classic deep-bond familiar, and it's great for characters who genuinely can't hide anything from their familiar, bc the two of them are wired together on some level, which raises the stakes the moment one of them lies to someone else.

⤷ summoned familiar ✩₊˚. called from elsewhere, another plane, the wild, somewhere outside the witch's own world, and it's temporary unless the bond is actively renewed. this creates a built-in ticking clock, bc the relationship has to be maintained on purpose, and a witch who neglects the renewal risks losing the familiar entirely, which is great tension if your character is distracted by literally anything else going on in the plot.

⤷ blood familiar ✩₊˚. passed down a family line, and it carries memories or knowledge of past witches who bonded with it before. this one's genuinely great for exposition without an info-dump, bc the familiar can just know things the current witch doesn't, having lived through generations of the same bloodline's history.

⤷ guardian familiar ✩₊˚. protective by nature, often stronger and more visibly aggressive than the companion-type familiars. great for action-heavy scenes, and also interesting to subvert, a guardian familiar who's overprotective to the point of being a problem for the witch's independence is a genuinely compelling relationship dynamic.

⤷ shade familiar ✩₊˚. spirit-based rather than physical, and can only manifest partially, or only at certain hours. this gives you built-in scarcity, the witch can't rely on their familiar being fully present whenever they need it, which forces creative problem solving in scenes where the familiar's help would normally be the easy solution.

⤷ wild familiar ✩₊˚. untamed, and it chooses the witch rather than being chosen by them, which makes the bond genuinely unpredictable. this flips the power dynamic completely, the witch doesn't get to decide the terms of the relationship, and that unpredictability is great if you want tension even in scenes that are supposed to be comforting.

⤷ vessel familiar ✩₊˚. houses a spirit or ancestor inside it rather than being its own independent creature. this one's got great horror potential if you want it, but also genuine tenderness potential, a witch talking to a beloved grandmother who now exists inside a raven is a completely different emotional register depending on how you play it.

⤷ marked familiar ✩₊˚. bears a visible physical sign of the bond, a symbol hidden in its fur, an unusual eye color, something that marks it as bonded rather than ordinary. great for a mystery-flavored plot, bc other characters can identify a bonded familiar on sight, which means your witch can't hide the bond even if they want to.

[daily-daydream]

Non-spicy ways to show Intimacy

Intimacy isn't always just the spicy stuff! Here's a few ways to show it through your characters in a few, simple ways...

Kissing their S/O's hand, knuckles, wrist...bonus points for eye contact!

Speaking of which...eyes. Glances across the room, prolonged eye contact, staring at each other

Tending to the other's wounds/ injuries

Knowing the other's tiny habits

Reaching out to the other when in pain, trouble, ect

Whispering jokes to each other

Carefully wiping off a stain from their clothes or face

Taking care of each other when sick or hurt

Hand over the heart/ ear over the heart just to hear it beat

Pressing their thumb over the pulse point for the same thing

Tracing scars, tattoos, birth marks, freckles

Giving the other something tiny that means a lot, a picture, a shiny rock, a flower

In fantasy settings, helping the other put on/ take off armor...trusting the other to know where daggers, knives, poisons are hidden

Telling each other secrets/ thoughts they've told nobody before

Tucking back the other's hair

Putting a piece of jewelry on the other or letting them borrow clothes

Keeping each other warm in the cold

In cases with chronic illness, letting the other care for/ know symptoms

Brushing, braiding hair, applying skincare, etc.

Nightmare comfort

Wiping away tears

Proximity- sitting near each other, sticking close, standing beside each other while doing a task such as cooking, laundry, painting...

Sharing a book, sitting close enough to read it together

[theaawalker]

Alternatives to "Touched"

ᚑ      ᚑ

When the touch is gentle:

»-♡→ Brushed »-♡→ Grazed »-♡→ Caressed »-♡→ Stroked »-♡→ Patted »-♡→ Cradled »-♡→ Rested against »-♡→ Smoothed »-♡→ Trailed along »-♡→ Glided over

...or comforting:

➺ Squeezed ➺ Held ➺ Embraced ➺ Wrapped around ➺ Clasped ➺ Pressed gently against ➺ Rubbed ➺ Supported ➺ Steadied ➺ Cupped

...or affectionate:

➵ Ruffled ➵ Nuzzled ➵ Kissed ➵ Linked arms with ➵ Nestled against ➵ Curled around ➵ Leaned into ➵ Rested a hand on ➵ Laced fingers with ➵ Pulled close

...or romantic:

̗̀➛ Traced ̗̀➛ Ghosted across ̗̀➛ Brushed against ̗̀➛ Skimmed over ̗̀➛ Lingeringly stroked ̗̀➛ Ran a thumb along ̗̀➛ Tilted their chin ̗̀➛ Tucked a strand of hair behind their ear ̗̀➛ Pressed their forehead against ̗̀➛ Intertwined fingers

ᚑ      ᚑ

Follow me if this was helpful :)

[unheardoracle]

Your dialogue is stiff because everyone is being too honest

Great dialogue can come from radical emotional honesty. But in most real conversations, people

dodge questions

answer indirectly

lie (badly)

change the subject

crack jokes to avoid serious answers

lie (convincingly)

say half of what they mean

tell the truth but get so anxious/angry/defensive others now think they're lying

If your dialogue feels unnatural, it might be because everyone is saying exactly what they think, or articulating their thoughts too well. Try letting characters hide things instead.

Subtext is where tension lives.

[djo]

Kas the Bloody-Handed was the vampire lieutenant of Vecna and the original wielder of the Sword of Kas. After years of loyal service to Vecna, he became Kas the Betrayer. It is said that the sword itself whispered to Kas, convincing him to slay his master and usurp his power.