ratbutmakeitfyodor

[ratbutmakeitfyodor]

WEBSITES FOR WRITERS {masterpost}

E.A. Deverell - FREE worksheets (characters, world building, narrator, etc.) and paid courses;

Hiveword - Helps to research any topic to write about (has other resources, too);

BetaBooks - Share your draft with your beta reader (can be more than one), and see where they stopped reading, their comments, etc.;

Charlotte Dillon - Research links;

Writing realistic injuries - The title is pretty self-explanatory: while writing about an injury, take a look at this useful website;

One Stop for Writers - You guys... this website has literally everything we need: a) Description thesaurus collection, b) Character builder, c) Story maps, d) Scene maps & timelines, e) World building surveys, f) Worksheets, f) Tutorials, and much more! Although it has a paid plan ($90/year | $50/6 months | $9/month), you can still get a 2-week FREE trial;

One Stop for Writers Roadmap - It has many tips for you, divided into three different topics: a) How to plan a story, b) How to write a story, c) How to revise a story. The best thing about this? It's FREE!

Story Structure Database - The Story Structure Database is an archive of books and movies, recording all their major plot points;

National Centre for Writing - FREE worksheets and writing courses. Has also paid courses;

Penguin Random House - Has some writing contests and great opportunities;

Crime Reads - Get inspired before writing a crime scene;

The Creative Academy for Writers - "Writers helping writers along every step of the path to publication." It's FREE and has ZOOM writing rooms;

Reedsy - "A trusted place to learn how to successfully publish your book" It has many tips, and tools (generators), contests, prompts lists, etc. FREE;

QueryTracker - Find agents for your books (personally, I've never used this before, but I thought I should feature it here);

Pacemaker - Track your goals (example: Write 50K words - then, everytime you write, you track the number of the words, and it will make a graphic for you with your progress). It's FREE but has a paid plan;

Save the Cat! - The blog of the most known storytelling method. You can find posts, sheets, a software (student discount - 70%), and other things;

I hope this is helpful for you!

(Also, check my blog if you want to!)

[ratbutmakeitfyodor]

I thought I don't do crushes and it turns out I might have one rn

its so fucking confusing I started identifying as aro like a year ago and since then I haven't had a single crush. I repaired my relationship with everything that is platonic, broke up with my ex and I was more then fine being single. I came to conclusion that all of my previous "crushes" were actually me wanting to be friends with them like REALLY good friends. and it made sense bc I formed a very intense friendship (something new for me) this year and it showed me that it was all I needed fr

and now I met this random guy talked with him like 3 times, probably won't see him in like next year (bc I won't text him oh no Im too scared) and im going crazy here what the fuck

[ratbutmakeitfyodor]

Words for Skin Tone | How to Describe Skin Color

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone." 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

"Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[ratbutmakeitfyodor]

Words for Skin Tone | How to Describe Skin Color

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone." 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

"Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[ratbutmakeitfyodor]

Words for Skin Tone | How to Describe Skin Color

We discussed the issues describing People of Color by means of food in Part I of this guide, which brought rise to even more questions, mostly along the lines of “So, if food’s not an option, what can I use?” Well, I was just getting to that!

This final portion focuses on describing skin tone, with photo and passage examples provided throughout. I hope to cover everything from the use of straight-forward description to the more creatively-inclined, keeping in mind the questions we’ve received on this topic.

Standard Description

Basic Colors

Pictured above: Black, Brown, Beige, White, Pink.

“She had brown skin.”

This is a perfectly fine description that, while not providing the most detail, works well and will never become cliché.

Describing characters’ skin as simply brown or beige works on its own, though it’s not particularly telling just from the range in brown alone.

Complex Colors

These are more rarely used words that actually “mean” their color. Some of these have multiple meanings, so you’ll want to look into those to determine what other associations a word might have.

Pictured above: Umber, Sepia, Ochre, Russet, Terra-cotta, Gold, Tawny, Taupe, Khaki, Fawn.

Complex colors work well alone, though often pair well with a basic color in regards to narrowing down shade/tone.

For example: Golden brown, russet brown, tawny beige…

As some of these are on the “rare” side, sliding in a definition of the word within the sentence itself may help readers who are unfamiliar with the term visualize the color without seeking a dictionary.

“He was tall and slim, his skin a russet, reddish-brown.”

Comparisons to familiar colors or visuals are also helpful:

“His skin was an ochre color, much like the mellow-brown light that bathed the forest.”

Modifiers

Modifiers, often adjectives, make partial changes to a word.The following words are descriptors in reference to skin tone.

Dark - Deep - Rich - Cool

Warm - Medium - Tan

Fair - Light - Pale

Rich Black, Dark brown, Warm beige, Pale pink…

If you’re looking to get more specific than “brown,” modifiers narrow down shade further.

Keep in mind that these modifiers are not exactly colors.

As an already brown-skinned person, I get tan from a lot of sun and resultingly become a darker, deeper brown. I turn a pale, more yellow-brown in the winter.

While best used in combination with a color, I suppose words like “tan” “fair” and “light” do work alone; just note that tan is less likely to be taken for “naturally tan” and much more likely a tanned White person.

Calling someone “dark” as description on its own is offensive to some and also ambiguous. (See: Describing Skin as Dark)

Undertones

Undertones are the colors beneath the skin, seeing as skin isn’t just one even color but has more subdued tones within the dominating palette.

pictured above: warm / earth undertones: yellow, golden, copper, olive, bronze, orange, orange-red, coral | cool / jewel undertones: pink, red, blue, blue-red, rose, magenta, sapphire, silver. 

Mentioning the undertones within a character’s skin is an even more precise way to denote skin tone.

As shown, there’s a difference between say, brown skin with warm orange-red undertones (Kelly Rowland) and brown skin with cool, jewel undertones (Rutina Wesley).

“A dazzling smile revealed the bronze glow at her cheeks.”

“He always looked as if he’d ran a mile, a constant tinge of pink under his tawny skin.”

Standard Description Passage

“Farah’s skin, always fawn, had burned and freckled under the summer’s sun. Even at the cusp of autumn, an uneven tan clung to her skin like burrs. So unlike the smooth, red-brown ochre of her mother, which the sun had richened to a blessing.”

-From my story “Where Summer Ends” featured in Strange Little Girls

Here the state of skin also gives insight on character.

Note my use of “fawn” in regards to multiple meaning and association. While fawn is a color, it’s also a small, timid deer, which describes this very traumatized character of mine perfectly.

Though I use standard descriptions of skin tone more in my writing, at the same time I’m no stranger to creative descriptions, and do enjoy the occasional artsy detail of a character.

Creative Description

Whether compared to night-cast rivers or day’s first light…I actually enjoy seeing Characters of Colors dressed in artful detail.

I’ve read loads of descriptions in my day of white characters and their “smooth rose-tinged ivory skin”, while the PoC, if there, are reduced to something from a candy bowl or a Starbucks drink, so to actually read of PoC described in lavish detail can be somewhat of a treat.

Still, be mindful when you get creative with your character descriptions. Too many frills can become purple-prose-like, so do what feels right for your writing when and where. Not every character or scene warrants a creative description, either. Especially if they’re not even a secondary character.

Using a combination of color descriptions from standard to creative is probably a better method than straight creative. But again, do what’s good for your tale.

Natural Settings - Sky

Pictured above: Harvest Moon -Twilight, Fall/Autumn Leaves, Clay, Desert/Sahara, Sunlight - Sunrise - Sunset - Afterglow - Dawn- Day- Daybreak, Field - Prairie - Wheat, Mountain/Cliff, Beach/Sand/Straw/Hay.

Now before you run off to compare your heroine’s skin to the harvest moon or a cliff side, think about the associations to your words.

When I think cliff, I think of jagged, perilous, rough. I hear sand and picture grainy, yet smooth. Calm. mellow.

So consider your character and what you see fit to compare them to.

Also consider whose perspective you’re describing them from. Someone describing a person they revere or admire may have a more pleasant, loftier description than someone who can’t stand the person.

“Her face was like the fire-gold glow of dawn, lifting my gaze, drawing me in.”

“She had a sandy complexion, smooth and tawny.”

Even creative descriptions tend to draw help from your standard words.

Flowers

Pictured above: Calla lilies, Western Coneflower, Hazel Fay, Hibiscus, Freesia, Rose

It was a bit difficult to find flowers to my liking that didn’t have a 20 character name or wasn’t called something like “chocolate silk” so these are the finalists. 

You’ll definitely want to avoid purple-prose here.

Also be aware of flowers that most might’ve never heard of. Roses are easy, as most know the look and coloring(s) of this plant. But Western coneflowers? Calla lilies? Maybe not so much.

“He entered the cottage in a huff, cheeks a blushing brown like the flowers Nana planted right under my window. Hazel Fay she called them, was it?”

Assorted Plants & Nature

Pictured above: Cattails, Seashell, Driftwood, Pinecone, Acorn, Amber

These ones are kinda odd. Perhaps because I’ve never seen these in comparison to skin tone, With the exception of amber.

At least they’re common enough that most may have an idea what you’re talking about at the mention of “pinecone." 

I suggest reading out your sentences aloud to get a better feel of how it’ll sounds.

"Auburn hair swept past pointed ears, set around a face like an acorn both in shape and shade.”

I pictured some tree-dwelling being or person from a fantasy world in this example, which makes the comparison more appropriate.

I don’t suggest using a comparison just “cuz you can” but actually being thoughtful about what you’re comparing your character to and how it applies to your character and/or setting.

Wood

Pictured above: Mahogany, Walnut, Chestnut, Golden Oak, Ash

Wood can be an iffy description for skin tone. Not only due to several of them having “foody” terminology within their names, but again, associations.

Some people would prefer not to compare/be compared to wood at all, so get opinions, try it aloud, and make sure it’s appropriate to the character if you do use it.

“The old warlock’s skin was a deep shade of mahogany, his stare serious and firm as it held mine.”

Metals

Pictured above: Platinum, Copper, Brass, Gold, Bronze

Copper skin, brass-colored skin, golden skin…

I’ve even heard variations of these used before by comparison to an object of the same properties/coloring, such as penny for copper.

These also work well with modifiers.

“The dress of fine white silks popped against the deep bronze of her skin.”

Gemstones - Minerals

Pictured above: Onyx, Obsidian, Sard, Topaz, Carnelian, Smoky Quartz, Rutile, Pyrite, Citrine, Gypsum

These are trickier to use. As with some complex colors, the writer will have to get us to understand what most of these look like.

If you use these, or any more rare description, consider if it actually “fits” the book or scene.

Even if you’re able to get us to picture what “rutile” looks like, why are you using this description as opposed to something else? Have that answer for yourself.

“His skin reminded her of the topaz ring her father wore at his finger, a gleaming stone of brown, mellow facades.” 

Physical Description

Physical character description can be more than skin tone.

Show us hair, eyes, noses, mouth, hands…body posture, body shape, skin texture… though not necessarily all of those nor at once.

Describing features also helps indicate race, especially if your character has some traits common within the race they are, such as afro hair to a Black character.

How comprehensive you decide to get is up to you. I wouldn’t overdo it and get specific to every mole and birthmark. Noting defining characteristics is good, though, like slightly spaced front teeth, curls that stay flopping in their face, hands freckled with sunspots…

General Tips

Indicate Race Early: I suggest indicators of race be made at the earliest convenience within the writing, with more hints threaded throughout here and there.

Get Creative On Your Own: Obviously, I couldn’t cover every proper color or comparison in which has been “approved” to use for your characters’ skin color, so it’s up to you to use discretion when seeking other ways and shades to describe skin tone.

Skin Color May Not Be Enough: Describing skin tone isn’t always enough to indicate someone’s ethnicity. As timeless cases with readers equating brown to “dark white” or something, more indicators of race may be needed.

Describe White characters and PoC Alike: You should describe the race and/or skin tone of your white characters just as you do your Characters of Color. If you don’t, you risk implying that White is the default human being and PoC are the “Other”).

PSA: Don’t use “Colored.” Based on some asks we’ve received using this word, I’d like to say that unless you or your character is a racist grandmama from the 1960s, do not call People of Color “colored” please. 

Not Sure Where to Start? You really can’t go wrong using basic colors for your skin descriptions. It’s actually what many people prefer and works best for most writing. Personally, I tend to describe my characters using a combo of basic colors + modifiers, with mentions of undertones at times. I do like to veer into more creative descriptions on occasion.

Want some alternatives to “skin” or “skin color”? Try: Appearance, blend, blush, cast, coloring, complexion, flush, glow, hue, overtone, palette, pigmentation, rinse, shade, sheen, spectrum, tinge, tint, tone, undertone, value, wash.

Skin Tone Resources

List of Color Names

The Color Thesaurus

Skin Undertone & Color Matching

Tips and Words on Describing Skin

Photos: Undertones Described (Modifiers included)

Online Thesaurus (try colors, such as “red” & “brown”)

Don’t Call me Pastries: Creative Skin Tones w/ pics I 

Writing & Description Guides

WWC Featured Description Posts

WWC Guide: Words to Describe Hair

Writing with Color: Description & Skin Color Tags

7 Offensive Mistakes Well-intentioned Writers Make

I tried to be as comprehensive as possible with this guide, but if you have a question regarding describing skin color that hasn’t been answered within part I or II of this guide, or have more questions after reading this post, feel free to ask!

~ Mod Colette

[ratbutmakeitfyodor]

If 3s brush aside failures, then why is failure listed as their core fear by all sources? And why would they then avoid situations where they know they probably won't do well as you said yourself before? It's not adding up.

3s struggle with and fear failure, so they will avoid trying anything they do not think they will be good at -- but if failure happens to them, they turn it around to see it positively as opening the way for them to do something better the next time. Like, "This has taught me how not to do X, so that next time I won't make that same mistake." Being competent is important to them -- fear of failure might make them work harder, but actual failure either sends them spiraling into 9ish apathy (why bother? it's too hard), or 6ish anxiety (what if I fail again?) or causes them to pull up their socks and try something else.

If you talk to a 3, you'll notice they never admit to having failed, even if they did fail. Everything has a polish on it that puts them in a good light and/or is seen as positivity on their life journey. They weren't fired so much as the universe got them out of a job that wasn't meant for them so they could pursue something better. In that way, they are positive types that do some re-framing like 7s do.

There's lots of great podcasts, articles, and books out there that deep dive into the types. I know a lot, but you are capable of knowing a lot too if you want to spend the time researching for yourself.

[ratbutmakeitfyodor]

I would have never guessed that i would get into a spiritual, creepy crime story podcast? No idea how to call it but it doesnt matter i didnt even know that such thing exsists and why has world hided it from me for so long

[ratbutmakeitfyodor]

go to sleep 

[ratbutmakeitfyodor]

Hello folks who enjoy TMA and WTNV, do you crave more audio content that is gay and spooky?

I have some recommendations for you!

@hellofromthehallowoods is a multilayered spooky narrative set in a sinister forest with a huge range of LGBTQ+ storythreads which weave in and out of one another. There are 85 episodes at time of writing and the fandom has been screaming about some of the most recent ones, and for good reason. There are transcripts on their website. Each episode has its own lovely artwork, and a patreon-exclusive bonus story.

@thenightpost tells the tale of conscripted postal workers in the strange setting of Gilt City, feat. a lot of queer love and found family. There are 38 episodes currently available and they're about halfway through Season Three at the moment. The plot is definitely thickening. Transcripts are linked from every episode in the shownotes. Their patreon offers early access to new episodes and some wonderful bonus stories.

@monstrousagonies is an advice show for monsters. enough said. but for good measure, it's softly spooky and has a lot of heart. There are 43 (edit: there are 71 I just can't read apparently sorry!) episodes already released, and many of them are written in response to prompts sent in by listeners to the show. The creator opens up submissions for episode prompts now and then, and submissions will be opening for Season Three fairly soon, so if you have a monstrous agony you'd like to see advised upon, keep your eyes peeled. Transcripts are available on the show website and they have a patreon!

There is also our own show, @spiritboxradio, the story of an unlikely radio show host who discovers he has a bigger part to play in the spooky events unfolding around them. The show is full of queer characters and aims for a growing sense of spookiness that builds as the show goes on. There are 69 (heh) episodes currently live and listenable, and you can get early access via our patreon, plus bonus content every Friday, including bonus stories, Creator's Notes, and a monthly behind-the-scenes podcast. Transcripts for every episode are available on our website.

All of these shows are made by LGBTQ+ folks. They're available on most places you find your podcasts. Is one of these shows not available on the platform you prefer? Drop an ask in our boxes and see if we might be able to change that.

[ratbutmakeitfyodor]

Aplatonic Masterpost

(I use italics in this post for stuff that is more my commentary/analysis/etc, as opposed to more “factual” summary)

Aplatonic Definitions & Overview:

“Aplatonic” was coined on AVEN in 2012 in a thread here by a homoromantic Ace who expressed being unable to apply the word “love” to their friendships.

The original coining doesn’t come with a particularly precise definition, and there’s been many discussions regarding differing definitions for it.  The following are two definitions which are often considered accurate for the term:

Definition 1: Aplatonic is an identity for people who experience little to no platonic attraction such that they rarely experience squishes, or desire to form a friendship with specific people.

Definition 2: Aplatonic is an identity for people who struggle to form platonic relationships of any kind, often due to neurodivergency and/or traumatic experiences.

Another definition which has been attributed with aplatonic, but also disputed as a definition, is this:

Definition 3: an identity for people who do not experience attraction such that they would want a queerplatonic relationship.

This third definition would be more accurate for the term “aqueerplatonic”, but was misattributed to the term aplatonic in the past.  However, while this is not an accurate definition for aplatonic, the lines between platonic and queerplatonic attraction can be extremely blurry such that this may be relevant to some aplatonic experiences.

Other notes on Aplatonicism:

Aplatonicism also has an Aplatonic spectrum which includes identities such as demiplatonic and greyplatonic.

Aplatonic is a term generally used by people who are a-spec(Ace or Aro) and/or neurodivergent.

Aplatonic is NOT simply “not having/wanting friends” (it has historically been dismissed as such by exclusionists who mock the term, unfortunately).

Aplatonic can be shortened to “apl”, and thus apples are considered an aplatonic symbol.

(More information and links regarding definitions of aplatonic are below under “Aplatonic Discussions”)

Aplatonic Pride Flags:

[Image Description: aplatonic flag with 4 horizontal stripes which are purple, blue, green, and light yellow/cream from top to bottom]

This was the original aplatonic flag, the oldest surviving link of it is found here, from 2015.

[Image Description: aplatonic flag with 4 horizontal stripes which are black, grey, white, and yellow from top to bottom]

This was an alternate aplatonic flag proposed in 2016 (link here).

(More information on these flags can be found at this link from lgbtq wiki)

Aplatonic Spectrum & Demiplatonic:

Aplatonic Spectrum, or apl-spec, is an umbrella term for people who experience little to no platonic attraction. (AUREA’s definition here)

Aplatonic Spectrum Flags: a masterpost with many aplatonic spectrum identities, their definitions, and their flags.

Demiplatonic Overview: a post I made about my involvement with the term demiplatonic and demiplatonic flags

Experiences Feeling Demiplatonic: a post I did for carnival of aros about why I feel demiplatonic

Aplatonic Discussions:

Over the years, there’s been a lot of misinformation and general lack of clear accurate information regarding this term, such that there’s been many discussions regarding the definition.  As someone who is somewhat younger to the community I probably also contributed to misinformation at times due to the sources I was looking at being themselves inaccurate.  

The above definitions are what I can best summarize from the posts I have seen discussing it but might be influenced by my own experiences and I don’t want to claim expertise and argue those as objective fact, considering how much differing discussion there has been.So, here’s links to various discussions regarding the definitions & misinformation around this term, such that you can assess other sources for yourself.

Links regarding aplatonic definitions & History:

Link 1: “Definitions of Aplatonic” thread on Arocalypse Forums 

Link 2: Tumblr thread refuting “not wanting qpr” definition, with many people adding to discussion.

Link 3: Tumblr thread refuting the “not wanting/having friends” definition that originated by exclusionists, and other misinformation on the term.

Link 4: an older Tumblr post with an infographic of aplatonic, with more recent comments by the OP about inaccuracies.

Link 5: another tumblr thread about the definition of aplatonic and ways people originally used it, and touches on why some people are uncomfortable with non a-spec people using it due to misuse by exclusionists.

Link 6: tumblr thread about aplatonic definitions and it’s usage relating to the a-spec community along with neurodivergency and traumatic experiences.

Link 7: tumblr post discussing who can “use” the term aplatonic and discusses history of how meaning has warped over time.

Link 8: Tumblr short masterpost regarding aplatonic as a descriptor term used by aro community.

Related Terminology:

There are various terms that have similar but different meanings to aplatonic (which also come up in the linked discussion posts.  The word being defined has hyperlink to a source.)

Nonamorous:  a lifestyle choice or relationship style that does not include intimate, long-term partnerships, whether romantic or platonic.

Nonpartnering: not wanting partnered relationships; this is similar to nonamorous but coined in response to some people being uncomfortable with the implied opposite of nonamorous because of romance repulsion.

Aqueerplatonic: not experiencing queerplatonic attraction.

Loveless (aro): a recent term for aros who do not use “love” to describe their experiences, often due to it’s associations with romance and enforcement of amatonormativity. (Sources don’t show a particularly precise definition for this one)

(Additional reading regarding these terms:

-This is one of posts linked before, but I had added onto it with distinctions I perceive between these words and aplatonic

-This is another post discussing nonamory and queerplatonic, and pressures within the community to feel certain ways)

Aplatonic Tags:

(the links are from searching tag & filtering for most recent)

#Aplatonic (general aplatonic tag)

#Actually Aplatonic (aplatonic tag that’s more specific to prevent random & troll posts, so is more of the good quality posts)

#aplatonic spectrum (more specific to aplatonic spectrum stuff)

#apl spec (alternate tag with more specific to aplatonic spectrum stuff though doesn’t have many posts)

#apl positivity (tag for aplatonic positivity stuff or other positivity that is relevant for aplatonic people, I encourage people to use this more)

#demiplatonic (tag for more specifically demiplatonic stuff…. I use this a lot on my blog.  Tag does have some more troll/mocking posts unfortunately though, so bewarned)

#nonamorous (not aplatonic specific but generally tends to have more positivity and other discussions of adjacent topics regarding not having platonic partnerships and stuff)

#loveless aro (another aplatonic-adjacent topic regarding kind of opting out of the concept of love as an obligation/universal human concept)

Aplatonic Blog recs:

These are a mix of blogs I see actively involved in discussions on aplatonic and who I’ve taken notice of from following the aplatonic tag.

@aplatonicsafespace​​ (aplatonic specific blog which answered asks a lot but seems currently inactive)

@aroarolibrary​ (Is a general aro blog which has talked about aplatonic for a long time and has more historical information on the term. I went through eir aplatonic tag and found many of the posts I linked under aplatonic discussions)

@apl-h​​ (aplatonic focused blog)

@aromagni​ (my aro blog, I am demiplatonic so I talk more about apl-spec stuff and have organized tags for things you can search)

@askanaroace​​ (an aroace ask blog ran by an aplatonic person who’s answered asks about aplatonic stuff before)

@kyanitedragon​ (is a general blog that has posted apl headcanons & aesthetics/pride stuff fairly often)

[Feel free to add on to this post with more aplatonic blog recs or other resources!]

[ratbutmakeitfyodor]

here's your daily reminder that if your asexual character likes/wants to have sex, they are sex favourable, while if they don't, they are sex averse/repulsed, not sex negative.

this seems like a small detail, but sex negativity is a (political) position where people view sex as dirty, dangerous, pathological or deviant, and that only certain (cis, straight, monogamous, etc.) sex is moral, while all others are bad (think white, conservative christian ideology), and really isn't something that you want to be conflating with certain flavours of asexuality, as most asexual people are sex positive, regardless of their feelings towards having sex themselves.

[ratbutmakeitfyodor]

Hold on, I just thought of something. So we've talked a lot about how Mike's love confession monologue feels off and feels narratively clunky, but we don't really talk about WHY that choice was made.

Because here's the thing: the narrative imperfection is in direct conversation with Will's monolgue/love confession.

In both speeches, on the surface level, they seem like they should make sense, that is, until you start looking at the details.

In Will's love confession scene, we see him tell Mike that El "commissioned" the painting for him, which serves as a cover for Will's real intentions in creating that painting. On the surface, it seems like a believable thing El could do out of affection for her boyfriend, until you start to think about it again and realize we've never once heard El and Mike discuss DnD in any sort of depth, and she likely wouldn't be overly familiar with the roles of the party.

We also see Will here say that if Mike felt like El was "pushing [him] away," that it was likely just because she was afraid of losing him. Upon first hearing this, it sounds feasible that given the distance, El could be pushing Mike away, but when we look at the actual context of El's feelings towards Mike over the course of the season, we see her room filled with pictures of Mike and a box full of momentos, and we're privy to the dozens of letters she has sent him. In other words, we can see El's affection for Mike loud and clear, and so can he.

And when Will tells Mike that El needs him, these are sweet and reassuring words, but we've also seen how quickly El dumped Mike in season 3 and how she left without warning to go with Owens and get her powers back, once again leaving Mike behind. In truth, El might love Mike, but she doesn't need him, not like he seems to need to be needed.

Will's monologue is meant to throw off Mike, but we see a few shots within the van scene where it seems as though Mike is confused and processing, as if something isn't quite lining up, but he can't really put his finger on why.

In Mike's monologue to El, it follows a similar pattern. Mike tells El that he loved her since the moment he met her in the woods. From an audience standpoint, having seen Mileven's relationship manifest over the past three seasons, at first this seems sweet. But then as we parse the context of that moment, Mike's assertion rings false as we see him in the first scenes with El confused, afraid of her, and ready to cast her out in favor of finding Will. It's only when she demonstrates that she could help find him that Mike starts to see her as anything other than transitory.

Mike also makes it a point to say that he is "not scared" of El and that he's "never felt that way." While this is certainly something you would hope your boyfriend would say, this, also rings false as we see multiple times that Mike is shocked by her powers, and even accusatory with his famous "What's wrong with you?" line. Mike has been scared of El on MULTIPLE occasions.

He also tells El in this scene that he "doesn't know how to live without [her]." I'd say this is the most up-for-grabs statement that Mike makes, because he does care about and have love for El, but he's also shown twice now that he has lived without her. The first time, when he believed she might be dead, Mike checked in on El every day, but he never went after her. We see some definite signs of grief from his acting out in school and grades slipping, but his life with his friends remains overwhelmingly unchanged in her absence. The second time we see this is in season 4 when they are forced into a long distance relationship. While Mike does still receive letters from El, he doesn't seem lovesick or mopey that she's not around. He joins Hellfire and spends time with his friends. If anything, we get more indication that he's felt the absence of Will more strongly as he directly tells Will that "Hawkins isn't the same without [him]."

He says his "life started that day [he] found [El] in the woods." Another beautiful sentiment, until you look closer. This directly conflicts with Mike's character arc in season 1 in which his main priority was finding Will. It also conflicts with Mike's statement in season 2 that choosing to be Will's friend was the "best thing [he] ever did." Obviously Mike had a life before El, and even after having met her, he still believes that being Will's friend was the best thing he ever did, and not finding El or making friends with El or kissing El.

We also see Mike say here that he "love[s El]" with or without her powers. This has been the crux of their relationship drama throughout the season as Mike continually identifies El as a "superhero" and El, feeling lost without the thing that makes her feel special, goes off to regain those powers, because she thinks that's what Mike wants her to be. And even during that time, Mike refers to El as "Superman" during his conversation with Will. While Mike saying he loves her without her powers here might seemingly resolve this earlier conflict, he then goes on to specifically talk about and focus on her powers in his speech, making his words feel disingenuous.

He then once again refers to El as his "superhero" and tells her she can "fly" and "move mountains," both things that connect back to her supernatural powers and her otherness, but not her, not "exactly who she is" as he claims.

The entire time Mike is giving this speech to El, we see Vecna's vines TIGHTENING around El, not loosening, until she looks over at Max, someone who has over and over again reminded her what it is to be free and to be her own person.

This scene, just like Will's monologue, is meant to function as a form of misdirection, but not necessarily for El, for the audience. As we've discussed on the surface, all of these elements Mike brings up in his monologue should make sense for a couple in love, and to a casual viewer, would probably just be written off as a kind of corny scene, but what we as critical readers of the scene can take away from it is that this scene is intentionally meant to mislead you.

Mike is not talking about his real feelings for El here. He's talking about feelings for the version of El he created for himself in his head. For the larger-than-life savior. Simply, Mike loves the idea of El, but not the person she's become. And El knows that his speech about her, however touching to an outside audience it may seem, does not really reflect her, and that's why we see the vines tighten around her neck.

So what could this mean for season 5 and what does it mean in connection to the Will confession?

I think this heavily suggests that Eleven will be single in season 5 and that she will break up with Mike since he no longer really sees her for who she is. But I also think that this misdirection theme will play out in Byler as well. Just as the audience is meant to slowly piece things together after the fact, Mike is supposed to do the same in his relationship with Will. As season 5 unfolds, I think we'll see Mike get more hints that the painting was not commissioned by El and that the version of him that is loved and needed is not El's, but Will's. Mike, just like us, is supposed to read between the lines right now.

In conclusion, I think the Duffer Brothers may not have actually fucked up as badly as we thought, but instead created some somewhat genius foreshadowing and parallelling.

[ratbutmakeitfyodor]

I know how many of byler shippers are annoyed that will's crush and basicaly every conversation he had with mike (where he was kinda lying because he was talking abt himself) made mike and el got back together. Look i get it im annoyed too. But its not bc i think that will having crush on mike is a bad scenario choise or the way they made him handle the situation is bad. No i think that wills character is one of the best of them all. S4 made me fall in love with him.

Steves crush on nancy is forced and unrealistic as well as nancys idk supposed feelings for him? Guys its the biggest bullshit ive ever seen. Nancys and johnatans fight is also very random created only to give some place for stancy. Im sorry but i didnt care much about jopper this season this ship was kinda cute in s1 and s2 (a little) but later on it was just jeah they'll end up together at some point and i dont care its ok. I also dislike hopper a bit - his anger outbrusts are too much for me despite his huge heart and stuff. Dustin and susie - i dont care. Dustin is amazing suzie is a boring character used only whan theyre having trouble. Max and lucas - they are nice s4 made me like max more and this scene in hounted house was awesome and cute. But they are lacking the tension bc we know somewhere in back of our heads that they'll end up together and drama is needed to build up both of their characters and it works (not like this s3 painfull drama to teach mike a lesson about beeing posesive - i didint learn much abt max and lucas then)

I think that finally will's character is treated seriously in s4. In s1 and s2 he was just in danger and everyone tried to save him. In s3 he had some place to be annoyed and sad but again all of his problems vanished as soon as they found out about mind flayer. In s4 noah shnapp is doing AMAZING job making will constantly on werge of crying (and it somehow isnt too much which dropped my mouth on the floor. Dont underestimate that! Usually characters that cry everytime theyre having a convo with anyone are annoying and you just wish they shut up but not will)

If we look at all those small details and clues the show kept giving us about wills sexuality (like people bulling him and laughing at him in s1 calling him homophobic slurs, him looking at mike before dancing with a girl on a snow ball in s2, mike saying is not his fault that will doesnt like girls in s3, that weird ass feet flirt? (gross) and wills presentation about alan truing in s4 for example) it gives us a good amount of reasons that it isnt just a part of his character like it was with robin in s3. The coming out scene wasnt like a confirmation of some obvious clues or shit. Her character wasnt about beeing gay it was about beeing a person and beeing gay. Which is huge difference. As a fan of casual representation i was very satified with steves and robins thread in s3 because i already loved them before the coming out scene (and its also a reason why im disapointed with it in s4 because they threw away the importance of their friendship and focused on romance instead which has been done wery poorly) But will also isnt just gay. He's a very confused child focusing on figuring out who he is. Its more like a heartstopper kind of storyline but he has no one to talk about it no one to support him like openly without just guessing what he is going throught. He doesnt have 'am i gay quiz' or any kind of people like him he can talk to. Instead he has a crush on an absolute asshole (I will get to that soon) and mindset of puting others before him. So it shouldnt be a surprise that he does everything he can to support and help mike. And look at him HE CRIES ALMOST EVERY TIME the emotions inside are taking him over. The problem isnt the plot isnt the crush isnt will's character its mike

What in the fucks sake happend to him over the seasons? In s1 and 2 i belived that he is nice he is caring that he is a heart of a group. He was a GOOD FRIEND. But now show has to desperately remind us about all this stuff because he himself isnt. Since s3 he is just revolving around el. All the time no place for anyone else there. Well maybe they are buliding up like a sudden realisation scene where mike will realise what this relationship was doing with him or something. But guess what HE WON'T why? BECAUSE HE IS UNABLE TO FIGURE OUT HIS FLAWS HIMSELF or read basic signals from his friends that he's hurting them. So maybe in s5 someone (probably Will) will have to put some sences into that oblivious mind of his (i hope will will be yellig) and honestly that is the only rational reason i can see for watering down his character this much (rational where its not just a poor writing) i hope it will happen i would enjoy it i would forgive using wills feelings for ending mikes and els fight. But if nothing like this happens mileven is doing perfectly 'fine' as always will is coming out but it has no impact on anything than im throwing that show away other threads arent enough to make me invest in it as much as this one is (im not saying that i need byler to come true what i need is a logical explanation on why mike is such an asshole and REAL character development this time) Every time show is fucusing on mikes flaws (its always just one flaw - like mike beeing possesive or not caring about will at all) other characters confront him making him realise what he was doing wrong he apologises and everything is fine again exept its not. Because he fixes this one single flaw they were taking about every other out there is left untouched. He doesnt grow as a person (one good thing about him - he doesnt make same mistake twice) actually hes beeing even a bigger asshole. So theres no surprise for me that all he takes from wills advices are ways to make up with el bc thats all he is focusing on. He doesnt look at bigger picture of situation - at wills emotions at ways his voice sounds like at reasons why he took that painting for that trip or why he painted him in that contects in the first place.

I dont know what elese to write to clarify my point (i hope its somehow understandable) I am a huge byler shipper but as i said it doesnt even have to be canon for me because if it was with mike left the way he is it could be even more painfull for will. What im really hoping for in s5 is explainging mikes horrible begaviour and fixing it for real this time (this scenario in case they made him this bad on pourpose) or fixing his character generaly (in case it was accidental) and a satisfing wills coming out scene. I cant specify exactly what im expecting but im counting it will be as good as robins

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The Kids Are Alright (alive) 💕🌈✨

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Hey everyone,

If you have any good fics that you could recommend to me, I would LOVE to read them. In need of some good written Byler moments.

Much appreciated!! ❤️

[ratbutmakeitfyodor]

Watch me going crazy over byler at the same time hating mike with burning passion

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YALL

EVEN IF BYLER ISNT CANON MIKES QUEER THROUGH PURE ACCIDENT AND SHIT WRITING LMAO DIVERSITY WIN