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All of these are by @mattxiv on Instagram.

Here's to all the shockingly single bachelor uncles or the two very close friends who just happened to be girls and are only living together until one of them finds a man (they lived together for forty two years).

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fingers in his ass sunday

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fingers in his ass sunday

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Same anon asking about bigenital and intersex character here!

They have a functioning penis and vagina due to being nonhuman, that is just their species biology. They also happen to be intersex completely unrelated to that. I asked because I know a lot of people (especially in furry spaces) think that intersex is just "someone with a fully functioning penis and vagina", and I really don't want to accidentally add to that idea, since my OCs intersex variation(s) and them being bigenital are just completely unrelated.

Following what the other anon said, naming their specific variation(s) is probably best, I'll for sure do that! I will probably also add an extra clarification in their bio, just to be safe.

No yeah there's words for species who are like that! I have a funny image of sorts you might benefit from

monoecious, cosexed/cosexual, or gonosimulistic lol

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Not to go "if you have ADHD just go for a run" or anything, but I am so serious if you have ADHD you should regularly go outside, no headphones no phone no nothing and just stand and observe for a while until you've had enough. Not until you get bored, until you've had enough. Drink your coffee without watching tiktok. Have a bath without music. Turn down the volume in your headphones. I cannot overstate how much learning to be bored is cruicial with ADHD. Life is not just about pleasure, no matter what your dysregulated dopamine system thinks, and when you teach your brain to be okay with being bored, then boring tasks stop feeling like torture. By letting yourself be bored you are yoinking your system out of the high/low binary and allow for the highs to feel like actual highs and not just anything that isn't low. I am so serious go literally touch grass. Listen to the sounds in your flat. Stimulate your body the way it was designed. It lowers anxiety and makes you feel like you're real and best of all it's completely free

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Hey, random writing tip: Instead of having something be a ridiculously unlikely coincidence, you can make the thing happen due to who this particular character is as a person. Instead of getting stuck on "there's no logical reason to why that would happen", try to bend it into a case of "something like this would never happen to anybody but this specific fucker." Something that makes your reader chuckle and roll their eyes, going "well of course you would."

Why would the timid shy nerd be at a huge sketchy downtown black market bazaar? Well, she's got this beetle colony she's raising that needs a very specific kind of leaf for nest material, and there only place to get it is this one guy at the bazaar that sells that stuff. Why would the most femininely flamboyant guy ever known just happen to have downright encyclopedic knowledge about professional boxing? Well, there was this one time when he was down bad for this guy who was an aspiring professional boxer...

I know it sounds stupidly obvious when written out like this, but when you're up close to your writing, it's hard to see the forest for the trees. Some time ago I finished reading a book, where the whole plot hinges on character A, who is 100% certain that character B is dead, personally getting up and coming down from the top rooms of a castle, to the gates, at 3 am, to come look at some drunk who claims to be this guy who died 17 years ago. Why would A do that, if he's sure that B is dead?

Because he's a Warrior Guy from a culture of Loyalty And Honour, and hearing that someone's got the audacity to go about claiming to be his long-lost brother in battle, there is no other option than to immediately personally go down there to beat the ever-loving shit out of this guy. Who then turns out to actually be character B, after all.

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Hey, random writing tip: Instead of having something be a ridiculously unlikely coincidence, you can make the thing happen due to who this particular character is as a person. Instead of getting stuck on "there's no logical reason to why that would happen", try to bend it into a case of "something like this would never happen to anybody but this specific fucker." Something that makes your reader chuckle and roll their eyes, going "well of course you would."

Why would the timid shy nerd be at a huge sketchy downtown black market bazaar? Well, she's got this beetle colony she's raising that needs a very specific kind of leaf for nest material, and there only place to get it is this one guy at the bazaar that sells that stuff. Why would the most femininely flamboyant guy ever known just happen to have downright encyclopedic knowledge about professional boxing? Well, there was this one time when he was down bad for this guy who was an aspiring professional boxer...

I know it sounds stupidly obvious when written out like this, but when you're up close to your writing, it's hard to see the forest for the trees. Some time ago I finished reading a book, where the whole plot hinges on character A, who is 100% certain that character B is dead, personally getting up and coming down from the top rooms of a castle, to the gates, at 3 am, to come look at some drunk who claims to be this guy who died 17 years ago. Why would A do that, if he's sure that B is dead?

Because he's a Warrior Guy from a culture of Loyalty And Honour, and hearing that someone's got the audacity to go about claiming to be his long-lost brother in battle, there is no other option than to immediately personally go down there to beat the ever-loving shit out of this guy. Who then turns out to actually be character B, after all.

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Frisk & Bad Sanses pt2

♡

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Drawing Killer but then i remember i can overcomplicated things

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You don't have to do this.

Please.

You are not the only one at fault.

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rot.

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Extrañaba dibujarlo

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i love this stupid spaz

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some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

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some of the best writing advice I’ve ever received: always put the punch line at the end of the sentence.

it doesn’t have to be a “punch line” as in the end of a joke. It could be the part that punches you in the gut. The most exciting, juicy, shocking info goes at the end of the sentence. Two different examples that show the difference it makes:

doing it wrong:

She saw her brother’s dead body when she caught the smell of something rotting, thought it was coming from the fridge, and followed it into the kitchen.

doing it right:

Catching the smell of something rotten wafting from the kitchen—probably from the fridge, she thought—she followed the smell into the kitchen, and saw her brother’s dead body.

Periods are where you stop to process the sentence. Put the dead body at the start of the sentence and by the time you reach the end of the sentence, you’ve piled a whole kitchen and a weird fridge smell on top of it, and THEN you have to process the body, and it’s buried so much it barely has an impact. Put the dead body at the end, and it’s like an emotional exclamation point. Everything’s normal and then BAM, her brother’s dead.

This rule doesn’t just apply to sentences: structuring lists or paragraphs like this, by putting the important info at the end, increases their punch too. It’s why in tropes like Arson, Murder, and Jaywalking or Bread, Eggs, Milk, Squick, the odd item out comes at the end of the list.

Subverting this rule can also be used to manipulate reader’s emotional reactions or tell them how shocking they SHOULD find a piece of information in the context of a story. For example, a more conventional sentence that follows this rule:

She opened the pantry door, looking for a jar of grape jelly, but the view of the shelves was blocked by a ghost.

Oh! There’s a ghost! That’s shocking! Probably the character in our sentence doesn’t even care about the jelly anymore because the spirit of a dead person has suddenly appeared inside her pantry, and that’s obviously a much higher priority. But, subvert the rule:

She opened the pantry door, found a ghost blocking her view of the shelves, and couldn’t see past it to where the grape jelly was supposed to be.

Because the ghost is in the middle of the sentence, it’s presented like it’s a mere shelf-blocking pest, and thus less important than the REAL goal of this sentence: the grape jelly. The ghost is diminished, and now you get the impression that the character is probably not too surprised by ghosts in her pantry. Maybe it lives there. Maybe she sees a dozen ghosts a day. In any case, it’s not a big deal. Even though both sentences convey the exact same information, they set up the reader to regard the presence of ghosts very differently in this story.

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I feel like we really lost something when we started looking at writing as a reader-centric product meant to appeal to the desires of a specific audience rather than a writer-centric approach of someone writes whatever particular thing particular compels them/whatever weird thing the demons in their head want to talk about, and people out there who are also compelled, and/or relate, find that writing. A lot of discussions of writing really center around what readers want rather than a writer's exploration. Sometimes as a reader I don't know what I want. I click on a fic or pick up a book I'm not sure about but that looks interesting, and I love it. Reading what I expect to get is it's own joy, but we always need to expand our horizons and not get mad at creators for not always writing what we want/expect.

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its kinda insane that hyperstylization of skinniness is seen as artistically neutral but hyperstylization of fatness immediately denotes it as "fetish material". this isnt even to say it can't be fetish-based, but that it isnt allowed to be neutral unlike skinniness where super exaggeration is just an artistic choice, a style, not a representative of reality and presumed to just be another way to depict skinniness in a recognizable way for the artist's style. but if you place emphasis on a fat character's body features in a specific way, it can only be a fetishistic caricature? not a way to explore the shapes of a body or to experiment with perspective or whatever else you might say about a skinny character?