#Adds a layer of realism

[justsomeectoplasm]

I like the fucked up interpretation of magic and worlds while still making it wonderous and beautiful.

This world is wonderful and beautiful. Magic can be fun and useful. But both of them can also be so, so dangerous. Magic can form terrifying consequences that can bring forth the disaster and death of hundreds. This world can turn on you at any moment and whether you want to keep up is not of its concern. There are people who are desperately trying to warn others of using certain magic and those who try to save as many people as possible from venturing into their deaths. And yet, we still cannot help ourselves be in awe of everything. The beauty of the nature of this world and the way magic can still be used to do certain tasks that was normally impossible for humans.

It is fantastical, it is extraordinary. But you are not in control of it's nature, nor are you exempt from the consequences and the people who you hurt in your pursuit of this wonder.

[soscarlett1twas]

man fuck elias and his unreliable narrator tendencies im trying to piece together your mothers life what do you mean you don’t have it all memorized

[shalomniscient]

natlan 5.1 was batshit insane but i won't deny cookery when i see it. last 1/3 of the archon quest is just brilliantly done in my opinion, from writing to level design to soundtrack. just genuine excellence

[freakinator]

thinking about making a side story of gard au starring hannah and bacon based on the botanist and the detective by steampianist

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[laweema]

Stained Glass - FREELINES | All Tribes

Do you remember I was drawing some stained Glass arts? Now they are available to download!

DOWNLOAD >>> Here <<<

Each stained glass has a unique content, reflecting the essence of the tribe, and could hang in some palace. There are no fills, this is a kind of coloring. There are layers with textures, tone and the so-called "Ambient Occlusion", which gives the stained glass realism. You can use all this as you wish. If some details are unclear, then do not hesitate to ask, I will explain what is depicted, because due to the stylization, the stained glass has many "cuts".

Terms of use:

You can make adopts and sell them

You can color line for money

You can edit, add your own

It can be used in compositions (but you must specify me as the author of the line)

FORBIDDEN to sell the line

FORBIDDEN to assume authorship over the line

FORBIDDEN to erase my watermark

FORBIDDEN to trace, redraw etc.

[kikovanitysimmer]

 mini mods : guilt trip interaction & lose weight milestone

guilt trip put your sim’s mischief skill to work with the guilt trip interaction. this playful yet chaotic social option lets your sim make another feel guilty, stirring up drama or emotional tension. the target’s reaction—guilt, irritation, or annoyance—depends on their traits and relationship with your sim.

key features:

adds fun drama to social interactions

works for sims aged child to elder

perfect for sims with high mischief skill

use it to shake things up, build rivalries, or just have some fun at someone else’s expense!

 weight loss milestone buffs and interactions

celebrate your sim's weight loss journey with a series of dynamic buffs and interactions that capture the emotional highs and lows of the process. from moments of pride to occasional frustrations, this mod adds a realistic and engaging layer to your sim's story.

key features:

emotional variety: buffs reflect a range of emotions like happiness, pride, and determination, with some moments of anger or frustration for added realism.

dynamic rewards: unlock unique buffs for achieving milestones, each with specific mood boosts and durations to keep your sim motivated.

engaging interactions: includes milestone-specific actions where your sim can share their progress, celebrate achievements, or overcome setbacks.

how it works:

happy buffs: reward your sim with positive moodlets after hitting major goals.

angry buffs: reflect the occasional challenges of the journey with short-term frustrations.

gym interactions: your sim must interact with gym equipment at least 5 times to unlock the milestone, ensuring their progress feels earned and rewarding.

milestone celebrations: allow your sim to connect with others, share their story, or inspire friends.

 help your sim stay active, achieve milestones, and grow emotionally as they progress on their weight loss journey!

the milestone also comes with interactions about weight loss!this mod is not meant to encourage fatphobia. i created this small milestone because my sim went on a weight loss journey and accomplished a big goal, and i wanted to celebrate that. please be kind!

feel free to ask any questions or issues beauties!

download : 🌸

[yet-another-heathen]

On the topic of realistic conditioning/deconditioning,

If the trigger is something whumpee wouldn't hear often when they're with caretaker but whumpee still wants to break it because they might hear it elsewhere (like kneel being taken as a command)

Would whumpee ask caretaker to casually trigger them so they have the opportunity to challenge it in their own head and in a safe place? Would this be a good idea for recovery?

And of course being there with the praise everytime whumpee makes just a little bit of progress, or comfort when they don't.

Heads up, anon: your ask was an EXCEPTIONALLY good one, and I ended up writing another mini TED talk (~3-4 min read) in response. Thank you so much for sending it in!

...on Conditioned Whumpees - Part 3

[ Part 1 - Part 2 ]

That is a very, very good idea! You're spot on with all of it, particularly operating in a safe environment where whumpee is ultimately calling the shots. Having that comfort/support readily available will make a huge difference in how well whumpee can tackle the matter. And while the process isn't fun, approaching desensitization with this much intent is much, much more likely to result in success.

I can offer a few pointers that can add another few layers of realism, as well as some other things to think about while tailoring it to your story:

if whumpee is actively working through their conditioning in this way, memories of their trauma will become closer to the surface. As a result, all of their other PTSD symptoms will be elevated during the course of their practice sessions, as well as for at least a few weeks after.

flashbacks are a very common experience during times like this. engaging with triggers like this is going to cause their flashbacks to become more frequent and intense.

during such flashbacks, it is almost a given that whumpee's mind and body will enter a similar state to the one it was in during the time when the flashback was taking place. By that I mean that the fear they felt in that moment, where it was physically located in their body, will echo into their body in the present moment. Same goes for other all other emotions, and sometimes even phantom aches surrounding any injuries they received at the time...

while the emotions tend to be identical to the ones felt during the trauma, in my experience, the pain comes out distorted in a similar way to the way it does in dreams: less intense, and more "blurry" and imprecise in location. When we say that someone having a flashback is "reliving the moment", we mean that their body literally feels as though they're in the same immediate danger that it was in back then.

this is true even though they'll be aware to at least some degree that they're presently with caretaker and safe.

the flashbacks don't always happen immediately after the conditioning trigger is used. Often they flare up hours or days later, sometimes without warning, sometimes as a result of encountering a different flashback trigger. The whumpee's thresholds for what counts as a trigger will drop, which is part of what causes the flashbacks to happen more often. Something they could normally ignore is going to affect them much more while they're like this.

your whumpee is more likely to experience severe mood swings while in this heightened state. Especially feelings like irritability, frustration, anger, loneliness, and grief. This stuff ain't pretty, folks. Even your sweet cinnamon bun is most likely going to lash out at someone as a result.

PTSD episodes are also exhausting. your whumpee is going to feel mentally, physically, and emotionally drained. And, to add insult to injury, being tired amplifies the emotions listed above.

Now all of this said, your whumpee may or may not know that this is to be expected. If they've worked on processing their trauma before this, they'll have figured out that one often leads to the other. They'll go into the deconditioning practice knowing this is coming, and will approach it carefully, but with a fairly level head. Knowing that it'll suck, but they'll come out the other side okay.

If not, they're in for a rather nasty surprise.

For the latter, they will feel at first that the deconditioning practice is making everything worse. They're suddenly struggling the way they did when the trauma was fresher, and it can be tempting to stop and refuse to touch it again because the mental/emotional pain gets so intense.

If they do give up at this stage, it will make trying again far more daunting in the future.

But the trauma being stirred up is actually a sign that it's helping. It means that the whumpee is starting to process what happened to them, which is a fundamental step in being able to heal.

Note: All throughout the process, crying is a very good thing. It lets them physically get rid of a lot of the brain chemicals associated with these surges of emotion. Letting themselves cry over things they couldn't cry about back then can actually help them let go of those feelings in a similar way to if they'd been able to process them in the moment. [Which is the basis for much of EMDR, a specialized tool used in trauma therapy.]

Okay. So now we know what other effects can cascade from the actual deconditioning practice, now we have some things to consider.

First off, what time parameters are whumpee and caretaker working within while deconditioning? There are three basic options:

they sit down together and practice repeatedly using the trigger for [X amount of time; usually <45m at once] back to back. Once that time is up, caretaker will no longer use the trigger at all, the excercise will end, and they'll get up to do something else.

whumpee sets a specific window of time [X number of hours] within which caretaker will use the trigger word at random points. Once that time has elapsed, the exercise is over.

over the course of days, caretaker uses the trigger word at random points without giving warning. the excercise only stops after being ended by whumpee.

Now why is that important? Because of something called hypervigilance. It is another symptom of PTSD which, to put it into the simplest words, is whumpee waiting for the other shoe to drop. It's a heightened state of tension and wariness in which whumpee is expecting that something bad is going to happen, and is constantly searching for any sign to indicate when it's coming.

It is beyond exhausting.

Imagine knowing that someone is about to slap you as hard as they can, and you have to sit there with your eyes closed, waiting for it. The breath-holding, the flinchiness, the rigid tension in your body as you strain to listen for when they're coming.

Only now, stretch that moment out into hours. Days. Weeks. That is hypervigilance.

A hypervigilant whumpee is not going to be able to relax. Or rest. Or decompress. Or readily trust much of anything around them. They're MUCH more likely to flinch at sudden movements/sounds. They might start biting their nails or showing other signs of nervousness and distress.

These methods above have a gradually increasing chance of setting off whumpee's hypervigilance. If they know exactly when the next trigger is coming, as in example 1, then their 'waiting for it' tension will be low. But the more uncertain they become of exactly when it's going to happen, as in examples 2 & 3, the worse the hypervigilance is going to get.

The trade off is that the later examples are more effective in desensitizing them toward the trigger. The more their practice mimics encountering an unexpected trigger in day-to-day life, the easier it will be to fall back on that desensitization when the time comes.

Therefore, it would be a very good idea for a whumpee who's new to this to start with number 1, then gradually progress to 2 & 3 as time goes on. They should be the one to decide when the next step is made, and if/when they need to dial it back.

Other questions to ask yourself while plotting:

how mentally prepared is whumpee for worsening symptoms? what about caretaker? did either of them know it was coming?

how much of this heightened PTSD stress can your whumpee take before it becomes too much? how do they react when they do hit that tipping point?

if caretaker feels that whumpee is getting too distressed during practice even though they're not tapping out, would they call it off themself? Or would they ultimately leave that decision to whumpee?

based on the answer, how would whumpee feel about caretaker's decision? Relieved? Belittled? Betrayed?

does whumpee have any grounding tools they can use while practicing?

how does caretaker handle the mood swings and instability that come with whumpee's heightened PTSD? You should consider both their internal and external reactions on the matter.

how does whumpee prefer to decompress after a practice session? what things would help them calm down and recover?

how long do they need (hours or days) before the next attempt?

Even with all I've just written, there's far more to the resulting hightened state of PTSD than flashbacks and hypervigilance. PTSD symptoms that they're most likely to encounter in the background while doing deconditioning practice include:

Flinchiness, anxiety, panic attacks, nightmares, exhaustion, emotional mood swings, outbursts, crying spells, depression, executive dysfunction, dissociation, numbness, racing thoughts, freeze responses, tremors, inappetence, muscle tension, and heart palpitations.

Yes, usually many of them at once, even those that contradict. Your whumpee is going to have a LOT going on at once, and it is not going to be a fun time. I recommend looking up any of the above symptoms you don't recognize, and looking for whump inspiration in what you learn.

(Because everyone experiences PTSD episodes differently, there's a lot of wiggle room in which ones whumpee will encounter. Don't feel pressured to use all of them, find what you want to write and have fun with it!)

Thanks again for the incredible ask, anon. And again, I want to congratulate you on how spot-on your original ask was. You nailed it. I know this was a lot more than you asked for, but I hope this provides helpful context for your whump! My inbox will always be open if you think of anything more <3

[spider-mandaily]

This scene had my jaw ON THE FLOOR, and the GREEN GOBLIN SETUP?!? PEAAAK!

I understand why this immediately got renewed for two more seasons—the little details within the storytelling are meticulously woven together!

But also, I think that the animation here is raw and absolutely stunning, especially with the inclusion of blood, which is a bold move for a Spider-Man animated series. It adds a whole new layer of intensity and realism, making the stakes feel higher than ever. This sequence was so well made, literally reminded of Tobey Maguire's Spider-Man too!

The action sequences are beautifully choreographed, with fluid motion, dynamic camera angles, and weighty impacts. Every punch, web-swing, and dodge is visually striking, making the fight scenes feel raw and visceral. The lighting and color palette also enhance the tension, creating a cinematic atmosphere.

What truly makes this jaw-dropping is how it pushes boundaries. Spider-Man has always been about balancing heroism with personal struggles, and this scene doesn't shy away from showing the consequences of battle. The inclusion of blood signals a shift in tone, acknowledging the brutal reality of Spidey’s world while maintaining that iconic comic-book style.

Seeing Peter battered and bruised in this scene is absolutely gut-wrenching. It’s one thing to watch Spider-Man take hits in battle, but seeing actual blood—cuts, bruises, and the sheer exhaustion on his face—adds a whole new level of emotional weight. It’s rare for animated versions of Spider-Man to show him this physically broken, and it makes the fight feel far more intense and personal.

This version of Peter feels more vulnerable, more human. He’s not just the wisecracking hero swinging through the city; he’s a young man pushing himself beyond his limits, getting hurt, and still refusing to back down. The visual storytelling here is incredible—his torn suit, the blood dripping from his face, the way he struggles to get back up. It’s a reminder that Spider-Man’s greatest strength isn’t his powers, but his resilience.

Emotionally, this scene hits hard. It evokes that classic Spider-Man No More feeling—the idea that being a hero comes at a terrible cost. It makes you worry for him, root for him, and feel the weight of his struggles. This is what makes Spider-Man different from other heroes—he gets beaten down, but he always gets back up.

This is truly peak Spider-Man storytelling—gritty, emotional, and visually breathtaking. If the series keeps up this level of quality, it might just set a new standard for animated superhero shows!

[deception-united]

Before you kill a character...

Consider the following.

Does it advance the plot?

Killing off a character should serve a purpose in propelling the story forward. It could introduce a new conflict, escalate existing tensions, or trigger a series of events that drive the plot in a new direction. If the character's death doesn't contribute to the overall narrative arc, it might feel gratuitous or unnecessary.

Does it fulfil their personal goal?

Each character has their own arcs and objectives within the story. If the character's death aligns with or resolves their personal journey or goal, it can add depth and closure to their character arc. Conversely, if their death feels disconnected from their goals or character development, it may come across as arbitrary or unsatisfying.

Does it emphasise the theme?

The death of a character can highlight or support key themes by demonstrating their consequences or illustrating the moral dilemmas faced by the remaining characters. A well-executed death can deepen the audience's understanding of the story's themes and add layers of complexity to the narrative.

Does it motivate other characters?

Character deaths can serve as catalysts for growth or change in other characters. The loss of a loved one or ally can drive characters to reevaluate their beliefs, make difficult decisions, or embark on new paths. The impact of the death on other characters can reveal their strengths, weaknesses, and relationships, adding depth to the story's interpersonal dynamics.

Does it create realism?

The inclusion of death can lend authenticity to the story world. If the character's death feels earned and plausible within the context of the narrative, it can enhance the story's credibility and emotional resonance. However, if the death feels contrived or forced, it may strain the reader's suspension of disbelief.

Is it a fitting recompense?

In some cases, characters may meet their demise as a consequence of their actions or decisions. If the character's death serves as a form of justice or retribution for their deeds, it can feel narratively satisfying and thematically resonant. However, if the death feels arbitrary or disconnected from the character's arc or the story's events, it may feel unsatisfying or even unjustified.

Don't kill off a character for the sake of shocking the reader or invoking sadness; when considering whether to kill off a character in your story, it's crucial to ensure their demise serves a purpose beyond mere shock value or convenience. Ensure each character serves a purpose that enriches and enhances the story to avoid having to eliminate them solely for convenience. Don't use death as a means to remove an extra or irrelevant character—you shouldn't have them in the first place, if they're disposable. Doing so will undermine the depth and integrity of the narrative.

Hope this was helpful! Happy writing ❤

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[saturnniidae]

HTTYD 2 is ten years old today, it was my first exposure to the franchise and despite its many glaring flaws i can't help but love it and hold it so close to my heart.

This scene is a great example of why.

I love it so much. It's a heart-wrenchingly beautiful reminder that as good as he is, Hiccup is not some perfect hero. He is still just a person, a flawed human being who has cracked under the pressure of his circumstances and is barely given time to grieve his fathers' death.

(I adore scenes like this — It humanizes characters so much more, and just adds to that layer of perceived realism.)

And you can see the regret on his face as soon as he says it. But in that moment he doesn't do anything about it; he's still processing Stoick's death, and he only snaps out of it when he sees Toothless is under the Bewilderbeast's control again and Valka has to hold him back from attempting to go after him.

What he said and did to Toothless there was a momentary lapse in judgment fueled by grief. And later, as he breaks Toothless out of the Alpha's control, you can see he feels terrible about it. About how, even if it was brief, he pushed away his best friend. And he loves Toothless so much.

The way he talks to him literally breaks me every time I rewatch it.

"It wasn't your fault, you'd never hurt him, you'd never hurt me."

"Please, you... are my best friend, bud. My best friend."

And when Toothless comes back he just looks so elated to see Hiccup.

Though, Something that's even crazier to me is the fact all this takes place over less than a week. Once he gets toothless back and Drago is defeated, he is immediately made chief. And with the state berk is in, he is given presumably no time to properly mourn Stoick, or to fully adjust to the presence of his mother.

(though I feel his and Valka's relationship will never be what it could've been. He knows she chose not to come back, and that is a blow to their newly formed and fragile bond that, as much as they love each other, is not something she can ever fully make up for.)

But at least through everything, since the beginning, the one real constant he's had has been Toothless.

They're friendship was built off a mutual feeling of out-of-placeness, then unconditional trust and unwavering loyalty.

they love each other so much it makes me wanna throw up

[pmamtraveller]

THEODOR HILDEBRANDT - THE MURDER OF THE SONS OF EDWARD IV, 1835

This is a painting based on Shakespeare’s play, King Richard III. It depicts a scene of the two sons of Edward IV sleeping (Edward V and his brother Richard), secure in each other’s arms with a Bible and rosary by their side. Two figures, presumably assassins or murderers, are shown peering over the bed, observing the innocent, sleeping children. These figures are meant to represent the agents sent by Richard III to eliminate any rival claim to the throne.

Hildebrandt captures the hesitance of the murderers. Despite their grim task, there's an evident hesitation or moral conflict depicted on their faces, reflecting the unexpected reaction of the "unscrupulous murderers" before they carry out the deed as described in Shakespeare's play. This hesitation adds a layer of dramatic tension, highlighting the innocence of the boys against the backdrop of political brutality.

The viewer is placed as though standing directly next to the bed where the two young princes lie asleep. This close proximity establishes an instant, deep connection with the setting. The viewer becomes a nearly silent observer of the looming tragedy, intensifying the feelings of voyeurism, intimacy, and complicity. This setup makes the viewer feel as though they are part of the moment, heightening the emotional stakes.

The painting refers to an event from the Wars of the Roses, where Edward V and his brother Richard were last seen in the Tower of London in 1483. Their disappearance and presumed murder are central to the narrative of Richard III's usurpation of the English throne. The exact fate of the princes remains a subject of historical debate and mystery, but this painting visualizes one popular interpretation of their end.

The Düsseldorf School was famous for its focus on intricate, lifelike representations of scenes, frequently concentrating on historical or literary themes. Hildebrandt's painting illustrates this with its careful focus on detail, from the fabrics of the bedding to the emotions visible on the characters' faces. The school's training in drawing, anatomy, and landscape painting contributed to Hildebrandt's ability to create works with a high degree of realism, enhancing the emotional and dramatic impact of his paintings.

[hayatheauthor]

Surviving the Wilderness: Writing Realistic 'Lost in the Woods' Scenarios

The wilderness, with its vastness and unpredictability, can turn from serene to menacing in an instant. For writers, depicting a character who is lost in the woods offers a rich tapestry of emotions, challenges, and survival instincts to explore. But to do so effectively requires a blend of authenticity, attention to detail, and understanding the real-world repercussions of such an event.

Whether your character is an experienced outdoorsman or a city dweller thrown into the wild, this guide will help you craft a realistic narrative that resonates with readers.

1. Setting Up the Scenario

A. Choosing the Right Wilderness Environment

The first step in creating a believable lost-in-the-woods scenario is choosing the appropriate setting. Different types of wilderness present different challenges, and the environment you choose will shape the narrative.

Type of Forest: Consider the differences between dense forests, temperate rainforests, boreal woods, and tropical jungles. A dense forest might offer limited visibility and a disorienting array of trees, while a tropical jungle could present humidity, dangerous wildlife, and thick undergrowth. Each environment comes with unique hazards and characteristics that will impact your character’s journey.

Seasonal Considerations: The time of year plays a significant role in the story. In winter, your character might face snow, freezing temperatures, and the challenge of finding food. In summer, they might struggle with dehydration, heat exhaustion, or the difficulty of navigating through thick foliage. The season will also affect the availability of resources, like water and shelter.

Location-Specific Details: Consider the unique features of the chosen location. Is it known for dangerous wildlife, such as bears or wolves? Does the terrain include steep cliffs, rivers, or swamps? Researching the specific area can add layers of realism to your story, providing challenges that are true to the environment.

B. Character Background

The character’s background is crucial in determining how they will respond to being lost. Their level of experience, purpose for being in the woods, and psychological state all influence their actions.

Experience Level: Are they an experienced hiker with survival skills, or are they a city dweller with little knowledge of the outdoors? An experienced character might know how to build a shelter and find water, while an inexperienced one might make dangerous mistakes. Balancing their skills with the challenges they face can create tension and interest.

Purpose of the Trip: Why is your character in the woods? Whether they’re on a leisurely hike, conducting research, or fleeing from danger, their purpose will affect their preparedness and mindset. A hiker might have a map and supplies, while someone fleeing might have nothing but the clothes on their back.

Psychological State: Consider the character’s mental condition before they get lost. Are they overconfident, stressed, or fearful? Their psychological state will influence their decisions—overconfidence might lead to risky choices, while fear could cause them to panic. Understanding their mindset will help you write a more nuanced and realistic portrayal.

C. The Catalyst: How They Get Lost

The moment when a character realizes they are lost is a critical point in the narrative. How this happens can be gradual or sudden, depending on the story you want to tell.

Common Triggers: Characters can become lost for various reasons, such as deviating from a marked trail, encountering sudden weather changes, sustaining an injury, or simply having poor navigation skills. Each trigger offers different narrative possibilities—an injury might limit their mobility, while poor navigation could lead them deeper into danger.

Pacing: Decide how quickly your character realizes they are lost. It could be a slow realization as they fail to find familiar landmarks, or it could be immediate, such as after an unexpected event like a storm or injury. The pacing of this moment will set the tone for the rest of the story.

2. Writing the Experience of Being Lost

A. The Initial Panic

When a character first realizes they are lost, their initial reactions are often driven by panic. This moment is crucial for establishing the tone of the story and the character’s mental state.

Physical Reactions: Describe the character’s immediate physical responses, such as an elevated heart rate, adrenaline rush, sweating, and shortness of breath. These physiological reactions are the body’s natural response to fear and uncertainty.

Mental Reactions: Mentally, the character might experience denial, anxiety, or confusion. They might try to convince themselves that they aren’t really lost or that they’ll find their way back soon. This denial can lead to irrational decisions, like wandering in circles or making impulsive choices.

Immediate Actions: The character’s first actions after realizing they’re lost are critical. They might attempt to retrace their steps, call for help if they have a phone signal, or check the time to gauge how long they’ve been lost. These actions are often driven by the hope of quickly resolving the situation.

B. The Descent into Survival Mode

Once the character accepts that they are truly lost, the story shifts from panic to survival. This is where the character’s skills, or lack thereof, come into play.

Acceptance of the Situation: The character moves from panic to a more rational state of mind. They begin to assess their situation and prioritize their needs. This shift marks the beginning of their survival journey.

Basic Needs: The character will need to address their most immediate survival needs: shelter, water, food, and fire. Describe their efforts to find or create shelter, locate water sources, forage for food, and start a fire. Each of these tasks presents its own challenges and dangers.

Navigational Challenges: As the character tries to find their way, they will face navigational challenges. Dense foliage, fog, and the lack of clear landmarks can make it difficult to maintain a sense of direction. The character might struggle with the disorientation that comes from being surrounded by identical trees or losing sight of the sun.

C. Emotional and Psychological Effects

The emotional and psychological toll of being lost is significant and should be explored in depth.

Isolation and Fear: The character’s sense of isolation can amplify their fear. The fear of predators, injuries, or never being found can become overwhelming. This fear might cause the character to make rash decisions, or it could paralyze them, preventing them from taking action.

Hope vs. Despair: The character’s emotional journey will likely fluctuate between moments of hope and despair. They might find something that gives them hope, such as a sign of civilization or a source of water, only to be crushed when they realize it was a false lead.

Hallucinations and Delusions: In extreme situations, such as severe dehydration or starvation, the character might experience hallucinations or delusions. These can add an element of psychological horror to the narrative and further illustrate the severity of their situation.

D. Interaction with Nature

The character’s interaction with the natural environment is a key aspect of their survival story.

Wildlife Encounters: Depending on the location, the character might encounter dangerous wildlife, such as bears, wolves, or snakes. Describe these encounters realistically, focusing on the character’s fear and the steps they take to avoid or confront these animals.

Environmental Hazards: The natural environment presents its own set of dangers, such as quicksand, poisonous plants, and unstable terrain. The character might have to navigate these hazards while dealing with their growing exhaustion and fear.

Natural Resources: The character can use nature to their advantage by finding water, edible plants, or materials for building a shelter. This not only adds realism to the story but also gives the character moments of small victories that can keep them going.

3. Survival Tactics: What Works and What Doesn't

A. Basic Survival Skills

Understanding and depicting basic survival skills is crucial for writing a realistic lost-in-the-woods scenario.

Finding Water: Water is the most critical resource for survival. Describe how the character identifies potential water sources, such as streams or dew on leaves, and how they purify water to make it safe to drink. If they can’t find water, their condition will deteriorate rapidly, leading to severe dehydration.

Building Shelter: The character needs shelter to protect themselves from the elements. Whether they find a natural shelter, like a cave, or build one from branches and leaves, this task is essential for their survival. The process of building shelter also gives the character a sense of purpose and control over their situation.

Starting a Fire: Fire is essential for warmth, cooking, and protection from predators. Describe the challenges of starting a fire in the wild, especially if the wood is wet or the character lacks the proper tools. The ability to start and maintain a fire can be a turning point in the character’s survival story.

Foraging for Food: Finding food in the wild is difficult and dangerous. The character might forage for berries, roots, or small animals. Describe the risks of eating unknown plants or the difficulty of catching and preparing small game.

B. Navigational Techniques

Navigation is a critical aspect of survival, and the character’s ability to orient themselves can mean the difference between life and death.

Reading the Environment: The character might use the sun, stars, or natural landmarks to navigate. Describe how they attempt to determine their direction, and the challenges they face if the sky is cloudy or if they’re in a dense forest where the canopy blocks out the sun. Their ability to read the environment will depend on their prior knowledge and experience.

Using Makeshift Tools: If the character has access to materials like sticks, rocks, or even a piece of reflective metal, they might create makeshift tools like a compass or use shadows to determine direction. These improvisational skills can add a layer of resourcefulness to the character’s survival tactics.

Trail Marking: If the character decides to explore the area in hopes of finding a way out, they might mark their trail to avoid walking in circles. They could use stones, branches, or even carve symbols into trees. This tactic not only helps with navigation but also adds to the tension if they realize they’ve returned to a previously marked spot, indicating they’ve been moving in circles.

C. Mistakes and Misconceptions

Realistic survival stories often include mistakes that characters make, especially if they are inexperienced.

Following Streams Incorrectly: A common misconception is that following a stream will always lead to civilization. While it can lead to water sources, it might also take the character deeper into the wilderness. Highlight the risks of relying on this tactic without proper knowledge.

Overestimating Stamina: Characters might push themselves too hard, assuming they can keep going without rest. Overestimating their stamina can lead to exhaustion, injuries, or even fatal mistakes. Describing the physical toll of these decisions can add realism and tension to the narrative.

Eating Dangerous Plants: Foraging for food can be deadly if the character lacks knowledge of the local flora. Describe how they might mistake poisonous plants for edible ones, leading to illness or hallucinations. This mistake can be a significant plot point, demonstrating the dangers of the wilderness.

4. Realistic Repercussions of Being Lost

A. Physical Consequences

Being lost in the wilderness for an extended period can have severe physical repercussions.

Dehydration and Starvation: The longer the character is lost, the more their body will deteriorate. Dehydration can set in within a few days, leading to confusion, dizziness, and eventually death. Starvation takes longer but will cause weakness, muscle loss, and an inability to think clearly.

Injuries: Describe any injuries the character sustains, such as sprains, cuts, or broken bones. These injuries will hinder their ability to move and survive. If left untreated, even minor injuries can become infected, leading to serious complications.

Exposure: Depending on the environment, the character might suffer from exposure to the elements. Hypothermia can occur in cold conditions, while heatstroke is a risk in hot climates. Both conditions are life-threatening and require immediate attention.

B. Psychological Consequences

The psychological toll of being lost is often as severe as the physical consequences.

Post-Traumatic Stress Disorder (PTSD): Even after being rescued, the character might suffer from PTSD, experiencing flashbacks, nightmares, and severe anxiety. Describe how their ordeal has changed them, affecting their ability to return to normal life.

Survivor’s Guilt: If the character was lost with others who didn’t survive, they might experience survivor’s guilt. This emotional burden can be overwhelming, leading to depression and difficulty coping with their survival.

Long-Term Anxiety: The fear of being lost again can cause long-term anxiety and phobias. The character might avoid certain environments or experience panic attacks in similar situations.

C. Legal Consequences

There are also legal and financial repercussions to consider, especially if the character’s actions led to their getting lost.

Search and Rescue Costs: In many places, the cost of search and rescue operations can be billed to the person who was lost, especially if they were negligent or broke the law. This can be a significant financial burden and add a layer of realism to your story.

Negligence and Liability: If the character’s actions endangered others, such as leaving a marked trail or ignoring warnings, they might face legal consequences for negligence. This could include fines, community service, or even jail time, depending on the severity of their actions.

Impact on Relationships: The ordeal of getting lost can strain relationships with family and friends. Describe how their loved ones react—do they blame the character, or are they just relieved they’re safe? The legal and financial consequences can also impact these relationships, leading to tension and conflict.

5. Writing Tips: Making It Believable

Crafting a realistic and compelling lost-in-the-woods narrative requires attention to detail and an understanding of the human experience in such extreme situations. Here are some tips to make your story believable:

A. Research and Authenticity

Understand the Terrain: Before writing, research the specific environment where your character will be lost. Whether it's a dense forest, a mountainous region, or a desert, understanding the flora, fauna, and climate will help you create an authentic setting. Pay attention to details like the types of trees, animals, weather patterns, and geographical features.

Learn Basic Survival Techniques: Familiarize yourself with basic survival skills, such as building a shelter, finding water, and starting a fire. Even if your character is inexperienced, knowing the correct methods will allow you to portray their struggles accurately.

Incorporate Local Myths and Folklore: If your story is set in a particular region, consider integrating local myths or folklore about the wilderness. This can add depth to the narrative and give the environment a more ominous or mystical feel.

B. Character Realism

Establish Their Skills Early: If your character has any survival skills, establish them early in the story. This could be through flashbacks, previous experiences, or hints in their background. This will make their actions in the woods more believable.

Show Their Vulnerability: Even the most prepared individuals can make mistakes. Show your character’s vulnerability by having them face setbacks, make poor decisions, or struggle with their emotions. This makes them more relatable and human.

Reflect Their Mental State: The character's psychological state should evolve throughout the story. Show how their thoughts shift from initial panic to determination, despair, and finally, either acceptance or a desperate push for survival. Use internal monologue, dreams, or hallucinations to illustrate their mental state.

C. Plot and Pacing

Balance Action with Reflection: While the physical actions of survival are crucial, so is the internal journey of the character. Balance scenes of intense activity, like building a shelter or escaping a predator, with quieter moments of reflection or memory.

Use Sensory Details: Engage the reader’s senses by describing the environment through sights, sounds, smells, and even touch. The rustling of leaves, the scent of pine, or the rough bark of a tree can immerse readers in the setting and heighten the tension.

Avoid Convenient Resolutions: Survival stories are often about struggle and perseverance. Avoid giving your character an easy way out, such as a sudden rescue or finding a cabin with supplies. Instead, focus on their gradual adaptation and the hard choices they have to make.

D. Dialogue and Interactions

Internal Dialogue: In situations where the character is alone, internal dialogue becomes crucial. Use it to explore their fears, hopes, and regrets. This can also be a way to explain their thought process and decision-making.

Flashbacks and Memories: If your character is alone, use flashbacks or memories to develop their backstory and explain their motivations. These can also serve as a contrast to their current situation, highlighting how far they’ve come or what they’ve lost.

Interactions with the Environment: Treat the wilderness as a character in itself. The environment should interact with the character, creating obstacles, providing resources, and affecting their mood and decisions.

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Quillology with Haya Sameer; a blog dedicated to writing and publishing tips for authors! While you’re at it, don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey!

[meanbossart]

i know this is a bit of a stupid question, but i was wondering how you go about adding the lighting to your pieces? like when you have a warmly lit tavern room scene, or a moonlit scene, and you have that lovely warm red or orange or yellow or cool blue lighting hitting the characters from one side? i've always wanted to learn how to do that but no amount of experimenting has ever yielded decent results

If you mean what layer modes I use, It's usually Add Glow with a dark version of the color I'm trying to emulate. Occasionally I also use overlay with whatever shade gives me the desired effect. I've been trying to be more experimental and less formulaic with my BG3 art (a habit I had developed from comic-making) so I don't do the exact same thing 100% of the time!

If you mean placement, then that's something you need to get the hang of through practice. If you have any 3D software that lets you play with light sources, that's a good place to start.

CSP has pretty easy-to-use tools to do just that, so you can get a feel for how rimlights would appear on a body if you have a difficult time visualizing it, and then eventually take your own liberties to achieve contrast and the right amount of drama without feeling obligated to stick to what's realistic (When it comes to light, realism always comes second to effectiveness for me).

If you don't use CSP, googling "rimlight reference" or any combo of similar words should wield you some decent material to work with too!

[sunlightnmoonshine]

I think there's a mistaken perception that is still circling about hyunwoo and his reaction to haein dying and I still see ppl use this as a reason to say eunseong is better for her (if you think this, you need to visit a doctor :)) but my perception of that scene was hyunwoo was happy he could get away from haein without having to suffer through a divorce especially because up until that moment in the entirety of ep 1, she was awful to hyunwoo to his face and like he tells the psychiatrist he hated everything about the family and he hated haein too a lot at that point.

Of course, it is still awful that he was fine with her dying but that's literally the point of the story, that when people fall out of love things turn so bitter, you don't care if they are out of your life or how, and you just want them gone but that when you are forced to reassess and stop and think you realise you may not want that reality because you still love that person and want the best for them.

Also this is a key part of hyunwoo's character growth but also a means of reflecting how he truly feels deep down because since that moment no matter how hard he tried not to care he genuinely kept caring for her because he wanted her to be okay and he didn't realise that his actions were genuine and coming from a place of concern. He also has taken ownership since for being okay with her dying and frankly has paid the price for it quite a lot so far and it's clear that if given the chance he'd live his life trying to make it up to her.

Anyway baekhong for the win, I love shows that add layers to characters and their relationships and know the meaning of adding gray areas and character flaws, that is what you call realism.

[erebus0dora]

Coming from an art student who spends all her free time studying classic illustrators- your work is legitimately some of the most stunning and appealing to me. The way you balance line weight makes your digital drawings feel like traditional inks, and your mix of realism and stylization makes me awestruck (and reminds me of some of the class comic masters like Alex Toth.) I was wondering- what’s your process like/ how did you develop such an interesting style? Also, if you don’t mind, do you have any tips for how you approach detailed faces and ink work/ what brushes do you use digitally? Thank you so much for posting your work (as well as feeding the devils minion girlies)

oh my, anon, beloved, this is so flattering and i am so honoured!

when i first started sketching people, i was very impressed by Sailor Moon - which made me seek out the most prominent details in faces, leaving the rest to imagination; at the time i was being trained in traditional art, and monochrome graphics was my favourite - so i think the way i draw people comes from that combination

i consider myself still a student of human anatomy, but i can provide a few explanations on the digital part, i hope these help

after finishing the sketch and the line, i add flat colours in a different layer, thusly

this is hardly a tutorial, but i hope it can explain the way i operate