#Cliff Dwellers

[fatchance]

Cliff Dwellers, Arizona.

[streamingthruamerica]

Upper Antelope Canyon

Summary: Leah and the narrator admire the Grand Canyon's North Rim before attempting to secure a permit for Coyote Buttes North. Despite missing out, they explore Marble Canyon, visit the Cliff Dwellers Stone House, and enjoy a guided tour of Upper Antelo

Resetting the Wayback Machine to Dateline: August 3, 2023 After three days of admiring Grand Canyon’s North Rim–from Point Sublime�� to Point Imperial… to Angel’s Window, Leah and I were already anticipating our next physical and photographic challenge–hiking through the Coyote Buttes North in search of The Wave. But we were at the mercy of Bureau of Land Management, who awards permits to no…

[dromaeo-sauridae]

disgustang (newborn cliffdweller)

[degenderates]

visited the record store today :3

[flyingadventuresblog]

Grand Canyon Dirt Strip Landing?

The Cliff Dweller’s airstrip is at the edge of Marble Canyon in Grand Canyon National park’s restricted airspace. But if you get prior permission and stay within 3 nm of the airstrip as you descend or ascend, then it’s all yours. Strange how the GPS175 screen is completely black. The two lower instruments too. This looks like I’m high, so this must be the flyover I did first before landing. The…

[writinginnorthnorfolk]

Nets of Inspiration

I tread water, in time,in my sea of consciousness,adrift in space, untilmy mermaid legs are grippedby cramps. Salt water spillsas I climb a rock to restand set myself the taskof repairing torn netsof inspiration and castthem to the waves.Some days, words slipthrough my head like silverminnows. Other days, I seemto catch a whole ocean. Kim M. Russell, 9th July 2024 Image by Alexander Andrews on…

[asbestos-11]

i hope tirzad commits uncode yourself from the game. 100/10 worst npc in this game alongside liloupar

[what-even-is-thiss]

There’s too many valleys in California and they’re all referred to as “the valley” as shorthand so you never know which one somebody is talking about. Is it the Central Valley? Sonoma valley? San Fernando Valley? Yosemite Valley? Nobody knows!

This is why we need to bring the mountains down into the valleys. Level the playing field. Bring the mountain dwellers down to us. Have a completely flat land and some extremely strange cliffs on the Nevada, Arizona, and Oregon boarders. Screw the water problem we drain the Pacific Ocean and keep it all in a big bucket water problem solved and you can drive to Hawaii now

[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!

[huariqueje]

Cliff Dwellers - Robert Beck , 2024.

American , b. 1950 -

Oil on canvas , 24 x 24 in.

[maiiuelle]

wait so in the mermaid!reader thing rafe's gotta be a dredger or something who's looking for stuff to sell which happens to be around her cove !! but she keeps bringing him little trinkets she thinks are valuable but he's just like— why's there a tin can on my ship deck? and she's all smiley underwater knowing that she in fact did that !!

-🪻

omg i’m so so invested in rafe and mermaid!reader’s relationship 🥺 i love the idea of him being going out in search of valuables, maybe ward sent him on the yacht to go check out different areas of the island in hopes of finding some kind of treasure, or at least some clues. of course mer is intrigued. jj was very nice, so maybe this guy will be too!

rafe is out on his yacht, grumbling in frustration about the seemingly meaningless errand his father sent him on. little does he know the treasure he’s stumbled upon, a whole civilization of mermaids living just beneath where he’s stopped. the cliffs at the side of the island hide a cove with an air pocket, the perfect place for mermaids to live in secret from the island dwellers. theres a crack in the stone at the sea floor, just big enough for merfolk to slip in and out of to access the city.

that’s where you just came from, leaving civilization to explore the depths on your own like you do every day. the shadow of his boat catches you off guard, having never seen humans venturing this close to your home. your instinct is to be afraid — who knows who this person could be, or what they could be looking for. you physically shake the thought from your head, deciding that your fear is only a byproduct of the stories you’ve been told. you’re on your own mission to prove humans and mermaids can coexist, and confronting your fear is only the first step.

and with that, you’re picking through the soft sand to find shells, old tin cans, jewelry, and other knickknacks. it’s what you do best, searching around the ocean almosy daily for collectibles you can find in shipwrecks and reefs. you’re all about good first impressions, and who doesn’t like a gift? once the net bag at your side is filled with goodies, you look up at the bottom of the yacht again, giddy with excitement to make a new friend.

on deck, rafe is getting ready to pull up the anchor, sick of looking around for who-knows-what. as he’s reeling it up from the ocean floor, he hears a thump on the opposite side of the deck. he’s quick, his head snapping in the direction of the sound. logically, he knows nobody could be there. but, he still barks out an intimidating, “hello?”

he leaves the anchor and stomps around the deck toward the source of the noise, and he catches only a glimpse of small hands holding onto the side of the boat before they descend back under the water, leaving only a pile of trash and metal sitting on the wooden deck.

rafe runs to the edge of the boat, searching the water for any sign of an explanation for what he just saw. he can only watch the water slowly churn, like a big fish had just passed by beneath the surface. for once, rafe is stunned. the self-proclaimed man of action is frozen, and so shaken he calls it a day.

[snzhrchy]

You know that scene where kohaku and senku fake a kiss. What if instead

*it's the reader instead of kohaku

*senku and the reader like each other but they don't know of the others feelings

*it's a real kiss not a fake one close to the lips

faux.

senku ishigami x fem!reader

synopsis; a fake display of affection to keep yourselves safe... was it really fake, though? taglist; lmk if u wanna be on it <3 warnings; spoilers for ch 108 of dr stone notes; ong vix return era ?!?!

who would've expected a simple scouting trip in the treasure island would take such a drastic turn?

if anything, you would've expected your group to run into trouble not the entire ship but now, as you looked at the petrified statues of whom you once called your companians, you realised you were in more danger than you previousely thought.

looking at the scene in-front of you, yet again, you felt that familiar feeling of anger rise up in your body. with the way the village's prime minister would simply discard the statues made you sick; after all, those were once real people.

being too wrapped up in your anger caused you loose your balance on the cliff--the one in which you were hiding behind. the high heels that amaryllis had given you further increased your chances of falling below. however, before you could end up ruining the entire plan due to your loss of balance, senku managed to hold onto your hand and prevent you from toppling all over.

'be careful, y/n!' he whisper-shouted, trying not to grab the attention of any of the island dwellers. no matter how light-weight he may have been, he managed to keep a firm grip on you.

unfortunately, this ended up making quite a ruckus as this action did not go unnoticed by the one of the strongest people from this island--kirisame, was that her name? apparently, the sounds of leaves and the movement of high heels on such unstable surfaces alerted her to your whereabouts.

'what are you doing here?' she began, 'what could a villager be doing here in a place like this?'

you thought this was it. that your cover would be blown and you would be petrified--unable to save anyone.

'we were on a date. i wanted to say good-bye to my lover before the harem selection. isn't that right, my love?' senku spoke with such calmness and with a small smile on his face.

you were surprised by his quick thinking and how calmly he lied in-front of kirisame's face.

the nickname senku called you made you feel uneasy in a positive manner, as if you'd melt right into the floor beneath you. but you had to remind yourself that this was all merely a lie--something senku did to free himself of trouble and unneccessary fighting.

one of his arms reached out and grabbed a hold of your waist; he brought you in for a kiss by bringing his face closer to yours and closing the gap between you two.

as surprised as you were, you had to remind yourself that this was merely a mission and you had to make your relationship with senku seem as believeable as possible so reluctantly, you kissed him back.

senku's grip on your waist tightened and his hand travelled to your hair while your arms were simply resting on his shoulders.

'just go home already-! don't go on a date here ever again!' kirisame shouted as she fled the scene, obviousely disturbed by the public display of affection.

it was only after kirisame's departure did senku finally break apart the kiss. he left you breathless and your face flushed in a deep shade of crimson. how grateful you were for the darkness hiding your flustered state.

'my, my senku! who would've thought you're such a good actor? even had me fooled for a second there,' gen laughed as he and the others removed themselves from hiding.

'yeah whatever, anyways we have work to do,' senku rolled his eyes as he began looking at the ship with telescope once again.

however, no matter how non-chalant he appeared, and no matter how many times he tried to convince himself, you had an effect on him and that was evident with the way his body reacted towards you as he, just like you, was left a blushing mess after that display.

throughout the night, his eyes would occassionally glance over to you, wondering if you'd ever reciprocate his feelings. if not, he'd just protect you from this world in whatever way he can.

[nicodelenfent]

1132 Rue Royale + artwork

AMC's Interview With the Vampire, set design by Mara LePere-Schloop, set decor by Selina van den Brink.

List:

Robert Henri, Mildred-O Hat (Undated)

Edvard Munch, Starry Night (1893)

Edvard Munch, Weeping Nude (1913)

Edvard Munch, Self Portrait (1881)

Pierre-Auguste Renoir, Bouquet in a Theater Box (1871)

George Bellows, Stag at Sharkey's (1909)

George Bellows, New York (1911)

George Bellows, Forty-two Kids (1907)

George Bellows, The Cliff Dwellers (1913)

George Bellows, Paddy Flannigan (1908)

George Bellows, The Lone Tenement (1909)

Edgar Degas, Dancers (1899)

Edgar Degas, After the Bath: Woman Drying her Hair (1898)

Jean Beraud, Backstage at the Opera (1889)

Vasily Alexandrovich Kotarbiński, Roman Bacchanal (1898)

Édouard Manet, Berthe Morisot with a Fan (1872)

Egon Schiele, The Artist's Sister Melanie (1908)

Egon Schiele, Portrait of Erich Lederer (1912)

Egon Schiele, Krumau on the Molde (1912)

Egon Schiele, Self Portrait in a Jerkin (1914)

Egon Schiele, Kneeling Girl with Spanish Skirt (1911)

Egon Schiele, Church in Stein on the Danube (1913)

(Dubai penthouse edition)

[dromaeo-sauridae]

babies !

pegasi give live birth, and are among the best (and fiercest) parents in cassandra. they generally have 1-3 foals at a time, and mate for life. young pegasi reach full size at around 2 years, and reach sexual maturity at 3 years

pictured are a cliff dweller mother and her young foal resting on top of the cliffs that give them their name, and a mountain raptor father checking in on his foal in the eastern mountains

[urbs-in-horto]

The view from the balcony atop The Cliff Dwellers Club

Quick trip

[summerwages]

cliff dwellers..