#a semi coherent sketch

[rosesncarnations]

Ethereal tears

(The text in the picture: I still think about you)

[discardedtower]

I wanted to try to connect Harry and Kim in some ways with the events of Locust City.

[braingone]

poking around my drafts, found some of my boys. Lluagor remains very in character, and I love that for him

[shrips]

working on the saera commission got me thinking abt the ways westerosi fashion might shift over time so I sketched out some concepts... these aren’t particularly historically or regionally accurate and more a combo of things I like to draw and trying to maintain a semi coherent look.

I like the idea of the targaryen fashions being semi nebulous as far as gender presentation and shifting over time toward distinct gender roles as they integrate with westerosi society, until the looks are entirely distinct at the end of their reign. ik that typically fashions would change a lot more significantly over the span of 200+ years, but given that the starks have been holding the north for like 100 million years I think it’s safe to say progress is slow in westeros. i’ve never liked the idea of the 7 kingdoms having distinct fashions after the conquest bc I think it ignores the role imperialism plays in dictating culture, so in my mind these are general guideline silhouettes for the entire realm (although climate would influence fabric types/ layering).

[gremnda]

My realm sona!!! I did a bit of brainstorming last night and I've got some more doodles sketched out, i'll post them all soon :]]

Literally the last time i got so excited about making a sona was back in dsmp days with the subtwt academies, when i made my parentstwt academy sona jhjkhjdf

Hopefully semi-coherent lore ramble under the cut

Okay so guys. Hear me out.

I rewatched Good Omens a few days ago and you Know i'm mixing my hyperfixations together LMFAO

tr!Grem, goes by he/him, probably has been alive for 2000 years, a newer demon, his job in Hell is to handle documents of every new damned person. So imagine Furfur from season 2 but it's my little demon guy instead. Absolutely hates his job, wants to escape and somehow ends up in the Realm (he switches himself with another new red faction player. probably kills & replaces them)

So now you have this demon guy who is not exactly telling people he's a demon but definitely not trying to hide it- at red faction, with a kill quota every week.

He very much has a salesman type of personality. He opens a flower shop as disguise, so when people question him about his murders he can look innocent and say he's just a flower boy. He's absolutely delighted about setting up traps, and doesn't care he has to kill people, ESP bc this realm is his ticket out of Hell.

Once he resets, Hell will catch up to him so he's running on desperation pretty much :] the ”yuor dead” graffiti and ”they never did learn to spell” is a reference to hell, they're very much looking for him but can't get a hold of him. (server whitelist of something idk)

Probably gets along really well with tr!Pili, Ros and Beky- just bc he thinks they're evil af and thinks it's super cool LMAO He's allies with tr!Bad but Bad might not like him very much after his 3rd fall trap in cathedral. 100% offered to kill tr!Pangi more than once for Pili during their many pangili divorce eras. Lets tr!Aimsey run tests on him for the funsies.

I'm thinking it'd be cool if he does get skulked later on but i haven't thought that far ahead tbh LMAO

Thank you for reading if you read this far!! Please can we get everyone to make Realm sonas so we can have our little characters hang out and vibe, it'd be so cool :3c

[porcupixel617]

Timelines drawn. Maps made. Points plotted. Operation Battle Ship is a go.

Introducing the Flaghoist AU, my Ingo x Reader fic (and potentially series) with a Battle Facility Head reader! You are the Captain (and also the Commander—more on that later) of the ocean liner S.S. Koko, also known as the Battle Ship. It is your pride and joy, and together with your dedicated crew, you ferry people and Pokémon alike between regions, battling all the way.

You’re also the commander of a special operation known as the Navy Reserve Pokémon Operations Detachment—or NR-POD—which consists of you and the four Engineers of the Battle Ship, your sub-bosses. You’re reserve Navy, so not active-duty, but if Unova went to war, you all could be mobilized. This has only happened once before: during the Team Plasma crisis.

Upon return to the S.S. Koko’s home port of Castelia City, after over a year of absence, the ship goes in for maintenance. For a lack of better things to do, you, alongside your best friend and Engineer Zirk, challenge the Multi Battle Line of the Battle Subway.

Unova wasn’t the place of your birth, but it is home, and returning home never comes without struggles. Old friends, old enemies, and new trials breach the surface, and sometimes, it’s all you can do to just stay afloat.

Book 1: Bravo Zulu - Coming Soon!

More notes under the cut!

I did a frankly obscene amount of research just to plot out the idea of this fic, and I’m honestly still not sure I got everything right. Bear with me please—the Navy is confusing.

I have headcanons upon headcanons for the Captain, but I’m not sure which ones I’m gonna make au canon yet. Really, it’s just headcanons all the way down. Three headcanons in a trenchcoat attempting to impersonate a semi-coherent thought, if you will.

If I do art, I’ll post it here, but I’m really not an artist. Mostly it would be sketches of different things, maybe some outfit mockups. I’m really bad at drawing people but ooooh Zirk NEEDS drawn (y’all will understand when I post his bio)

I am planning for this to be part of a series, called the Flaghoist series. This is because each work title is based on the International Maritime Signal Flags, which are often used through flaghoist signaling. (Fun fact: “Bravo Zulu,” or BZ, means well done.)

I DO have Pokémon teams decided already

I will be introducing other OC characters one at a time in their own posts!

I loooooved @grubbin22’s fics Smooth Operator and Unusual Haunts and the style of reader insert I’ll be writing is heavily inspired by theirs! Their casual dodging of the use of Y/N gives me LIFE. Go read their fics!!!!

Subscribe to my Ao3 to be notified when the first chapter posts!

[kvetchinglyneurotic]

Semi-coherent Nope thought of the day: the way that the Haywoods and Ricky/Jupe understand and react to Jean Jacket is an extension of the way they navigate the experience of working in Hollywood as POC.

Ricky cannot differentiate his identity and experiences from the narratives which Hollywood has imposed on him: he's the Asian kid from Gordy's Home and Kid Sheriff; he still calls himself Jupe and runs a theme park based on a role he played as a child. He relates to the Gordy's Home incident not through the lens of his own memories but the media around it — the SNL sketch he describes to Emerald, the memorabilia in the hidden shrine in his office. It's his inability to conceptualize the world outside the lens of spectacle that prevents him from understanding what Jean Jacket is and why she behaves the way she does — he starts from the assumption that he can make her into a theme park attraction and works backwards from there.

In contrast, the Haywoods and OJ in particular are characterized by their ability to see things as they are, and their insistence that others do the same with them: they make a deliberate effort to combat the erasure of Black people in Hollywood — and their own ancestors in particular — by recounting the history of Haywoods' Hollywood Horses at the start of each safety meeting rather than resigning themselves to being the nameless "horse guys." Similarly, OJ refuses to accept the official narrative surrounding his father's death — that the coin that killed him fell out of a prop plane — when it contradicts his own memories of the event, and it's his trust in his own judgement, coupled with his refusal to anthropomorphize animals (including extraterrestrial ones) is what allows him to accurately predict Jean Jacket's behaviour. Neither Jupe nor the Haywoods deserve to be treated the way they are under the Hollywood system, but OJ and Em find a way to avoid being (literally) consumed by it, while Jupe does not.

[zaissk-thasskar]

Entry #4 - "Void Of The Watcher"

So, for a while I kept wondering - where the hell should I start building my "showcase"?

There were a few contenders.

Of course, the pop king itself - Instagram (how could we exist without this colossus of all things shiny and visual). But that one felt... too glossy, too polished. Definitely not the right place for my scribbled ravings of a madman.

Considered DeviantArt. Seemed like a cool idea - a social network for artsy souls. But it felt either completely dead or just... ultra-niche. Didn't vibe with me.

Pinterest? lol. I didn't even bother to treat it seriously.

It's more like a lifeless warehouse full of reference material for other lost souls seeking inspiration. Not my scene either.

And then... that's it.

Turns out, Tumblr is the only halfway decent place left for this kind of thing.

Maybe there are other fancy "portfolio" platforms out there. But I don't just want to show my art - I want to ramble, whine, overshare. You know - the whole Zaissk experience. xD

Now, a bit of background on Entry #4.

I showed up at my brother's place - he's an actual artist - flexing my newborn sketching adventures.

He looked at one and goes: "looks like a deranged lunatic is trying to draw... but there's style. There's vibe".

That's a pretty accurate description, I think. xD

We ended up talking about the holy grail basics - those ancient runes every art student is cursed to hear at least once in life: hatching, shading, half-tones, light sources, form, volume, perspective, proportions... you know, academia stuff.

And I suddenly got fired up to do some good ol' cube-and-sphere bootcamp - work on technique, lay some groundwork.

But I didn't wanna sink into full-on academic depression, so I decided to give these "primitives" some story.

The initial idea was: I'd draw the Astral Plane - scattered eyeballs of dead gods floating around (as spheres), with cubes and cylinders as shattered remnants of ancient structures.

Solid enough. So I sat down and started.

First sphere? Done. Hatched it properly, just like the holy books say. Then came the next one... and boom - divine epiphany: "Wait, these kinda look like eyes, ripping through the fabric of reality, gazing... at whoever's looking at the this art".

And that was it. Down the rabbit hole we go.

Suddenly I was sketching eyeballs.

Then I wanted some movement - so I threw in cosmic streams cutting through space. And then I realized... the streams and eye placement looked like a giant parasite.

It looked so sick I had to keep it. My hand said: "no more dead god ruins - today, we birth a cosmic parasite that stares into your soul". xD

So I doubled down on the eye motif. Drew them from different angles, slashing open space itself.

Yeah, it’s surreal.

I was honestly kinda shook by the end. That whole mess somehow formed a semi-coherent lore by accident.

Clearly, the god of art itself hijacked my body. No other explanation. xD

[luvetlux]

Sly Stone R.I.P.

SLY & THE FAMILY STONE - DANCE TO THE MUSIC.LIVE TV PERFORMANCE 1969

Brian Eno about Sly Stone: “Most people walk into the studio with a song and structure that has been predecided and so the studio functions more or less as a transmitter in a semi-passive role. It's simply a way of getting it onto a record. What I did on this album was to go into the studio and a lot of the time start from nothing determined not to foist something on it that would thereby limit its potential.

Typically what I'd do is go in, sit down and start fiddling with something until a sound emerged that I liked and then put it down on tape. Then I'd listen to it and it would suggest something else and I'd stick that on top of it and so on. Then the thing would start to have some sort of quality that I liked that would enable me to dispense with the first track. So quite often most of the tracks you hear worked from going record tracks 1, 2 and 3, erase 1, add 4, erase 2 and 3, add 5 and so on. There was, for example, one track that went through 12 distinct stages starting as a very slow instrumental and ending up as a fast song. I continually reassessed them and said, 'Is this still useful, is that? What's it like without them? Can I get rid of it?'

Compared to nearly everything else I hear at the moment it sounds rather sparse, I can imagine people listening to it and saying it sounds a bit skeletal, reviewers will say its unfinished. You can hear that there were lots of other things I could have done but I did them all at some point and it didn't make them any better.

I learnt this technique from Sly Stone.

On his early albums he used to use a very interesting method where he would start with a rhythm box and bass and then would add vocals and horns all playing very percussive roles.

Then he would chuck away the first bass and rhythm box track and add bass and drums as the very last item.

So the bass player and drummer were not playing rhythm roles because the rhythm had already been invested in the track by what are normally considered the melody instruments.”

——————-

Music-critic Miguel Esteves Cardoso:

"Remain in light” by Talking Heads

is the masterpiece of funky schizophrenia,

a kind of Sly and the Family Stone for intellectuals who read Jean Paul Sartre's “La nausée” twenty times."

————————————-

Brian Eno on ‘Fresh’: “I didn't know much about Sly and I'd only heard the two hits that he'd had, which were 'Everyday People', which I loved because of that bass line which goes all the way through without changing once, and 'Thank You (Falettinme Be Mice Elf Agin)', and I loved them but I didn't think that much of them. Then one evening in 1971 I was round the house of this bunch of London musos who I'd kind of fallen in with and they were all sort of jazz-influenced people. They used to smoke a lot of grass. I didn't, but the room was full of enough stuff to probably affect me. They were all talking about this album and how it set the scene for something totally new, and I was interested because they were the very serious people who were into Coltrane and Charlie Parker, yet this was a pop record. It's so sketchy, the whole thing, it hardly holds together. It's like little flicks of paint. Instead of an organised composition, it's just people throwing in these little touches and somehow it coheres. It's like the first time I saw a Jackson Pollock or something.”

————————————-

Personal note of Brian Eno: "In 1980, Magazine wanted Sly Stone to be the producer of the album The Correct Use of Soap, with the alternatives being Tony Visconti and John Barry. In the end, the producer was the most important member of Joy Division: Martin Hannett. Despite the latter's excellent work, I still wonder what would have resulted from the Magazine/Sly Stone alliance. Probably, given the mental health of the guy who answered Marvin Gaye's eternal question with “There's a Riot Goin' On”…sound sketches straight from Hell."

Sly & The Family Stone - I Want To Take You Higher (Live at The Woodstock Music & Art Fair, August 17, 1969)

[lockheed-martin-unofficial]

Sooooo I’ve been getting into Metroplex lately (pun intended) and the whole concept of titans and cityspeakers is so fucking cool. I decided that was how I’d add Razgriz into Aces of Cybertron, and while this sketch is barely visible I like the idea too much to wait before I post.

Wanna listen to me ramble semi-coherently about the blorbos I spin in my head?

The premise is, Razgriz the demon is a Titan, while Trigger is a cityspeaker who HATES her job. For my version of normal AC7 Trigger, her emblem dog is real and is Razgriz in disguise because she refuses to wield the demon’s power directly. It’s a whole thing and I hope you don’t need to know it to understand, because all of it exists only in my brain. anyway.

Let me explain regular AC lore first. In the games, Razgriz is a force of good and evil, chaos and balance. Whenever history encounters a great change, razgriz appears first as a demon who causes destruction, and then as a hero who restores peace and brings prosperity. These things are metaphorical in the game, the hero being several of the protagonists. It’s a cycle that repeats basically every war. While AC7’s protagonist Trigger isn’t directly linked to the Razgriz, it’s implied by the soundtrack using their motifs. Hence why I prefer to write Triggs as someone who refuses to become one with the Razgriz.

Aces of Cybertron Razgriz speaks to her and wants her to merge with them so she can wield their power and carry out their will. Trigger is reluctant, but the demon in her head DOES end up befriending her in the end, gaining her trust and offering guidance. She even does the merging thing a few times, but only when she really has to. I imagine it more so serves to enhance her own strength rather than have her physically control Razgriz, but maybe both will happen. They are probably constantly in her head anyways. Razgriz in this universe can’t be classified as good or evil, they are simply a force of nature carrying out the cycle of change. That’s what makes them dangerous, they only care about upholding the cycle and not the sheer destruction they cause. You can’t appeal to morals which aren’t there, either. You can, however, bargain and reason with them. They are logical, and will do as you say if you convince them it will achieve their goal better.

Don’t give me spoilers on the comics because I’ve only skimmed them! Razgriz in AC canon does have weird eyeliner similar to Caminus’ in Transformers, and I dunno if in TF that’s only a Caminus thing but I’ve decided to give Raz some as well to stay true to the source. Need to figure out how to translate the shape of a cloak into cybertronian back parts.

I like to think Alicron and the Arsenal Bird (need to find it a TF name) are also titans in this AU. Not as powerful as Raz, but titans nonetheless. Or at least something similar, because Alicron has a whole ass backstory idea. Actually, I’ll tell it.

Alicron himself was once Tanager, sporting a battleship altmode and leading the Aegir fleet. My idea is to make Aegir a pre-existing dead character, and have Tanager’s spark transferred to his lifeless frame to form Alicron. Maybe Aegir was the Titan, and Alicron sorta became him. I have to flesh this whole thing out but I wanted to ramble about it. That is all, if you’ve read this far thank you! And have a good day!

[presidentdisastraofgallifrey]

Doctor Who Diaries: Two

In my headcanon, the second Doctor traveled for 18 years (plus another 10 that was erased from his memory, but he didn't keep a record of that).

Year 1 (7 months)

Doctor: Wrote a single very long and rambly and semi-coherent entry after his regeneration, when he was still muddled and confused, and then didn't write at all for nearly a year.

Ben: didn't think of writing.

Polly: feeling lonely and overwhelmed, she started writing letters to her brothers.

Year 1 again (7 months)

Doctor: mostly didn't write at all, but did begin to do the occasional watercolor landscape of places they visited, when he felt inspired. Impressively, these were finally on the correct days.

Ben: never did write on the tardis.

Polly: wrote more often, keeping letters that were basically a diary, but wouldn't have called it that.

Jamie: was illiterate when he arrived and would never have been able to keep a diary.

Years 2-4

Doctor: drew more and more often until he was doing a landscape during or after most adventures, labeled in Gallifreyan.

Jamie: learned to read and write but still saw no value in record keeping rather than just experiencing his life.

Victoria: had been keeping a beautiful diary that she brought on board with her and, after a few months of mourning and depression, wrote in regularly, in long flowery emotional entries. And sometimes poetry. She wrote whenever she felt like it, which was often.

Years 5-12

Doctor: sketched more and more until he had more than one picture to go with most adventures, but only ever landscapes.

Jamie: began to draw too, but less for record keeping and more for the art of it. Focused on people they met, especially the ones that died.

Years 13-18

Doctor: kept drawing, with the occasional note about things that happened but not really much writing

Jamie: kept drawing, when he wanted to, not that often but he was there so long he had several sketchbooks anyway.

Zoe: kept a daily log on the Wheel and continued to do so on the tardis, recording videos most nights rambling about her day. Sometimes Jamie was there too and reminded her of bits she forgot to mention.

Status

Ben: N/A

Polly: took all her letters with her, having kept them in a bundle in a suitcase she bought, but then realized how silly and unsendable they were and threw them out.

Victoria: took 5 of her 6 diaries when she left, but gave one to the Doctor to remember her by.

Jamie: memory was wiped so his sketchbooks remained on board where he left them.

Zoe: memory was wiped and her logs remained in the tardis databanks. The Doctor would watch them sometimes in his next regeneration.

[stuck-in-2012]

A proper Christman gift

S01E03 Doomed

“I made an exact mashed potato replica of principal coulson!” Sam smiled as he held out the faux head on a tray.

“...and a potato sculptor,” Peter thought to himself.

S01E09 Field Trip

“Hey check it out!” Sam turns over his shoulder to show the coloured sketch he drew to Peter. “Pretty cool right? I’m gonna see if Fury will pay for the spikes.”

S01E17 Snow Day

“Uhh my bad.” Sam frowned down at Luke as he dumped out the sand he intended to use on his now ruined sculpture.

S02E02 Electro

“You just got own-dizzled, old style!” Sam held out the large paper he'd been using for the game of pictionary.

AKA: no one talks about how much of an artist Sam is! / The first holiday episode made me mad, so I added a happy ending.

“Bunny slippers are just… ach!”

Danny and Peter made eye contact at Sam’s reaction. Pete had to bite the inside of his cheek to keep from laughing and spoiling everything, though he could see the tiny hint of mischief in Danny's smile.

After getting the oversized hat, Peter looked back at Sam’s disgruntled face, allowing himself to snerk and giggle. Sam made a glare and went to lash out at Pete being an ass but was cut off when Danny also gave a small huff. Peter took off the hat, smiled, and reached behind the couch. “Dude, we’re not that mean.”

Pete pulled out a large wrapped object. At seeing the colourful paper, Sam shoved the gag-gift and box onto the floor. The boy was skeptical given the relation between Spidey and Nova, but Danny was in on it too -and Peter said “we”- so Sam had some trust that whatever was in this box would actually be a gift. The fact that it was a semi large box didn’t hurt his intrigue, either. The box was about two by one foot but only three inches tall, give or take.

Peter stepped over to Sam's place on the couch and handed him the box, Sam's hand bobbed down, surprised at the weight. Not heavy, but heavi-er­ than he was expecting. Peter and Danny both had beaming smiles, they almost seemed more excited for Sam’s gift than he was.

“Ya gonna open it or what?” Ava snarked.

Sam rolled his eyes at her and tore into the paper. The first satisfying shred exposed a leathery texture. Sam ran his fingers over the surface, again surprised, before continuing. Revealed, was a large though thin case with golden coloured clasps and handle to carry.

“A brief case?” Sam had no issues this evening sharing displeasure.

“It’s what's inside the case, moron.” May nudged Peter lightly at his insult.

“We do believe you will be rather fond of its contents.” Danny’s smile had only grown bigger as the case was unveiled.

Sam flipped the latches in sinque and leant back as though something would jump out at him. He opened the case a crack to get a preview of what may be inside and was greeted with some odd shapes and bright colours. When the case was open fully, one would think it was full of cash with how Sam’s face lit up in wonder. His jaw dropped gently as his eyes practically sparkled.

“ih… It’s ok if you don’t like it.” Peter’s brow knit with worry.

Sam slammed the case closed and hugged it to his chest. “Don’t you dare!” He gave Peter a noticeably exaggerated expression of ‘I’m warning you’ and gave an extra lean away for emphasis.

“What is it, Sam?” May asked, almost coy. She knew of Peter's plan to do a gag gift but wasn’t aware of what the proper gift was.

Sam stumbled over words as an unbreakable smile stretched across his face. Not able to get out any coherent words, he opened the case back up and lay it flat on his lap. All along one side was a smooth gradient of coloured pencils. Stretched across the bottom, another pallet of oil paint tubes. White and metallic ink pens, oil pastels, a paint brush array, and collection of charcoal and graphite pencils.

“Damn,” Luke dragged out in approval.

Excited at Sam’s joy over something he did, Peter bounced with an open smile. “Oh it gets better.” Sam looked over in excitement and bafflement. How could this get even better?! “You see the little loops in the middle of the bottom? Pull.”

Sam did as instructed and the inside came out and split into two supported shelves. Underneath was again a full pallet of water colour paints and fancy markers. Sam sputtered and floundered over all the supplies.

“Sorry the top doesn’t open, too.” Peter teased apologetically.

Sam sputtered and waved his hands over the rainbows in his lap looking at Peter with a gleeful face. He, May, and Danny laughed happily at Sam’s reaction to the gift. Sam’s hands hovered over the different supplies, hesitant to disturb the pristine packaging each different material had.

Ava gave a light laugh as she said, “I think you broke him.”Sam sent a heatless glare at the girl before finally audibly laughing. He gave Peter and May an inquisitive look before giving a reverse not in Danny’s direction at the realization. This was no doubt expensive. There's no way the Parkers would be able to afford it without some juggling or over time but thankfully Pete went to Danny about it. If just Peter had busted his ass to make the cash, Sam would take it with no hesitation but seeing as May seemed in on everything, Sam didn’t like the idea of her putting in so much extra effort for something so frivolous. But Danny’s loaded, so forget all of that.

[continue?]

[concerningwolves]

There's a post I can't find now that was expressing frustration that a lot of writing advice on writeblr (don't edit as you write, try switching POV for a scene if it's not working, only write the dialogue/only write the action, etc.) is for first drafts and not subsequent drafts. And I do agree, at least in part; a lot of writeblr is focused on how to, y'know, write the story.

It did make me think, though, and what I thought was this: ogres are like onions.

Or, more accurately: stories are like onions (and ogres?), because they have layers, too.

Writers who use the drafting method write drafts, and with each draft, the story gains more layers (layers of meaning, plot coherency, more cohesive ideas, etc). By draft four or five, a story has enough layers that it looks both pretty and structurally sound. Ideally, the only changes you'd need to make at this point are upper-layer, superficial ones – reshuffle some paragraphs, cut some excess scene padding, smooth out some awkward prose. Maybe rewrite or reposition a couple of scenes. Mostly though, the story feels fixed in place and is semi-polished, which is often the biggest obstacle preventing a writer from solving a problem.

Early drafts typically come out kind of wonky and unstable, their component ideas still sludgy from the primordial creative soup. Writing them can feel like sticky, awkward work – but it's also when the ideas flow most freely! The prospect of going back into that sludge might suck, especially if you've already started to see the final version of your story take solid shape, but it might also be the answer to the problem. Sometimes you have to peel back the pretty layers to look at the uglier structure beneath to see what isn't working. Other times, you need to be more hands-on and pretend you're still in the primordial creative soup to get the brain gears properly lubricated again.

Digital art also has layers. Some artists start with a rough sketch, others with blocks of colour. As the layers build up, so does the picture, but every now and then there'll be something about the picture that just isn't right. If the problem is in the sketchy early layers, the usual options are to either a) go back down to that layer and fix it there, then correct the upper layers to match or b) start again, this time learning from the mistakes made before. If something isn't working for me when I'm doing a digital painting, I'll also sometimes open a fresh canvas and mess around with the same concept in different variations as if I'm starting from scratch, then return to the original piece and use whatever I learned to fix it. So long as I don't prematurely flatten the layers, I've got plenty of wiggle room to figure things out in.

So, yes, some writing advice is only going to work for specific stages of story-making. But also, the creative process is a dynamic one, and no part of a story needs to be set in stone until all the layers have been flattened into their final form, ready for sharing with other people.

[dragon--sage]

writing patterns

ty @cleric4vampire for tagging me in this!!! and i'm tagging @sillyliterature and @darethshirl (i'm so sorry i'd tag more of you but my brain is fried af. if you see this consider yourself tagged and i would love to see them if you decide to share!!)

rules: list the first line(s) of your last 10 posted fics and see if there's a pattern!

in order from newest to oldest! click the title for the link to each.

LINES

Radiant Hopeful (bg3, astarion x tav)

“Astarion, can I show you something?”

Nightswim (bg3, astarion x tav)

It was a quiet evening in camp, and Nyana was sitting a ways off from the fire, on a hollowed-out log, working on a few rather pathetic sketches of the local plant life.

Spark That Set the Pyre (bg3, astarion x tav, explicit)

Most nights, when Astarion fed off Nyana, she tried to keep her interest and involvement as prim and polite as possible.

The Chivalrous Charlatan (bg3, astarion x tav)

Astarion was going to kill the sorcerer.

Someone I Like Better (bg3, astarion x tav, explicit)

It was night and day, how completely things had changed between Astarion and Nyana, after Cazador had been finished—after the graveyard.

Sunstruck (bg3, astarion x tav)

“Pouting? Or plotting?”

Places of Oblivion (dragon age inquisition, unfinished solavellan modern au, explicit)

Ellana, usually, did not fuck with dating apps.

No Better Waste of Time (dragon age inquisition, unfinished solavellan fix-itish longfic, explicit)

In a darkened attic with a vaulted ceiling, many cobwebs, and one industrious family of rats (who liked to keep to themselves), Ellana Lavellan sat cross-legged in front of an inactive but intact eluvian, her reflection a glaring smudge in the warped surface of the silvery glass.

Her Eyes the Stars (dragon age inquisition, solavellan)

Her eyes — Void take him — he could easily spend a century trying to capture the way their startling amber color appeared in different lighting.

Etha, Ama (dragon age inquisiiton, solavellan, explicit)

It was Satinalia — Feastday.

and bonus even though it's not within the last 10 i have such a soft spot for this fic:

Cry Havoc! (dragon age inquisition, gen fic, background solavellan)

Marquise Briala and Empress Celene were clearly arguing, but Ellana Lavellan was going to interrupt them anyway.

PATTERNS

Um these are all products of my respective hyperfixations on solavellan and tavstarion, so there's that. I see a few long ass run ons, as I expected ahahhaa, but also short, clipped ones. Only a few are in between. Some of them drop you right into the action and others are more scene-setting. The em dash (l m a o). Other than that I think I've been looking at this too long to see anything except my own questionable grammatical choices 😂

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my penchant for info dumping scene-setting run ons makes this extremely difficult but in case anyone else wants to try:

Vixstarria's additional rule: see if you can arrange the lines into a semi-coherent crackfic.

[daveyfvckingjacobs]

I’m having modern au Javey thoughts. Specifically ones about how their respective neurodivergencies would present themselves becauee mine has been autisming way too hard recently 💅

(is neurodivergencies a word? 😂) - 🤠anon

ok I’m gonna do my best to answer this coherently but I am unbelievably eepy and a little buzzed still I will not lie so let’s see how it goes

adhd + dyslexic jack and autistic davey my favs so I’m going with that for my rambles but pls add if you have any other hcs🤲

davey is semi verbal, usually going completely silent when he’s burnt out socially or mentally and just needs a break. sarah and les are both very good at recognising this and speaking up for him, and also not pressing when he wants to be left alone. he has a lot of sensory issues regarding texture: napkins, toilet paper, styrofoam, cotton, that sort of thing (usually making his skin crawl and possibly making him gag a little) and also things scraping over his nails/the length of them. sound wise crowds of can be a lot, and he has ear defenders he likes to carry. most of davey’s stims are physical, hand flapping and lightly smacking things when it’s positive, shaking his head or fists when negative, and shifting his weight a lot. he will usually sit with one of his legs caught under him on most chairs, and stands with the most Dinosaur Hands a lot (jack says they make him look like an otter). he’s very sensitive to light touches but likes a lot of pressure (les also likes providing this so it works). eye contact isn’t the best and he struggles with instructions without a lot of prompting, though is usually alright with stuff like sarcasm and idioms, even if he can’t really carry conversations. his meltdowns are typically silent, crying and becoming extremely frustrated, but he’s more likely to have sensory overload than a meltdown (he hates them, despite being told over and over again that they’re normal and not irrational or stupid)

jack gets Loud when he’s understimulated, tapping his hands and feet and stimming vocally via random sounds a lot (he’ll bounce of race with humming and other noises too). he wears headphones almost 24/7 because he absolutely hates silence, and doodles all over his hands most days in school. he’ll also regularly hyperfixate on different types of art medium, so has a very messy range of skill across a huge range that he’ll inevitably drop in favour of yee old faithful sketches and oil paint. he’s a very stereotypical adhd kid in a lot of ways, and dyslexic to the point it takes a lot of encouragement to get him to properly read things. it’s not impossible for him, but the effort and concentration takes it out of him: he’ll rather take his drawings where he can zone out thank you very much

davey was diagnosed very young and so has gotten a lot of support, is very comfortable with and knows how to deal with his autism, though will usually struggle to bring it up to people at first. it leaves him awkward about acquiring accommodations but les and sarah are more than happy to pipe up and ask (and later, so are the newsies). on the other hand, jacks dyslexia was diagnosed young but his adhd went unnoticed until he was around 14, bounced around as he was. it means he still isn’t sure how to properly deal with it and gets frustrated in ways davey doesn’t, at what he lost struggling in school for example, because he didn’t have the right support around him yet

see previous javey rambles about how they’re both very good at learning what the other needs, how to help or when to not. it’s a slow process of picking things up but they balance each other well

[archiviotati]

"family issues - 02"

brown clay, plexiglass, recycled mirror

The idea of this project arose to respond to two specific needs: to interpret family dynamics and relationships in order to deepen the connection with each family member through reflection and art. Simultaneously, it aimed to concretize a mental and design journey developed during the academic period: how to effectively combine the concept of accessible and functional art with the idea of "pure" art? Am I more of a designer or a sculptor?

With the help of extensive readings and guidance from my advisor, there was a journey of conceptual evolution. During the third year, I modeled five vases as the first step of this research. Each piece corresponded to a close family member, while also seeking to synthesize my individual relationship with each one and my conception of their persona. It was an intimate and complicated process, attempting to grasp the essence of each person, their role in my life, and the continuously evolving relationship.

The next thought was to capture the differences through completely different forms, objects, and functionalities. Thus, the installation consists of five pieces of furniture, bearing a strong sculptural imprint achieved through the coil and slab technique. The chosen clay is a semi-refractory Etruscan clay with a brown hue.

In this series, each person transforms into an object. Each object functions perfectly in its individuality and is detached from the general context, but when recontextualized within it, gains something more. It regains a different meaning, an added complexity, just like what happens in family dynamics.

I also want to emphasize that one's role can be interchangeable over time. None of them are necessarily fixed: objects, like people, adapt to space and context, in their constant and necessary evolution.

For this design, I started with this mental standpoint: "A chair, father A lamp, mother A small table, older sister A mirror frame, younger sister A vase, self-portrait."

While working on the sketches, I felt these specific roles were most suitable for certain family members, considering the emotional stage and situations of that phase of my life. Consequently, the modeling evolved with different textures, shapes, and structures, each visually coherent with the others, creating a true system.