#and if you want more detailed writing advice

[luveline]

If you are still writing for bombshell x Spencer could you write something from early seasons when he had feelings for JJ 👉🏻👈🏻

Hotch told you once that he was tempted to put an automatic lock on the office doors, so that he can lock them when he sees you coming during your working hours. 

He has yet to follow through. You slip in through the doors and take a deep breath. It smells like coffee, printer paper, all the same stuff as your own office, but your office doesn’t have Aaron Hotchner, Derek Morgan, or Spencer Reid. 

“Neither does this one, apparently,” you mumble to yourself, casting your gaze around the room to no avail. The boys aren’t here. 

Emily’s sitting at her desk. She’s new, you’re jealous of her job, but she’s gorgeous. You won’t mind sitting at Spencer’s desk until they get back. “Hello,” you drawl, setting down in Spencer’s chair comfortably. 

Emily’s mildly startled. “Hey?”

Spencer’s desk is an explosion. You debate cleaning up for him. What if you put something in the wrong place? It���ll be more annoying than helpful. “How are things?” you ask, pushing Spencer’s chair back, and kicking a leg over your knee, high heel bobbing. 

“What?” 

You smile at her. Flirting, just a little, but your concern is real. “How are things going, Prentiss? With you?” 

“They’re good. Yeah. I just moved into my new place.” 

Bless her for not knowing what to do with you. She doesn’t have practice like the rest. “A new place? Where to?” 

She relaxes while you talk. Her apartment overlooking Kingman, her cat’s annoyance at the new smells and the long case time away. “Spencer says that cats aren’t capable of holding grudges, but Sergei can.” 

“He’s cute, isn’t he? He knows a fun fact for everything.” 

Emily sits up. You can see the excitement of a secret in her dark eyes. “He’s adorable. His little crush on JJ is so sweet, I’ve tried to give him some advice but he’s totally stuck on her.” You falter. And Emily, profiler in training, she catches it. Her lips part, startled. “You’re not–”

“I had no idea Spencer had a little crush,” you breathe, sitting up with a smile. “For how long? What about JJ, is she interested in him?” You hug your hands together. “You know, I think they’d make a cute couple.”

“Well, I heard they went to a football game together, but I don’t know when. Before I got here, at least.” 

What? “That’s fun.”

“I don’t think it’s serious.”

You tip your head back and the heavens have opened, Derek Morgan’s making his way toward you with a grin and a hand reaching for you. “Sweetheart, where have you been?” he asks. “It’s been weeks, I was starting to miss you.” 

You texted him a few days ago about a property nearby for rent, and you had coffee the day after to hear his advice on the area, so he’s just making stuff up. “Hi, Derek.” 

You get up and let him hug you. You deserve it. You’re beautiful and fun and smart, and you deserve a handsome man rubbing your arm and telling you he missed you. “How much?” you ask warmly. 

“Like a hole in the head.” 

Hotch is behind him. And there, the surprise item of the afternoon, Spencer Cheating Reid. 

“Hi, Hotch,” you say. 

“I heard something about you I’d rather not repeat,” he says. 

“Hotch, the details were wildly exaggerated, and I was less at fault than you might think.”

“I thought it was entirely your fault.” He shakes his head. “You’re shooting yourself in the foot, doing things like that.” 

“Why, what did you do?” Spencer asks. 

You falter again. Everyone sees your insecurity: Hotch’s brow furrows deeper than it had been, Morgan pauses, and Spencer, to your panic, holds your eye as the emotion passes. “It’s not worth talking about,” you say, shrugging. 

“Try not to do it again,” Hotch says. ���Morgan, with me.” 

“Uh, Hotch?” Emily speaks up. 

“You too, Prentiss.” 

He leads a procession up to his office. Morgan throws you a look like he wants to talk to you, but you’ve plastered unaffectedness over the wound again. Why does the idea of JJ and Spencer going on a date upset you? He’s a sweet guy, she’s a nice girl. Is it because you didn’t know? 

“You really haven’t been here in weeks,” Spencer says. 

“Missed me?” 

He holds the strap of his bag. “Yeah, I did.” 

What use does he have missing you? “I heard something interesting about you, Spencer.” 

“You did?”

He looks shy, pale, and worried. You forget sometimes how he’s not just your favourite dork, he’s a friend. And he doesn’t seem to have very many of them. 

Oh, you think, jealousy, you heartless monster. 

“The rumour mill says you aren’t sleeping enough,” you say gently. 

“I sleep fine.”

You put one kitten heel in front of the other and stay, squinting at him with a teasing suspicion. “That’s not what my informants have been telling me. You look tired, honey. You aren’t sleeping, or Hotch won’t let you?” 

“Both.” 

He does that playful smiley thing that makes you wanna scrunch his hair in your hands, like he knows he’s made a good joke. 

“Your case in Cincinnati sounded tough.” 

“Wait,” he says. 

“What?” 

“Are you okay?” 

“Usually. Why?” 

“Are you okay right now?” 

“I’m fine.” You purse your lips. “Why wouldn’t I be?” 

“Just– you– I don’t know, you didn’t seem like yourself. I didn’t mean to upset you, asking about that stuff. It’s none of my business, sorry.” 

“How are you feeling about physical touch today?” you ask. 

He seems to regard you with distrust, for a few seconds, like he’s worried you’re messing with him. “I’m okay with it,” he says eventually. 

You step into his space and touch his cheek gently, fingertip tapping into a beauty mark you often remember only when he’s in your reach. “You didn’t say anything wrong. I’m sorry I made you think that.” You drop your hand. “Just having a weird day.” 

“Me too.” 

Spencer puts his bag under his desk and mentions a video he found on profiling you might like by one of the old Unit Chief’s, SSA David Rossi. You steal Derek’s chair and sit knee to knee with him to watch it, Spencer’s cheeks turning dark with blush in the screen’s reflection. 

Can JJ make him blush like that? 

—

bombshell fics

[literaryvein-reblogs]

hope ur day is going well! just wondering how to write a mystery (i think that's the genre of my book) and if it has a different structure than a regular coming-of-age story

Writing Notes: Mystery Novel

Mystery writing is a subgenre of fiction writing that relies on clues and suspense to captivate the reader.

Here are a few tips for creating an unforgettable mystery story:

Read other mysteries often. Great mystery novels are full of writing advice if you pay close attention. Read classic mystery books and short stories as well as best-selling crime fiction from new writers. Once you reach the end of the book and the mystery is revealed, return to the first page. Start over, noticing how and when the author shared clues and used misdirection to both untangle the mystery and heighten the suspense.

Know every detail of the crime. Whether you’re writing a murder mystery or the story of a bloodless crime, the misdeed at the heart of your mystery story drives the narrative. Before you get far along on your first draft, outline everything about the crime. Map out the who, what, where, when, why, and how. Great mystery writers also research the crime itself—whether it’s poisoning or pick-pocketing, know the mechanisms at play.

Open with intrigue. Mystery readers want to be dropped right into a thrilling tale of bad guys and red herrings, cliffhangers and diligent sleuths. Many crime novels open on the crime itself, then move forward or use flashback to keep readers enraptured as the main character begins their hunt for a masterful thief, deranged serial killer, or whoever the villain may be.

Construct convincing characters. Many of the best mystery books, detective novels, thrillers, and whodunits focus on strong character development. Remember that you are dealing with human beings, not stereotypes. Your main character, whether they are amateur sleuth or professional detective, functions as the eyes and ears of the reader and therefore should be both relatable and fallible. Your bad guy should also be complex and have clear motives.

Make a list of suspects. Writing mysteries is like crafting puzzles, and the most vital piece of the puzzle is typically the criminal’s identity. A great mystery will introduce several potential suspects over the course of the narrative. In fact, many of the best mystery tales allow the reader to meet the actual culprit early on, giving them time to doubt their guilt. List your suspects and explore their possible motives before committing them to paper.

Lean into your locations. Whether your setting is a small town or New York City, use the natural atmosphere and attributes of the place to enhance action and intrigue. The contrast of dastardly deeds happening in unlikely spaces can enhance the sense that danger lurks around every corner. Moving between interesting locations where important plot points take place can make a mystery novel all the more gripping.

Let the reader play along. Good mystery writing shows instead of tells. You want to use descriptive writing to create scenes that allow your reader to explore and discover clues—even those that your main character might miss. Rather than explain what’s happening and why, keep the reader in the center of the action, invested in the stakes of the story like it’s real life. Give your readers a chance to put together the puzzle themselves.

Avoid using "get out of jail free" cards. While it’s important to push your characters to the edge and have them encounter obstacles that seem completely impassable, don’t then undermine all your hard work by introducing an implausible deux ex machina that miraculously saves the day. If you don’t resolve your roadblocks logically and in a way that’s consistent with your story, then you’ll lower the stakes for your characters and lose the ‘buy in’ of your reader.

Misdirect your reader. The mystery genre is filled with false clues, known as red herrings, that lead readers down the wrong path as they’re trying to suss out the truth. That misdirection is part of the fun, upping the suspense and building engagement as your audience runs into sudden twists and dead ends in tandem with your sleuth. The last thing you want is for them to figure it all out when there’s still more story to tell.

Rewrite, then rewrite some more. Most creative writing benefits from a second draft and that’s especially true in mystery writing—all the more so if this is your first novel. Remember how you reread those classics and bestsellers after you knew how they ended? Employ that same strategy with your new mystery. Examine your pacing and redistribute your clues to build to the stunning conclusion that you’ve already written.

The only rule is originality. Looking for some hard-and-fast do’s and don’ts? Bestselling author Anthony Horowitz won’t divulge. “If you ask me what are the do’s and don’ts in writing a whodunnit or a murder mystery? Quite simply, there aren’t any. Never constrain yourself. It is by doing the don'ts and not doing the do’s that you will write the completely original book for you – and find success.”

Examples. Ways a Villain could Justify Committing a Crime:

righting a prior wrong

revenge (the victim deserved to die)

vigilante justice (the criminal justice system didn’t work)

protecting a loved one

restoring order to the world

James Patterson's Tips:

Know your Genre. Do your reading and glean inspiration, then build on the story, modernize the setting, and breathe new life into a fresh plot with unique characters. Learn what’s been done and then ask yourself “what’s a new twist on this?”

Set Up Compelling Questions. If you’re going to keep your readers along for the ride, you have to give them something to grip on to. Identify a handful of questions that pose an intriguing dilemma. E.g., Who would do such a thing, and why?

Raise the Stakes. Then Raise Them Again. Another way to keep your reader intrigued and going along with you is to keep raising the stakes. First, set the foundation of the story with the hook. Then, add more details.

Keep the Reader Guessing. When James feels a story is lagging, he builds in misdirections or red herrings. Don’t be afraid of misdirections, he says, because they’re actually very true to real life. Most detective work, amateur or otherwise, inevitably leads to some dead ends or wrong alleys.

Maximize the Effect of the Reveal. The entirety of a mystery or suspense novel is leading up to the big reveal—but don’t reveal everything all at once, or too quickly. Instead, create a scene that lets you slowly “milk” the reveal. James suggests feeding out little clue after little clue or tidbit until voila, the mystery is solved. It’s not always easy to keep plotlines straight in your mind, so build out your outline by adding three or four bullet points of clues you can give your readers about how the book will end. Add these to existing chapters if you feel that they wouldn’t spoil the surprise.

Some Subgenres of Mystery

Cozy mysteries often take place in small towns, frequently featuring charming bakeries and handsome mayors. Though the crime is normally murder, there’s no gore, no severed heads in boxes, and no lotion in the basket. As a result, there are rarely any traumatized witnesses or family members in these murder mysteries — making cozies perfect for a gentle fireside read. Example: the Miss Marple series by Agatha Christie.

Police procedurals commonly center on a police investigation. They feature realistic law enforcement work, such as witness interrogation and forensic science, and require a great deal of research to convince seasoned readers of their authenticity. Example: Tana French’s Dublin Murder Squad series.

Noir detective novels. Most associate “noir” with black-and-white films of cynical gumshoes and femme fatales — but did you know that dark, gritty noir novels came first? Their flawed characters and complex plots are renowned for leaving readers in the grey. (Did the investigator do the right thing? Was the culprit really evil?) The crime may be solved by the end, but the mystery itself is rarely so open-and-shut. Example: The Postman Always Rings Twice by James M. Cain.

A suspense mystery is all about high stakes and unexpected twists — elements that make it nearly impossible to stop reading. The mystery builds throughout the narrative, clues are painstakingly planted to divulge just the right amount of information, and things are constantly edging towards a dramatic, often shocking climax. Example: Gillian Flynn’s Gone Girl.

Sources: 1 2 3 4 5 6 7 8 9 ⚜ Some related posts:

Writing Tips: A "Convincing" Mystery

Traps to Avoid When Managing your Clues

Detective or Crime Stories

Hope this helps with your writing & hope you have a lovely day/night yourself!

[ecto-hazard]

I wanna make a tf2 oc so so bad but I’m terrible at drawing people. Got any pointers?

So you wanna learn how to draw humans. Good for you! Drawing humans is complicated as shit and theres a lot that goes into it. I still need to improve in some areas of anatomy, and especially with drawing shit like clothes. There's millions of good guides out there for drawing all these specific aspects, but they're going to vary in complexity, style, etc. So I've instead put together my bullshit guide for drawing humans that can apply to people of any style and skill level!!!!! Welcome to Grey's 3 steps to draw humans.

STEP 1. DRAW BAD.

People get bashed over the head with the advice of "just practice bro." But the realistic thing is that if you're a perfectionist, it'll make it difficult as shit to improve your art if you don't let your art be bad. This doesnt mean, oh draw poorly on purpose. This is more a mindset thing. Embrace the fact that, while your art might not be at the level you'd personally want it to be, it's still worth making. If you enjoy drawing, it shouldn't matter if its "bad." You'll draw tons and tons of "bad" stuff and eventually look back and realize you've gotten better, even subconsciously. But if you can't get over the hurdle of letting stuff you draw be "bad" sometimes, you'll probably be too frustrated to keep going.

STEP 2. Practice drawing blocky shapes BEFORE details.

This is a skill I learned in the two art classes I took, but you can learn it on your own too. Basically humans have a lot of details going on and it can get a little overwhelming trying to capture it all. Work big to small. Focus on overall shapes first. Keep your sketches light and messy, cause itll be easier for you to overcome the hurdle to change something if you don't like it. Gradually build up to drawing the more intricate shapes like fingers, facial features, etc. If you're doing a full render, capturing the overall shapes of lights and shadows is helpful too!

When it comes to drawing your first sketch, try not to get too caught up in those tutorials that make you draw a specific type of sketch with like all the circles and cylinders and straight lines, thats all fine and good but if you're starting out its just kinda confusing and misses the point. Those are tools that'll help out when you want to hone in your ability to draw things in perspective.

STEP 3. Don't draw humans if you don't enjoy it.

Have you tried drawing humans but just don't really like doing it? Then fucking dont baby!!!!! Don't miss out on making things you enjoy just cause these goddamn humans are in the way! Make em a furry, a mech, an object character, a disembodied gangle of nerves floating in the abyss. Hell if you don't like drawing at all, WRITE em instead! Don't feel shackled by this mortal coil! Shed that shit!!!! Draw whatever the fuck makes you happy, and you'll be on the right track.

Hope this helps!

[evereverest2]

@ofthemorningstars commented on my q&a post and i wanted to make a general little post for ALL of you aspiring writers.

i’ve talked to people who wanted to start writing many times before, who have said to me “your writing is so good, and i wish i could do it like you”. i always say the same thing to them:

cut bc this is long lol

the number one first thing you need to know when you start writing is that it has to be yours. it is a world entirely your own, of your design, your unique and wonderful imagination, and it must make YOU happy. don’t compare urself to me, dont compare urself to tolstoy, don’t compare urself to shakespeare. the things you make can only be made by you, even if they’re inspired by something else, even if they’re fanfic. every story, movie, song, painting, etc. is derivative of something else, that’s just bc there’s so many talented humans. that doesn’t mean they aren’t unique creations on their own. that doesn’t mean you’re copying someone.

the biggest roadblock to writing—and any art really—is your own mind. you will kill urself with negativity, telling urself that it isn’t good enough, that it is awkward, that it is derivative, that it does not deserve to be read. i struggle with that all the time, but generally that’s to my own standards and not another authors. this is what i mean when u say u can’t compare urself—

YOU HAVE SO MUCH CREATIVITY TO OFFER THE WORLD.

YOU.

you are amazing. everything you create is special. i could never write what you write, and you could never write what i write. we are humans who grow up in vastly different lives, with experiences that shape the way we think and create and inspire. we have different opinions, relationships, and memories that will shine through in our individual works.

when we write, we leave the unique and beautiful pieces of ourselves in the text.

and you need to remember that.

the second thing i tell people to focus on is time.

i’m gonna expose myself on main here and show you a snippet of a fanfic i wrote when i was 13

yeah that’s fucking embarrassing. what an introduction bro. people totally get tattoos when they’re 15.

the point being that you don’t start writing like a wizard day one. this excerpt was about a year into my writing and i was a middle schooler. you look at that and you wouldn’t expect the author of little monster.

so if writing is something you want to do and you’re passionate for, even as a hobby, you need to sit down and do that often. VERY often. serious and even average authors write EVERY DAY. even if it’s just one sentence. writing is an easily accessible hobby that has a HIGH ceiling for “being good” at it and an even tougher path to the professional level. anyone can write, and everyone does. whether those are emails or smutty fanfics, it’s just a fact of life. if it’s something you want to improve at, take it seriously. so many people write a few stories and call it day, saying they suck and they’ll never improve. well, i’ll tell you now, you’ll never feel good about your writing until you take it seriously.

and if it’s casual for u, that’s totally fine! i won’t tell u that u HAVE to write everyday. not even i do that !! (though it is most days). but that doesn’t mean it’s something you don’t have to work on. imagine if you wanted to learn an instrument— if you only learned a few songs, if you only practice once in a blue moon, would you call urself a musician? even if u never wanted to join a band, would you call yourself a guitarist because you learned four chords?

you’ll never be happy with ur art unless u practice. and it will suck, i assure you. but you need to be patient. you have to be bad first to be good.

so, in summation of all these things i’ve learned both on my own and in studying creative writing, i’ll leave you with this (and i know this post is a fucking mess lmao)

you are the most special and unique person in the world, because only you can tell the stories in your head. just give yourself the time and patience to get there.

i believe in you.

[rosenfey]

things that are hard to find: writing advice that isn't condescending.

[good-beanswrites]

Woo hello 🎬!! I kept all of your ask here -- I put it like this for my own easy scrolling, but no way am I cutting any of this, it's so perfect AH

Oughhhhgh Haruka getting more confident from hanging out with everyone and getting such positive feedback… I’d imagine the back to back innocent verdict and night of compliments would do wonders for his psyche ;-; And same for Muu and Amane! Minus the inno verdict, but the sudden influx of explicit compliments and acknowledgement of “hey, that was fucked up what they did to you, okay?” I wonder if there’s any awkwardness since After Pain directly follows Bring it On, but I like to imagine Fuuta and Muu have a deeper talk about things in private (and maybe Muu hesitantly mentions her involvement with Rei in preparation for INMF…)

Damn, who’s going to give the sex talk to the kids after Yuno’s vide-- Shidou. Sidou does. Without hesitation. They have to stop him because no one wants to hear it and everyone there already understands the basics.I love the idea of she, Mahiru, Muu, and designer Mikoto chatting about everyone’s fashion sense (I can imagine them poking fun at Fuuta’s tracksuit and Shidou’s patterned shirts.) And planning shopping trips that include everyone!!! Amane and Kotoko are given no choice in the matter, and a lot of the guys are genuinely interested in coming along.

Awww, I love the thought of Haruka getting into a “boy” interest with Fuuta and Mikoto -- he never knew what it was like to have brothers but he’s really enjoying it <3 (Also I’m cracking up over Fuuta trying desperately to convince them “it’s not cringe!!!”)

ASDFSDF Mappi just straight up sobbing and Mikoto handing her tissues 😂 But yes, she also gets choked up during Magic and Amane can’t figure out why. This begins the adults’ efforts to get her out of whatever situation she’s currently in (which Jackalope was already half-working on, but is definitely spurred on by several angry almost-murderers demanding he get it done now.)

I do like that idea of Red more comfortable with showing skin than Blue. (I know people are very emotional about the stalker theory, but I personally never took it in a harmful way. I always enjoyed how it was a symbol of stripping away everything else until you’re left with your true, whole self.) So I like to think that Blue feels too exposed, but Red/Green are the ones who pitched it in a symbolic sense! 

I’m losing my mind at Kotoko/Kazui/Red talking about sparring. Everyone else is like “hell yeah, let’s see it!” and Shidou just sitting there like “you all are going to be the death of me. You are NOT fighting.” Because I really want to think about it happening, I’ll say they manage to sneak away at least once and nearly break a prop in the process, to which even Jackalope shuts them down.

I think they all manage to get pretty serious again by the time T2 rolls around, but the hiatus is filled with a lot of sweet moments and healing conversations between everyone. Also, making so many plans for the future helps keep them sane when some of the project immersion gets a bit too real. Whenever they start realizing they might be condemned for their actions and worried that they’re too broken/they’re life is ruined, they come back to those plans and relax a bit.

Absolutely no pressure, but I would love to hear your T2 thoughts! 👀👀👀 I’m so incredibly grateful you’ve taken the time to share your ideas -- from the very beginning this au has been a big collaboration, so it’s super fun bouncing ideas around :D

[crossbackpoke-check]

wait you got me so invested in the stammer & heddy tailor au....

this is my standard disclaimer that i have never posted a fic on ao3* and for however much i say “au” i truly mean that it’s a universe that lives in my head & i am absolutely delighted to tell you all about, all the time <3 if it helps i ALSO got me so invested in the heddy & stammer tailor au

ok now that the author’s note is out of the way here’s some notes about the not!fic heddy & stammer tailor au:

stammer as the tailor from gent’s playbook, very reserved, quiet, with an excellent eye for details (honestly the evidence i have for his style sense is just that he’s best friends with pk subban so it has to be there somewhere if only by proxy irl) is hired by victor hedman, star of the tampa bay lightning who is every other tailor’s nightmare to dress (huge, opinionated, fashionable)

heddy is decently well-known throughout the league for being very well-dressed & becomes quietly well known for also being one of his new tailor’s favorite loyal customers [heddy has the nicest fabrics. he has his suits the first day a new collection drops & e v e r y o n e is jealous]

stammer’s business booms after heddy takes a chance on him as his first big client & promotes him, heddy sees him grow in popularity & get more clients

heddy also moonlights as a model for stammer’s suits on instagram, initially to help him grow his business because then he won’t have to pay for a model and then because he’s over there all the time anyway because they’re dating (that’s why the model’s face is never in the pictures)

there’s not really a plot to this besides the vague idea of a plot where stammer makes heddy his lucky suit that he wins the cup in & sews a special little tag into the lining of his jacket that says i love you

because love sometimes is picking out the perfect right color pocket square to match your husband’s beautiful suit that you fitted like a kiss to the curves of his huge body

& also sometimes love is making your beautiful husband who makes you beautiful clothing enjoy nice things for himself once in a while, like the fancy watch you bought him or the nice suit you custom-ordered for him (from him) just so you could take it off of him

[corvidiss]

#smile at people #a majority of the time people will smile back and you win Human Points #learn how to compliment people and do it often #Normalcy is a perspective that changes depending on who is looking but kindness and a positive attitude shows the same view to everyone #basic politeness with a little extra effort is amazingly difficult at times #but it goes MILES

Genuinely good advice from @aroace-get-out-of-my-face

can someone recommend some beginner normal behaviors for someone looking to become normal

[sceneloc8]

Top Restaurant and cafes Location For Shooting in Mumbai

Mumbai, India’s lively city, is not just a great place to eat, it’s also a great place to work on creative projects. SceneLoc8 has compiled a list of the best restaurants and cafes in Mumbai for your pre-wedding shoot, photography session, music video, or vlog. These places have the perfect mix of atmosphere and style to make your vision come true.

Possibilities for creative content:

Pre-Wedding Shoots: To add a touch of class to your pre-wedding photos, take pictures of timeless moments of love and romance in stylish cafes or fancy restaurants.

Photography: Look into the unique interiors and architectural details of Mumbai’s best cafes and restaurants to take pictures that show off both delicious food and artistic skill.

Set the scene for your music video in a trendy café or a cozy bistro. The atmosphere and energy of these busy spots will come through in your images.

Vlogs: Show your viewers your cooking adventures and dining experiences through interesting vlogs shot at Mumbai’s famous restaurants and cafes, giving viewers a taste of the city’s lively food scene.

Filming: To make your scenes seem more real, use famous Mumbai cafes or high-end restaurants. This will immerse viewers in the city’s rich cultural tapestry.

Advice for people who make content:

If you want to shoot in a Mumbai restaurant or cafe, keep these things in mind:

Permission and Cooperation: Make sure you get the right permissions from the business before filming or taking pictures. This will make sure the shoot goes smoothly and without any problems.

Time: Plan your shoot for a time when it’s not busy so that there aren’t too many people around and you can get a good sense of the atmosphere of the place.

Respectful Behavior: When you’re shooting, be aware of other customers and staff and treat them with respect. Stay professional and polite the whole time.

Creative Composition: Use the restaurant or cafe’s unique features and atmosphere to your advantage by experimenting with lighting, angles, and composition to make content that looks stunning.

Showing Off the Experience: In your content, talk about the venue’s atmosphere and tasty treats, giving people a tantalizing look into the dining experience.

Why You Should Write Content in Restaurants and Cafes:

The restaurants and cafes in Mumbai are great for content creators in many ways:

Aesthetic Appeal: These places, from trendy cafes to high-end restaurants, have stylish interiors and interesting decor that make them perfect for posting visually appealing content.

Flexibility: Mumbai’s restaurants and cafes can be used for a variety of creative purposes. They can be used as quiet places for intimate scenes or as busy places for lively visuals.

Cultural Significance: Many famous restaurants and cafes in Mumbai have cultural significance. Showing the city’s culinary history will give your content more depth and authenticity.

Accessibility: These places are in different neighborhoods across the city, so they are easy to get to for your shoot because of logistics and transportation.

Unlock the culinary charm and creative potential of Mumbai’s top restaurants and cafes with SceneLoc8. Whether you’re a photographer, filmmaker, or content creator, these iconic locations offer the perfect setting to bring your vision to life. Explore, create, and capture unforgettable moments amidst the vibrant backdrop of Mumbai’s dining scene.

#RestaurantShoot #CafeLocations #MumbaiPhotography #ContentCreation #SceneLoc8 #PreWeddingShoot #MusicVideos

Follow Our Whatsapp Channel:

@SceneLoc8 India

@SceneLoc8 Mumbai

[isthereintruthnobeauty1968]

anyway i do have in my head an episode style story set somewhere between return to grace and body parts where a handful of bajoran ministers are insistent on further/more intense 'interviews' with ziyal despite kira's response that she's already shared everything relevant through her that escalates to the point of them sending people to the station to more or less arrest her/kira having some tension w shakaar over how much he's willing/able to intervene

[burntoutdaydreamer]

Things That May Be Causing Your Writer's Block- and How to Beat Them

I don't like the term 'Writer's Block' - not because it isn't real, but because the term is so vague that it's useless. Hundreds of issues all get lumped together under this one umbrella, making writer's block seem like this all-powerful boogeyman that's impossible to beat. Worse yet, it leaves people giving and receiving advice that is completely ineffective because people often don't realize they're talking about entirely different issues.

In my experience, the key to beating writer's block is figuring out what the block even is, so I put together a list of Actual Reasons why you may be struggling to write:

(note that any case of writer's block is usually a mix of two or more)

Perfectionism (most common)

What it looks like:

You write one sentence and spend the next hour googling "synonyms for ___"

Write. Erase. Write. Rewrite. Erase.

Should I even start writing this scene when I haven't figured out this one specific detail yet?

I hate everything I write

Cringing while writing

My first draft must be perfect, or else I'm a terrible writer

Things that can help:

Give yourself permission to suck

Keep in mind that nothing you write is going to be perfect, especially your first draft

Think of writing your first/early drafts not as writing, but sketching out a loose foundation to build upon later

People write multiple drafts for a reason: write now, edit later

Stop googling synonyms and save that for editing

Write with a pen to reduce temptation to erase

Embrace leaving blank spaces in your writing when you can't think of the right word, name, or detail

It's okay if your writing sucks. We all suck at some point. Embrace the growth mindset, and focus on getting words on a page

Lack of inspiration (easiest to fix)

What it looks like:

Head empty, no ideas

What do I even write about???

I don't have a plot, I just have an image

Want to write but no story to write

Things that can help:

Google writing prompts

If writing prompts aren't your thing, instead try thinking about what kind of tropes/genres/story elements you would like to try out

Instead of thinking about the story you would like to write, think about the story you would like to read, and write that

It's okay if you don't have a fully fleshed out story idea. Even if it's just an image or a line of dialogue, it's okay to write that. A story may or may not come out of it, but at least you got the creative juices flowing

Stop writing. Step away from your desk and let yourself naturally get inspired. Go for a walk, read a book, travel, play video games, research history, etc. Don't force ideas, but do open up your mind to them

If you're like me, world-building may come more naturally than plotting. Design the world first and let the story come later

Boredom/Understimulation (lost the flow)

What it looks like:

I know I should be writing but uugggghhhh I just can'tttttt

Writing words feels like pulling teeth

I started writing, but then I got bored/distracted

I enjoy the idea of writing, but the actual process makes me want to throw my laptop out the window

Things that can help:

Introduce stimulation: snacks, beverages, gum, music such as lo-fi, blankets, decorate your writing space, get a clickity-clackity keyboard, etc.

Add variety: write in a new location, try a new idea/different story for a day or so, switch up how you write (pen and paper vs. computer) or try voice recording or speech-to-text

Gamify writing: create an arbitrary challenge, such as trying to see how many words you can write in a set time and try to beat your high score

Find a writing buddy or join a writer's group

Give yourself a reward for every writing milestone, even if it's just writing a paragraph

Ask yourself whether this project you're working on is something you really want to be doing, and be honest with your answer

Intimidation/Procrastination (often related to perfectionism, but not always)

What it looks like:

I was feeling really motivated to write, but then I opened my laptop

I don't even know where to start

I love writing, but I can never seem to get started

I'll write tomorrow. I mean next week. Next month? Next month, I swear (doesn't write next month)

Can't find the time or energy

Unreasonable expectations (I should be able to write 10,000 words a day, right????)

Feeling discouraged and wondering why I'm even trying

Things that can help:

Follow the 2 min rule (or the 1 paragraph rule, which works better for me): whenever you sit down to write, tell yourself that you are only going to write for 2 minutes. If you feel like continuing once the 2 mins are up, go for it! Otherwise, stop. Force yourself to start but DO NOT force yourself to continue unless you feel like it. The more often you do this, the easier it will be to get started

Make getting started as easy as possible (i.e. minimize barriers: if getting up to get a notebook is stopping you from getting started, then write in the notes app of your phone)

Commit to a routine that will work for you. Baby steps are important here. Go with something that feels reasonable: every day, every other day, once a week, twice a week, and use cues to help you remember to start. If you chose a set time to write, just make sure that it's a time that feels natural to you- i.e. don't force yourself to writing at 9am every morning if you're not a morning person

Find a friend or a writing buddy you can trust and talk it out or share a piece of work you're proud of. Sometimes we just get a bit bogged down by criticism- either internal or external- and need a few words of encouragement

The Problem's Not You, It's Your Story (or Outline (or Process))

What it looks like:

I have no problems writing other scenes, it's just this scene

I started writing, but now I have no idea where I'm going

I don't think I'm doing this right

What's an outline?

Drowning in documents

This. Doesn't. Make. Sense. How do I get from this plot point to this one?!?!?! (this ColeyDoesThings quote lives in my head rent free cause BOY have I been there)

Things That Can Help:

Go back to the drawing board. Really try to get at the root of why a scene or story isn't working

A part of growing as a writer is learning when to kill your darlings. Sometimes you're trying to force an idea or scene that just doesn't work and you need to let it go

If you don't have an outline, write one

If you have an outline and it isn't working, rewrite it, or look up different ways to structure it

You may be trying to write as a pantser when you're really a plotter or vice versa. Experiment with different writing processes and see what feels most natural

Study story structures, starting with the three act structure. Even if you don't use them, you should know them

Check out Ellen Brock on YouTube. She's a professional novel editor who has a lot of advice on writing strategies for different types of writers

Also check out Savage Books on YouTube (another professional story editor) for advice on story structure and dialogue. Seriously, I cannot recommend this guy enough

Executive Dysfunction, Usually From ADHD/Autism

What it looks like:

Everything in boredom/understimulation

Everything in intimidation/procrastination

You have been diagnosed with and/or have symptoms of ADHD/Autism

Things that can help:

If you haven't already, seek a diagnosis or professional treatment

Hire an ADHD coach or other specialist that can help you work with your brain (I use Shimmer; feel free to DM me for a referral)

Seek out neurodiverse communities for advice and support

Try body doubling! There's lot's of free online body doubling websites out there for you to try. If social anxiety is a barrier, start out with writing streams such as katecavanaughwrites on Twitch

Be aware of any sensory barriers that may be getting in the way of you writing (such as an uncomfortable desk chair, harsh lighting, bad sounds)

And Lastly, Burnout, Depression, or Other Mental Illness

What it looks like:

You have symptoms of burnout or depression

Struggling with all things, not just writing

It's more than a lack of inspiration- the spark is just dead

Things that can help:

Forget writing for now. Focus on healing first.

Seek professional help

If you feel like it, use writing as a way to explore your feelings. It can take the form of journaling, poetry, an abstract reflection of your thoughts, narrative essays, or exploring what you're feeling through your fictional characters. The last two helped me rediscover my love of writing after I thought years of depression had killed it for good. Just don't force yourself to do so, and stop if it takes you to a darker place instead of feeling cathartic

[physalian]

How to Make Your Writing Less Stiff Part 3

Crazy how one impulsive post has quickly outshined every other post I have made on this blog. Anyway here’s more to consider. Once again, I am recirculating tried-and-true writing advice that shouldn’t have to compromise your author voice and isn’t always applicable when the narrative demands otherwise.

Part 1

Part 2

1. Eliminating to-be verbs (passive voice)

Am/is/are/was/were are another type of filler that doesn’t add anything to your sentences.

There were fireworks in the sky tonight. /// Fireworks glittered in the sky tonight.

My cat was chirping at the lights on the ceiling. /// My cat chirped at the lights on the ceiling.

She was standing /// She stood

He was running /// He ran

Also applicable in present tense, of which I’ve been stuck writing lately.

There are two fish-net goals on either end of the improvised field. /// Two fish-net goals mark either end of the improvised field.

For once, it’s a cloudless night. /// For once, the stars shine clear.

Sometimes the sentence needs a little finagling to remove the bad verb and sometimes you can let a couple remain if it sounds better with the cadence or syntax. Generally, they’re not necessary and you won’t realize how strange it looks until you go back and delete them (it also helps shave off your word count).

Sometimes the to-be verb is necessary. You're writing in past-tense and must convey that.

He was running out of time does not have the same meaning as He ran out of time, and are not interchangeable. You'd have to change the entire sentence to something probably a lot wordier to escape the 'was'. To-be verbs are not the end of the world.

2. Putting character descriptors in the wrong place

I made a post already about motivated exposition, specifically about character descriptions and the mirror trope, saying character details in the wrong place can look odd and screw with the flow of the paragraph, especially if you throw in too many.

She ties her long, curly, brown tresses up in a messy bun. /// She ties her curls up in a messy brown bun. (bonus alliteration too)

Generally, I see this most often with hair, a terrible rule of threes. Eyes less so, but eyes have their own issue. Eye color gets repeated at an exhausting frequency. Whatever you have in your manuscript, you could probably delete 30-40% of the reminders that the love interest has baby blues and readers would be happy, especially if you use the same metaphor over and over again, like gemstones.

He rolled his bright, emerald eyes. /// He rolled his eyes, a vibrant green in the lamplight.

To me, one reads like you want to get the character description out as fast as possible, so the hand of the author comes in to wave and stop the story to give you the details. Fixing it, my way or another way, stands out less as exposition, which is what character descriptions boil down to—something the audience needs to know to appreciate and/or understand the story.

3. Lacking flow between sentences

Much like sentences that are all about the same length with little variety in syntax, sentences that follow each other like a grocery list or instruction manual instead of a proper narrative are difficult to find gripping.

Jack gets out a stock pot from the cupboard. He fills it with the tap and sets it on the stove. Then, he grabs russet potatoes and butter from the fridge. He leaves the butter out to soften, and sets the pot to boil. He then adds salt to the water.

From the cupboard, Jack drags a hefty stockpot. He fills it with the tap, adds salt to taste, and sets it on the stove.

Russet potatoes or yukon gold? Jack drums his fingers on the fridge door in thought. Russet—that’s what the recipe calls for. He tosses the bag on the counter and the butter beside it to soften.

This is just one version of a possible edit to the first paragraph, not the end-all, be-all perfect reconstruction. It’s not just about having transitions, like ‘then’, it’s about how one sentence flows into the next, and you can accomplish better flow in many different ways.

4. Getting too specific with movement.

I don’t see this super often, but when it happens, it tends to be pretty bad. I think it happens because writers feel the need to overcompensate and over-clarify on what’s happening. Remember: The more specific you get, the more your readers are going to wonder what’s so important about these details. This is fiction, so every detail matters.

A ridiculous example:

Jack walks over to his closet. He kneels down at the shoe rack and tugs his running shoes free. He walks back to his desk chair, sits down, and ties the laces.

Unless tying his shoes is a monumental achievement for this character, all readers would need is:

Jack shoves on his running shoes.

*quick note: Do not add "down" after the following: Kneels, stoops, crouches, squats. The "down" is already implied in the verb.

This also happens with multiple movements in succession.

Beth enters the room and steps on her shoelace, nearly causing her to trip. She kneels and ties her shoes. She stands upright and keeps moving.

Or

Beth walks in and nearly trips over her shoelace. She sighs, reties it, and keeps moving.

Even then, unless Beth is a chronically clumsy character or this near-trip is a side effect of her being late or tired (i.e. meaningful), tripping over a shoelace is kind of boring if it does nothing for her character. Miles Morales’ untied shoelaces are thematically part of his story.

Sometimes, over-describing a character’s movement is meant to show how nervous they are—overthinking everything they’re doing, second-guessing themselves ad nauseam. Or they’re autistic coded and this is how this character normally thinks as deeply methodical. Or, you’re trying to emphasize some mundanity about their life and doing it on purpose.

If you’re not writing something where the extra details service the character or the story at large, consider trimming it.

—

These are *suggestions* and writing is highly subjective. Hope this helps!

[writer-logbook]

How to improve your writing style : a 5-steps guide.

Intro : I love the 5-steps format, don’t mind me. Again, this essay is based on my personal experience.

Read in different genres. Ok, I know you’ve probably heard this advice more than you can count but did you ask yourself why it is so important ? You probably wonder ‘‘How reading some historical fiction will help me writing my sci-fi novel ?’’ For that simple reason my friend : they meet different purposes. You don’t know how to describe a castle ? It’s okay, historical fiction got your back. Because it aims at something more realistic and accurate, it would tend to be more specific and detailed when it comes to describing clothes, furniture, places and so on. Why ? Because, most of the time, THEY ACTUALLY EXISTED. Take a closer look at how it is done and draw your inspiration from it (but please avoid plagiarism it’s bad - and illegal)

Take notes and CLASSIFY them. To make reading somehow useful, you have to actually make it concious, which means you have to write things down to remember them. When I come across a description I like, I tend to takes notes of the figures of speech that are used and class them, so when I have to write a similar scene, I have an idea of what have been already used, and weither or not it achieved its goal. I am NOT talking about COPY another author’s style !!!! It’s about finding inspiration and new approaches. I also tend to take notes of the new words I wish to incoporate into my writing. The thesaurus is my new bestie.

Rewrite the same scene from different POVs. First of all, it’s fun. And it’s a really good way to spot quirky formulations. For instance, if you describe a ship, the captain’s POV should be different from that of a simple observer. The first one would be naming each part princisely whereas the other would only be admiring the surface without knowing anything. If the caption is the same for both POVs, maybe you should consider write your passage again (or have a good reason, like a strong amateurism for the mere observer). It’s go hand in hand with coherence - but it would be an essay for another time (maybe).

Read your text aloud. I put major emphasis on that one because it’s as underated as reading books for various genres. You have no idea how much we DON’T speak the way we write. Even dialogues are crafted in our stories - so make sure to give them proper attention. (i even read my email aloud but-). I KNOW how cringey it might be as I am doing it MYSELF but the benefits are worth the 35-minutes shame I endure from my own mess. Before you can shine, you have to polish (shout out to the one who said that first if it’s not me).

Take a step back. I strongly advice you to let some time pass before reading your text again and profreading it. It will cast a new light upon your work and with fresh eyes you’d be more likely able to spot what needs to be erased or rephrased.

That’s all for me today. Since I would be entering my proofreading phase for my writing contest, the next essay would probably about proofreading (with examples from my own novel ?). Unless someone wants me to write on a specific subject first.

Gentle reminder that I’m still French and not a native so please forgive my dubious grammar and outrageous mispellings.

[derinwrites]

Plotting a story -- inductive and deductive plotting

When it comes to plotting habits in writing fiction, there’s a scale. Most people label the ends of this scale ‘gardener’ and ‘architect’, although the terms ‘plotter’ and ‘pantser’ are also in use. If you’re a writer, you probably know this scale, but I’ll briefly explain for those who haven’t and then get into my model.

An architect, or plotter, is a writer who thrives with a lot of planning. Like an architect planning a house, they assess what story they’re telling in advance and what needs to happen to tell it. They assess the materials, plan and measure the acts (if they’re using an act structure), decide on the climax and how the characters will develop and map those onto the plan. Then, with a plan, they write.

A gardener, or pantser, by contrast, writes ‘by the seat of their pants’. Pantsers may or may not know where their story is going in broad terms, but they certainly don’t know in any detail beyond ‘this’ll be a cool scene if I can get it there’. To these people, writing is less like architecture and more like gardening – you can build your beds and plant your seeds, but a whole lot of what’s going to happen next depends on how the plants grow, and all you can do is keep an eye on them and prune or train them as necessary. You can dream about what your garden will look like in the spring, but you won’t know until you get there.

Plotters and pantsers are not two distinct categories of writers, but ends on a scale. The writer who ad libs sentence by sentence with no goal at all is extremely rare, as is the writer who starts from an overall view of the plot and cuts it down and down until they’re planning on the sentence level. Most writers tend towards one end of the scale to a greater or lesser degree, but very few write completely using one method and none of the other.

The plotter/pantser scale is one that many writers find incredibly useful to help them understand their own process. By knowing where you are on this scale, you can better understand how you write and better understand how the habits and advice of other writers may or may not be useful to you. (A pantser trying to meticulously plot their story in advance following some formula they found in a writing advice book is wasting their time.) However, this model has little utility beyond that, which is why I find it more useful to address the phenomenon not as a scale, but as the manifestation of two separate skills, that I like to call deductive and inductive plotting.

In logic, deductive reasoning is when you take broad rules or generalities and apply them to specific circumstances to predict things – you start big and go little. “Things fall when you drop them, therefore if I drop this rock it will fall” is deduction. Inductive reasoning is the opposite – you start with small observations and build them into a pattern to predict something bigger. “I dropped seventeen objects and they all fell; therefore, perhaps when you drop things, they fall” is induction. (There’s also abductive reasoning, but that doesn’t fit into our plotting skill metaphor.)

In my experience, these skills match to the habits of plotters and pantsers. Plotters, or architects, assemble a big picture of the story they want and then deduce their individual scenes and fill in the lines to map to their overall general picture. They are deductive plotters. If you ask a deductive plotter to start writing without an outline, they become lost and their output seems directionless and erratic – how can they know what to write if they don’t have an outline to break things down from? Deductive plotters tend to think of stories in terms of overall structures and themes that can be broken down into characters and events and put on the page.

Pantsers, or gardeners, are the opposite. They’re if-then writers, and build the plot upwards from the individual actions of their characters and create the story from the sum total of those interactions. They are inductive plotters. Brandon Sanderson often describes a pantser’s first draft as just a really thorough outline, and he’s not wrong; a pantser needs the scene-by-scene minutae to know what happens next. How are they supposed to build an outline if they don’t know what happens next? If you ask an inductive plotter to build and follow a thorough outline, their writing often comes out as wooden and arbitrary as they have to force the actions of the characters between the restrictive rails of predetermined plot. Inductive potters tend to think of stories in terms of characters and discrete events that build up into something bigger with a consistent mood or theme. Inductive plotters sometimes complain of their characters having a life of their own and defying the plot – this is the effect of their moment-by-moment if-then reasoning of the character’s next action not matching their initial predictions, and surprising them.

Again, the vast majority of writers have some rudimentary skill in both inductive and deductive plotting. A strong deductive plotter (architect) can usually sit down and infer line-by-line a scene that their outline lists as “the three characters meet in the coffee shop and share evidence, Rosemary sees Harold’s notes and realises where the gun went.” Similarly, a strong inductive plotter (gardener) usually has some idea of where their story is headed next even if they don’t know how long it’ll take to get there or what complications will pop up in the meantime. But I’ve never met a writer who is equally strong in both inductive and deductive plotting; most writers specialise heavily in one, and tend towards one end of the scale. I think this is because there’s such a huge overlap in utility; when we start learning to write, we start plotting in whatever way is easiest for us, and train that specific method over decades. There’s little reason to invest even more decades into getting just as good with the other method when your favoured method already achieves everything you want.

I find that viewing this scale as the result of two skills, inductive and deductive plotting, can be very helpful in understanding specifically how we write. Thinking of myself as a heavily inductive plotter with rudimentary deductive plotting skills has really helped me understand why some methods of writing work for me and others don’t, as well as help nail down specific weaknesses in my writing. I also find it useful to think of writing styles and strategies not as some unchangeable characteristic we were born with (as the plotter/pantser scale is frequently envisioned), but as skills that can be built. You don’t write the way you write because you happen to be a plotter or pantser – you write the way you write because that’s what you learned to do! And it was hard! And you did it! Be proud of your skill!

[museaway]

✨ love your fandom asks ✨ 

Saw the opposite of this floating around and thought the reverse might be fun.

list 3 positive things about your current fandom(s)

a headcanon you weren't sure about at first but have come to like!

a character that fandom has helped you appreciate

say something nice about a ship you don't ship (it can be another ship in your fandom, a mutual's OTP, etc)

something you see in fics a lot and love

something you see in art a lot and love

your favorite tropes to read/write/draw

you hope more people will come to appreciate ___ (a ship, a trope, an episode, etc)

a ship that isn't your OTP but that you enjoy

a blog (mutual or one you follow) that has made your fandom experience brighter

if you're a writer or artist, what fic or piece of art are you proud of making?

compliment someone else in your fandom

your favorite type of fandom event (gift exchange, ship week, secret santa, prompt meme, etc)

the ship that always makes you smile

the character that always makes you smile

a tiny detail in canon that you want more people to appreciate

the thing in canon that everyone loves and that you also love

a fandom tag that you track

your current fandom(s)

your very first fandom!

a fandom you're not active in anymore but that you still really like

the fandom friend you've known the longest

the fandom you're curious about because of a mutual

how has fandom positively impacted your life?

a piece of advice for taking care of yourself in fandom spaces

[aphrodeiities]

ᴘʟᴀɴᴇᴛꜱ ɪɴ ʀᴇᴛʀᴏɢʀᴀᴅᴇ

thank you for the 10,000+ followers! a game with no exchange will be released:)

now that i've written and understand planets in retrograde thoroughly they will be included in chart readings for free.

THE SUN AND THE MOON CANNOT BE IN RX.

MERCURY IN RX

♇ having mercury in rx makes someone think more often, especially over the most pettiest things they think is big. they're very anxious people, and since it is in retrograde it could be implied that they're "wired differently" they think more out of the box, and even speak different, how they speak and write could be very distinct.

♇ mercury in retrograde could give someone inactive relatives, or cousins and siblings they're not close to. and since they're people who doubt themselves a lot, they could stall themselves from the path they're supposed to take, being their own obstacles. they could also be people who take some time to take in/process information.

♇ as i said they're people who hold themselves back a lot, this could link to their childhood, might've had people speak over them and silence them when they were younger.

VENUS IN RX

♇ people who have venus in retrograde might focus on love too much, and they could be people who have a struggling relationship with women. sisters, women who are their cousins and women who are their friends.

♇ they could also be very secretive people, they have a hard time opening up, which could make them be deemed as cold. they have a hard time giving and receiving affection.

♇ they could be bad at handling money, and might think everyone is out to get them. they could find it hard to love themselves, having venus in rx, is the peak of the "tortured poet".

MARS IN RX

♇ those who have mars in retrograde could have a hard time getting along with men, or even with the opposite sex. to have mars in rx could mean you could be considered as someone who i very intense. can a hard time expressing your sexuality and aiming for your goals.

♇ instead of learning life lessons quick, they are normally stubborn people and barely listen to advice given to them by trusted people. could be people who are too hesitant, say and do things at the wrong time and place.

♇ people with mars in retrograde might've gone through sexual trauma, could be scared to be intimate with other people. they're people who hate authority or people trying to have dominance over them. the type of people to not listen to the rules and break them.

JUPITER IN RX

♇ people who have jupiter in rx are the definition of "thinking out of the box", they're people who do have moments that question their faith and some of these people tend to have a God Complex.

♇ sometimes they feel like they're the unluckiest person in the world, might feel like they wont be able to travel the world like they want to. could also have long cycles of depression.

♇ having jupiter in retrograde can mean they're someone who marches to the beat of their own drum, they can be very detail-oriented people, which sometimes mean they feel like they can judge anyone and think of themselves to be flawless. jupiter in rx people are the type of people who want everything in their future to be perfect also, without life's trials and tribulations. can be unrealistic.

SATURN IN RX

♇ as it is told, saturn in retrograde brings a father that wasnt in the person's life, the person who has the saturn in rx can make someone feel like they're being punished by life all the time.

♇ this could also mean they might find it hard to express themselves emotionally, could be due to their childhood. they go through many trials and tribulations, makes them depressive, but in the end they become really wise.

♇ they doubt themselves a lot, could have trouble balancing themselves, and their masculinity, could be too domineering.

URANUS IN RX

♇ people with uranus in rx do not like change, they're likely insecure, [not all are going to be due to different commodities in a chart], but these are usually people who think they are not going to succeed in life.

♇ they sometimes feel like they're in control of nothing which pushes them into their need of controlling everything. they're quick-thinkers but still over-thinkers. they feel like they can never feel nice in a platonic or romantic connection.

♇ it leads them into being paranoid and chaotic. they might also put themselves in a box to make things easier, don't know they're limiting their potential when doing that, they're so much more and need to understand it.

NEPTUNE IN RX

♇ to have neptune in rx could make the kin be very delusional, might find it hard to separate idealistic views with reality. definitely reminds me of alice in wonderland. they're very spiritual people but can over-whelm people by adding their faith into everything.

♇ could be really good at manifesting; trust issues but sometimes are stubborn from learning their mistakes. can be deemed as very dreamy and compassionate.

♇ they could have this feeling of needing to save everyone. their trials and tribulations are a creative outlet for them, another indicator of being the tortured poet. [but the tiring and damaging things they go through are usually expressed through their art, which includes writing, story-telling, writing music, painting etc].

PLUTO IN RX

♇ i do get surprised when i come across these in a natal chart reading, but, pluto in rx folks definitely do hate constraint, they dislike authority and feeling like they're being controlled, which could push them into trying to control other people.

♇ could be escapists through drug and sex, they could also find it hard to accept their dark-self. easily infatuated people, people can get easily obsessed with them as they can get with other people.

♇ good money makers, could manipulate others with materialism, though, they might not be confrontational, could feel easily intimidated. sometimes could never see the potential in themselves can be their own obstacle.

masterlist

pluto