#chaos for life

[rulernogard156]

Literally all the fuckin time! The only time I'm not thinking of him is when im thinking of Mortarion!!!

do you think about fulgrim? have you thought about fulgrim? will you think about fulgrim? when will you think about fulgrim?

[nondelphic]

sometimes the best writing advice is "just let it be bad." revolutionary. terrifying. but it works.

[sageiii]

hc that every couple months jason texts tim like "hey r you going rogue yet?" "no" "alr lemme know if you change your mind" until one night tim gets this text while he's having an absolute shit week and goes yknow what? why not and suddenly the internet is filled with news that red hood teamed up with an unknown associate to cause chaos(stealing from corrupt billionaire type chaos, not mass murder of innocents type chaos) and said associate randomly shows up again every couple months

[staying--whelmed]

the perfect scene with the perfect comment

[xyywrites]

The Power of Silence in Dialogue

We often think of dialogue as something that’s just about what characters say, but let’s talk about what they don’t say. Silence can be one of the most powerful tools in your writing toolbox. Here’s why:

1. The Unspoken Tension

When characters leave things unsaid, it adds layers to their interactions. Silence can create a tension that’s so thick you could cut it with a knife. It shows things are happening beneath the surface—the real conversation is happening in what’s left unspoken.

Example:

“So, you’re leaving, huh?” He didn’t look up from the table, his fingers tracing the rim of his glass, slow and deliberate. “Yeah.” “Guess I should’ve expected this.” (Silence.) “You’re not mad?” “I’m not mad,” she said, but the way her voice broke was louder than anything she'd said all night.

2. Building Anticipation or Drama

Sometimes silence can heighten the drama, creating a pause where the reader feels like something big is about to happen. You don’t always need words to convey that sense of dread or anticipation.

Example:

They stood there, side by side, staring at the door that had just closed behind him. “You should’ve stopped him.” She didn’t answer. “You should’ve said something.” The room felt colder. “I couldn’t.” (Silence.)

3. Creating Emotional Impact

Sometimes, saying nothing can have the biggest emotional punch. Silence gives the reader a chance to interpret the scene, to sit with the feelings that aren’t being voiced.

Example:

He opened the letter and read it. And then, without saying a word, he folded it back up and placed it in the drawer. His fingers lingered on the wood for a long time before he closed it slowly, too slowly. “Are you okay?” He didn’t answer.

TL;DR

Silence isn’t just a pause between dialogue—it’s a powerful tool for deepening emotional tension, building anticipation, and revealing character. Next time you write a scene, ask yourself: what isn’t being said? And how can that silence say more than the words ever could?

[seekerknight557]

i think it is a very powerful thing when the story inside you is so loud that you are forced to relearn how to draw, write, and talk to people to get it made into a real thing

[epiph-annie]

I've seen my own sun darkened

[spiderlilyx]

"Oh my God why would they do that????" I say as I write someone doing something bad with my own ten fingers

[aalghul]

once again thinking about jason as duke’s robin. he’s ~4 years younger than jason, and that puts him at 8-12 during Jason’s time as robin. that’s prime time to get attached to your local kid vigilante before your own life goes downhill.

and if we try to keep duke’s meeting with bruce in zero year + duke’s age (so he can remember the meeting and hold that conversation with bruce), he has to be around 8. if he starts following batman through the news at that time because of the mess that just happened, the robin he sees is probably jason. I’ve literally connected the dots

[nondelphic]

writing? oh, i’m definitely writing. in my head. during the most inconvenient times. like in the shower or when i’m about to fall asleep. actual typing? no, no, we don’t do that here.

[crowlls]

Take me with you

Robotnik's huge green face jumpscare under the cut

I felt like I needed to share this one I luv his crazy ass

[radishearts]

O_Oo <- unequivocal love for this skin actually

I’m finally finished all my school assessments so I can GET BACK TO DRAWING :DDD

[lilydrafts]

We are writers my love. We don't cry. We bleed on paper.

[xyymath]

Things Math Professors Say

"The proof is trivial." (Oh, cool. Guess I’m just an idiot then.)

"Left as an exercise." (Translation: You’ll never solve this in a million years.)

"It’s obvious, really." (Sure, if you’re a demigod.)

"By inspection." (Stares harder at problem… still nothing.)

"For small values of epsilon." (How small? Subatomic? Microscopic? Vibes?)

"WLOG (Without Loss of Generality)." (Oh, we’re just assuming it doesn’t matter now? Alright.)

"Details omitted." (Because apparently, you don’t need to understand it.)

"By the usual argument." (Which you somehow don’t know because you weren’t born in 1702.)

"Assume the rest holds." (That’s some impressive optimism right there.)

"The usual abuse of notation." (Why does this feel like an emotional wound?)

"Almost surely correct." (But also possibly wrong? Cool, thanks for the clarity.)

"A non-rigorous approach." (I thought math was supposed to be precise?!)

"Assume it’s obvious." (Buddy, NOTHING about this is obvious.)

"The reader may verify." (No, the reader may CRY.)

"To the interested reader." (Guess I’m not interested enough, huh?)

"Well-behaved functions only." (We’re function-shaming now?)

"Obvious to the trained eye." (Guess I’ll never make it out of amateur league.)

"A trivial case analysis." (Trivial to WHO??)

"Integrate by parts, twice." (Bold of you to assume I got it the first time.)

"As you can clearly see." (Oh, I clearly see my FAILURE, alright.)

"It works in practice too." (Unlike me, who barely works at all.)

"Assume a spherical cow." (Are we doing math or abstract sculpture?)

"A standard result." (Not in my standards, pal.)

"We skip the tedious algebra." (No, no, please—I wanted to suffer MORE.)

"Assume non-zero solutions exist." (Okay, now we’re just assuming life works out.)

"The usual topology." (Bro, I don’t even know the unusual topology.)

"Finitely many cases left." (Just kidding, there’s 72.)

"By virtue of symmetry." (Virtue? I have none left.)

"Don’t worry about the constant." (The constant is probably my GPA dropping.)

"Assume continuity." (I’m assuming my brain is breaking.)

"Smooth functions only." (Guess I’ll leave, I’m clearly not smooth enough.)

"The simplest non-trivial case." (Simplest? NON-TRIVIAL? Pick a side!)

"Epsilon goes to zero." (Epsilon isn’t the only one losing it.)

"And the rest follows." (Where? Straight to my breakdown?)

[xyywrites]

Pacing Through Sentence Length in Writing

You ever notice how a scene can feel like it’s dragging or speeding up based solely on the length of the sentences? Sentence length isn't just a technical detail—it’s a pacing tool. When used right, it can control the speed and tension of your story. Here’s how:

Short Sentences = Speed, Tension, Impact

Short, snappy sentences are like quick breaths, instantly pulling the reader’s attention. They mimic fast action, nervous energy, or urgent thoughts. They create momentum. Think of action scenes or emotional moments—often, less is more.

Example: The door slammed shut. His heart raced. She was gone.

In just three sentences, you feel the urgency, the chaos, and the emotional weight of the moment. It’s all about breaking up the narrative with these quick hits to keep the reader on edge.

Long Sentences = Build-up, Reflection, Depth

On the flip side, long sentences slow things down, adding complexity, reflection, or tension. They’re great for moments of introspection, world-building, or setting a scene in rich detail. These sentences create a flow, pulling the reader into the character’s headspace or the atmosphere of the moment.

Example: The wind howled through the narrow alley, carrying the distant sounds of a city that never seemed to sleep, never seemed to rest, and in that eternal hum, he wondered, not for the first time, if he would ever find peace here or if, like everyone else who tried to escape the shadows, he would simply become another part of the city’s endless noise.

Here, the length of the sentence mimics the complexity of the thoughts—heavy, reflective, almost hypnotic. It builds tension not with action but with an overwhelming feeling of being stuck or trapped in thought.

Combining Both = Dynamic Flow

The real magic happens when you mix short and long sentences. This creates a rhythm—suddenly, a break in the flow, a quick shock, and then back to a longer, more drawn-out moment. It reflects real life: quick bursts of action or emotion followed by moments of pause or thought.

Example: He reached for the door. It was locked. His heart pounded, each beat a reminder of how badly he needed this. There were no other options. There was no way out. The key could be anywhere. And he could not afford to wait any longer.

TL;DR:

Long sentences = build tension, create depth, set mood. Short sentences = ramp up urgency, show action, make an impact. Mastering this flow is a game-changer for pacing!