#crumpled dark

[skelelephant]

What a privilege it is, to see your hair go grey.

I’m LATE but happy birthday @solittles my lovely partner in. well. solittle!!!! Finally drew our versions of the boys from our “rescuing each other” au !!!

[withdenim]

They put religious trauma in lego

Translation: “My grief leaves me in prayers. I was born a disciple.”

[bandtrees]

new jjk was great and normal and smiles were had all around

[im-not-a-l0ser]

"You with the dark curls, you with the watercolour eyes."

KleinphyKleinphyKleinphy

[hanzajesthanza]

if i thought the witcher was painfully realistic. i was wrong. it is a very clear fairytale that comforts and soothes. even in its realistic take on the genre, it inspires, even in its tragedy, it comforts.

evil is defeated epically in a final battle in the darkness, the valiant heroes fall together, the lovers die united, and all pass into legend and are remembered for ever and ever. and the spirit of our hero returns now and again to save and deliver us from evil… they become legend and in that legend they are immortal…

[acourtofquestions]

Dont be angry, Finnula said. Be smart.

[doomzday-zone]

that....... episode 3............... 😨

[kaerinio]

i’ll write a full headcanon/meta about the fact that daenerys is very much a feeler, but due to the abuse she suffered during her childhood, leading into her adolescence, she has learned to cope with her feelings by repressing them —  —  — and, later, as queen, she often tells herself that her feelings do not matter so long as her people are safe, prosperous, and thriving.

daenerys does feel. god, she feels very strongly, and she is fully aware of this, which is why she is constantly reminding herself that “the dragon does not weep” and that she is a queen who cannot appear too emotional ( or weak ) in front of her people, her council, her handmaids, everyone. she must be strong for everyone, must carry them all, allowing no burden to befall them. and much of this responsibility is born out of daenerys' transformation in the eyes of her people.

daenerys is deified by her people the moment they name her mother of dragons, breaker of chains, mother, mhysa, etc. these moments, which take place over the span of a couple years solidify this stripping away of her status as simply human. that first shift from khaleesi to mother of dragons signals a transformation to daenerys, and this is the moment where she is reborn, not only in her sense of self, but she is reborn for her people, going from a young woman to a legendary figure. and daenerys both recognizes this . . . and chooses to honor it.

additionally, there is a split for daenerys between all of her titles that signal who she is in the PUBLIC ( where she is the dragon queen, the mother of dragons, the strong leader, the conqueror, the nurturer ) and in the PRIVATE ( where we see her smiling, laughing, allowing herself to be herself, reading childhood stories that enable her to reclaim the youth that is so distant, so robbed ). everyone has their public and private ways of being, and they have the ability to live within these spaces in harmony. this is the case for daenerys, but something that has always struck me is how she utilizes her PUBLIC SPACE self in order to create emotional distance when she feels HURT. not only does she “dragons don’t feel” herself, but we also see her use her public self as a means of shoving her feelings down. 

to those close to her, dany isn't particularly strict about titles. for instance, jorah refers to her interchangeably as “daenerys” and “your grace”. daario does the same. however, in moments where she feels particularly sensitive to what they are saying, feels too exposed/too seen, she corrects them, tosses her title at them, retreats into untouchable space because she knows that her public space self is, in a way, untouchable. and she believes this space must be void of her own personal feelings ; thus, in these moments, she shifts her self in order to protect her feelings and create distance between herself, these emotions, and the person who is stirring the emotions. 

[skinreflectsthesun]

.

[nny11writes]

Accidental Six Sentence Sunday because I made myself sad so now you get to suffer with me

CW: Suicidal Ideation CW: Suicide note

Catra, as per usual, is not having a great time. This is also a, uh, just a-HEM just a little tiny bit longer than 6 sentences. Don't worry about it don't worry about it don't worry about it, this is fine! :) I will find the perfect place for this :)

This has nothing to do with Carter in the Cult. This sentence is designed to torture one or two of you specifically.

Don't worry about it :)

My dedication to self destruction should be applauded. 

None of the rest of you have found a way to kill me yet, but at the rate I’m going I’ve found it for you. So, you’re welcome! I’ll do the hard work and the dirty work, and you can stand there to shake your head sadly and say shit like:

“She’s in a better place now.”

“At least she isn’t suffering anymore.”

“I knew she was unwell, but…”

“It���s actually a relief to not have to worry about her anymore.”

And you’ll post your sorry online brownie point stories about me and the times you tried to help me, but gosh I was just so fucking far gone if only you could’ve done more. You’ll end it telling the people you actually care about “if you are ever feeling this way please reach out to me!” and you’ll post the number to a hotline that will call the cops on any poor fucker who calls it. 

And you’ll feel better. You will feel better.

That’s what it’s all about right? I’m a nuisance, a pest, a nightmare. You can’t stand me at my best or worst, you think I’m a bitch, you think I’m scum. You tell your friends to avoid me because “oh that Catra is a bad one, just likes drama”. Just likes drama, your judgment from on high where you push back and sometimes push first but sure I love the “drama” of it all. Or maybe your friends just said that for you, and you let them puppet you about; afraid to speak up.

Well, it doesn’t matter much I suppose.

When I’m gone you’ll feel bad, but not in a way that will change you. Just enough to want to get rid of it as quickly as you got rid of me, so you make your post and have an outpouring of support from well wishers and people who wished they could’ve seen the signs.

I mean, I made each sign with sweat and tears and blood, I bent the glass tubes carefully and turned them on in neon red and green.

You saw the signs.

You just hoped they wouldn’t mean what you feared they could, and the worst part is I don’t know if you feared it because you actually cared about me or if you feared the cleanup and guilt you knew would come. Always have to make things right after all, always have to clean up my messes. If you can’t control me, you want to control the aftermath and the first step of that is to make it all about you, right?

Well don’t worry about it. It’s not your problem. I’m absolving you of that guilt, this wasn’t your fault.

I made my mistakes, and now I have to live with them, right?

As if I haven’t spent my whole life living with this. Struggling against it. Pushing the weight up for moments at a time to gasp in air before it crushed me again. (Do you remember when you used to hold me and promise I didn’t deserve that kind of misery? I do. I miss the you that believed in me, but I guess that’s my fault too.) I’ve lived with it and like everything else in my life, it just isn’t worth it. Nothing is worth it anymore,.not since you   

Listen to your friends now. They’re better than me, smarter than me, kinder than me. They never liked me and they might’ve been on to something. When they tell you that it’s not your fault, it’s true. When they tell you I was unstable, it’s true. When they tell you this was inevitable, well, I think that’s true too.

Third try’s the charm right?

…

Well. Wish me luck, and do me a favor- I know I don’t deserve one, but do me one last favor.

When the mortuary asks who will pick up my remains? Leave them there. They cremate the unclaimed and I can sit in a dusty box in the basement, and when enough time passes maybe I’ll get lucky and they’ll throw me away with the rest of the trash. Don’t keep me on your desk to mourn, I don’t want you to cry over me. 

I want me gone. You should too.

So do me a favor and don’t claim me. Choose yourself for fucking once.

Trust me, you’ll thank me later.

[skelelephant]

Sometimes you gotta draw something that makes the teenager in your brain happy

[blindedguilt]

//A Happy birthday to Riversal, who, in true middle child fashion had his birthday forgotten last year so hopefully by shouting him out here I can get rid of the guilt that's been burdening me ever since ;w; Again, happy birthday to our little boy!! Asks ofc are open (Of all the siblings, I'm sure he'd appreciate them the most lmao) though I'm currently trying to focus on some older asks as well (When i'm not caught up in college and bighttown), so if it takes a second just know I'll get to you eventually!! Thank you~ :3

[fvckw4d]

also wwe all agree that that submersible exploded like 2 days ago and everyone is just fucking pretending it didn't and there's still hope right

[ranger-danger]

I feel bad for Gale getting stuck with Joyce. Imagine planing out and preparing this whole night, just to woo this man you’ve been into for a decent amount of time, on what you think is probably one of your last nights alive. And it’s all going well! He loves like you love him, he’s a pretty decent kisser, and you’re pumped! …only to find out that you can’t connect your souls and have this experience you cherish, because he sorta maybe kinda a little bit neglected to even consider mentioning the fact that he sorta kinda maybe doesn’t have a soul…

[hayatheauthor]

The Anatomy of Passing Out: When, Why, and How to Write It

Passing out, or syncope, is a loss of consciousness that can play a pivotal role in storytelling, adding drama, suspense, or emotional weight to a scene. Whether it’s due to injury, fear, or exhaustion, the act of fainting can instantly shift the stakes in your story.

But how do you write it convincingly? How do you ensure it’s not overly dramatic or medically inaccurate? In this guide, I’ll walk you through the causes, stages, and aftermath of passing out. By the end, you’ll be able to craft a vivid, realistic fainting scene that enhances your narrative without feeling clichéd or contrived.

2. Common Causes of Passing Out

Characters faint for a variety of reasons, and understanding the common causes can help you decide when and why your character might lose consciousness. Below are the major categories that can lead to fainting, each with their own narrative implications.

Physical Causes

Blood Loss: A sudden drop in blood volume from a wound can cause fainting as the body struggles to maintain circulation and oxygen delivery to the brain.

Dehydration: When the body doesn’t have enough fluids, blood pressure can plummet, leading to dizziness and fainting.

Low Blood Pressure (Hypotension): Characters with chronic low blood pressure may faint after standing up too quickly, due to insufficient blood reaching the brain.

Intense Pain: The body can shut down in response to severe pain, leading to fainting as a protective mechanism.

Heatstroke: Extreme heat can cause the body to overheat, resulting in dehydration and loss of consciousness.

Psychological Causes

Emotional Trauma or Shock: Intense fear, grief, or surprise can trigger a fainting episode, as the brain becomes overwhelmed.

Panic Attacks: The hyperventilation and increased heart rate associated with anxiety attacks can deprive the brain of oxygen, causing a character to faint.

Fear-Induced Fainting (Vasovagal Syncope): This occurs when a character is so afraid that their body’s fight-or-flight response leads to fainting.

Environmental Causes

Lack of Oxygen: Situations like suffocation, high altitudes, or enclosed spaces with poor ventilation can deprive the brain of oxygen and cause fainting.

Poisoning or Toxins: Certain chemicals or gasses (e.g., carbon monoxide) can interfere with the body’s ability to transport oxygen, leading to unconsciousness.

3. The Stages of Passing Out

To write a realistic fainting scene, it’s important to understand the stages of syncope. Fainting is usually a process, and characters will likely experience several key warning signs before they fully lose consciousness.

Pre-Syncope (The Warning Signs)

Before losing consciousness, a character will typically go through a pre-syncope phase. This period can last anywhere from a few seconds to a couple of minutes, and it’s full of physical indicators that something is wrong.

Light-Headedness and Dizziness: A feeling that the world is spinning, which can be exacerbated by movement.

Blurred or Tunnel Vision: The character may notice their vision narrowing or going dark at the edges.

Ringing in the Ears: Often accompanied by a feeling of pressure or muffled hearing.

Weakness in Limbs: The character may feel unsteady, like their legs can’t support them.

Sweating and Nausea: A sudden onset of cold sweats, clamminess, and nausea is common.

Rapid Heartbeat (Tachycardia): The heart races as it tries to maintain blood flow to the brain.

Syncope (The Loss of Consciousness)

When the character faints, the actual loss of consciousness happens quickly, often within seconds of the pre-syncope signs.

The Body Going Limp: The character will crumple to the ground, usually without the ability to break their fall.

Breathing: Breathing continues, but it may be shallow and rapid.

Pulse: While fainting, the heart rate can either slow down dramatically or remain rapid, depending on the cause.

Duration: Most fainting episodes last from a few seconds to a minute or two. Prolonged unconsciousness may indicate a more serious issue.

Post-Syncope (The Recovery)

After a character regains consciousness, they’ll typically feel groggy and disoriented. This phase can last several minutes.

Disorientation: The character may not immediately remember where they are or what happened.

Lingering Dizziness: Standing up too quickly after fainting can trigger another fainting spell.

Nausea and Headache: After waking up, the character might feel sick or develop a headache.

Weakness: Even after regaining consciousness, the body might feel weak or shaky for several hours.

4. The Physical Effects of Fainting

Fainting isn’t just about losing consciousness—there are physical consequences too. Depending on the circumstances, your character may suffer additional injuries from falling, especially if they hit something on the way down.

Impact on the Body

Falling Injuries: When someone faints, they usually drop straight to the ground, often hitting their head or body in the process. Characters may suffer cuts, bruises, or even broken bones.

Head Injuries: Falling and hitting their head on the floor or a nearby object can lead to concussions or more severe trauma.

Scrapes and Bruises: If your character faints on a rough surface or near furniture, they may sustain scrapes, bruises, or other minor injuries.

Physical Vulnerability

Uncontrolled Fall: The character’s body crumples or falls in a heap. Without the ability to brace themselves, they are at risk for further injuries.

Exposed While Unconscious: While fainted, the character is vulnerable to their surroundings. This could lead to danger in the form of attackers, environmental hazards, or secondary injuries from their immediate environment.

Signs to Look For While Unconscious

Shallow Breathing: The character's breathing will typically become shallow or irregular while they’re unconscious.

Pale or Flushed Skin: Depending on the cause of fainting, a character’s skin may become very pale or flushed.

Twitching or Muscle Spasms: In some cases, fainting can be accompanied by brief muscle spasms or jerking movements.

5. Writing Different Types of Fainting

There are different types of fainting, and each can serve a distinct narrative purpose. The way a character faints can help enhance the scene's tension or emotion.

Sudden Collapse

In this case, the character blacks out without any warning. This type of fainting is often caused by sudden physical trauma or exhaustion.

No Warning: The character simply drops, startling both themselves and those around them.

Used in High-Tension Scenes: For example, a character fighting in a battle may suddenly collapse from blood loss, raising the stakes instantly.

Slow and Gradual Fainting

This happens when a character feels themselves fading, usually due to emotional stress or exhaustion.

Internal Monologue: The character might have time to realize something is wrong and reflect on what’s happening before they lose consciousness.

Adds Suspense: The reader is aware that the character is fading but may not know when they’ll drop.

Dramatic Fainting

Some stories call for a more theatrical faint, especially in genres like historical fiction or period dramas.

Exaggerated Swooning: A character might faint from shock or fear, clutching their chest or forehead before collapsing.

Evokes a Specific Tone: This type of fainting works well for dramatic, soap-opera-like scenes where the fainting is part of the tension.

6. Aftermath: How Characters Feel After Waking Up

When your character wakes up from fainting, they’re not going to bounce back immediately. There are often lingering effects that last for minutes—or even hours.

Physical Recovery

Dizziness and Nausea: Characters might feel off-balance or sick to their stomach when they first come around.

Headaches: A headache is a common symptom post-fainting, especially if the character hits their head.

Body Aches: Muscle weakness or stiffness may persist, especially if the character fainted for a long period or in an awkward position.

Emotional and Mental Impact

Confusion: The character may not remember why they fainted or what happened leading up to the event.

Embarrassment: Depending on the situation, fainting can be humiliating, especially if it happened in front of others.

Fear: Characters who faint from emotional shock might be afraid of fainting again or of the situation that caused it.

7. Writing Tips: Making It Believable

Writing a fainting scene can be tricky. If not handled properly, it can come across as melodramatic or unrealistic. Here are some key tips to ensure your fainting scenes are both believable and impactful.

Understand the Cause

First and foremost, ensure that the cause of fainting makes sense in the context of your story. Characters shouldn’t pass out randomly—there should always be a logical reason for it.

Foreshadow the Fainting: If your character is losing blood, suffering from dehydration, or undergoing extreme emotional stress, give subtle clues that they might pass out. Show their discomfort building before they collapse.

Avoid Overuse: Fainting should be reserved for moments of high stakes or significant plot shifts. Using it too often diminishes its impact.

Balance Realism with Drama

While you want your fainting scene to be dramatic, don’t overdo it. Excessively long or theatrical collapses can feel unrealistic.

Keep It Short: Fainting typically happens fast. Avoid dragging the loss of consciousness out for too long, as it can slow down the pacing of your story.

Don’t Always Save the Character in Time: In some cases, let the character hit the ground. This adds realism, especially if they’re fainting due to an injury or traumatic event.

Consider the Aftermath

Make sure to give attention to what happens after the character faints. This part is often overlooked, but it’s important for maintaining realism and continuity.

Lingering Effects: Mention the character’s disorientation, dizziness, or confusion upon waking up. It’s rare for someone to bounce back immediately after fainting.

Reactions of Others: If other characters are present, how do they react? Are they alarmed? Do they rush to help, or are they unsure how to respond?

Avoid Overly Romanticized Fainting

In some genres, fainting is used as a dramatic or romantic plot device, but this can feel outdated and unrealistic. Try to focus on the genuine physical or emotional toll fainting takes on a character.

Stay Away from Clichés: Avoid having your character faint simply to be saved by a love interest. If there’s a romantic element, make sure it’s woven naturally into the plot rather than feeling forced.

8. Common Misconceptions About Fainting

Fainting is often misrepresented in fiction, with exaggerated symptoms or unrealistic recoveries. Here are some common myths about fainting, and the truth behind them.

Myth 1: Fainting Always Comes Without Warning

While some fainting episodes are sudden, most people experience warning signs (lightheadedness, blurred vision) before passing out. This gives the character a chance to notice something is wrong before losing consciousness.

Myth 2: Fainting Is Dramatic and Slow

In reality, fainting happens quickly—usually within a few seconds of the first warning signs. Characters won’t have time for long speeches or dramatic gestures before collapsing.

Myth 3: Characters Instantly Bounce Back

Many stories show characters waking up and being perfectly fine after fainting, but this is rarely the case. Fainting usually leaves people disoriented, weak, or even nauseous for several minutes afterward.

Myth 4: Fainting Is Harmless

In some cases, fainting can indicate a serious medical issue, like heart problems or severe dehydration. If your character is fainting frequently, it should be addressed in the story as a sign of something more severe.

Looking For More Writing Tips And Tricks? 

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

[ghost-of-kurdt-haunts-my-room]

Master Chief on Hug Duty