#ferris writing

[byrdstrolls]

Auditions

“You play like a textbook” He says, glancing up from his notes. 

“Thank you” Ferris grins, relaxing her grin on her bow, her violin slanting as her stance does. 

“That wasn’t a compliment. Next” Mondes says, tapping his pencil on the desk. 

Both of the trolls sitting next to Mondes make a frustrated noise at this declaration. 

“Okay” Nesseo says, as Ferris exits the room. “Literally what was wrong with that. It sounded fine.” 

“It was technically perfect.” The man huffs. “But I’ve never before heard something so devoid of personality.” 

“Pleaseeeeee that guy was like the only lowblood that showed up. Can we really afford to be picky?” 

“Maybe it wouldn’t be so bad” Dietes says, “To have a duetist without a lot of personal flair. It could make your authenticity stand out more.” 

“Ness” Mondes says, ignoring this valid approach to turn to their half sibling. “You know that guy is Dulkyu’s kismesis right?” 

“Soooo?” Nesseo says. 

“Isn’t that like a conflict of interest?” 

“To be honest. You got me. I’m kind of curious as hell as to what Dulkyu’s up too lately. She keeps leaving me on read.” Nesseo says, glancing at the door where the hemoanon had just exited. 

“I’m not picking somebody just so you can gossip with them,” Mondes says, frustrated.

“Mondes” Dietes says, looking through their paperwork. “That was the last troll on our list. Nobodies even after her. You said you wanted a lowblood.” 

“We don’t know Ferris is a lowblood” He protests. 

“Be so fr right now” Nesseo retorts. 

“Her or that cerulean viola player. Last call.” Dietes states. 

Mondes closes his eyes, inhaling. Feeling this was a worse idea with every growing second, he straightens out his notes. 

“Motherfucker” The olive says, before standing up and rushing down the hallway to try and catch Ferris Wheell before he left the building.

[virtuouslibertines69]

"Tell me every terrible thing you ever did, and let me love you anyway." - Sade Andria Zabala Art by Roberto Ferri

[frokoyami]

coming home after another day of plan making

[akuma-tenshi]

comfort zone has got to have one of my favourite videos in the series tbh

[elucubrare]

i've seen that "don't add numbers to sff" post a bunch of times and it's not a bad point but i'm so tired of writing advice phrased that absolutely - sure, there are times when i've noticed Bad Numbers*, but there are ALSO times when numbers, even general ones, would have really helped to give an idea of scale or reference. "know when a number will help and when it will hurt" is harder to follow, as advice, but unfortunately writing is applying your judgement over and over and over again

[vitalverstappen]

The Tortured Drivers Department

if you can't tell, my writing has been littered with fics based off of Taylor Swift's the tortured poets department and so i figured i would compile them into one masterlist.

i don't know if i'll be doing all 31 songs (that's a lot and ideas pop up when they want to) but i'm not counting it out.

please do not copy, share, or repost my work on any other sites without my explicit consent.

enjoy :)

main masterlist

The Tortured Poets Department (Daniel Ricciardo x girlfriend!reader) -> i scratch your head, you fall asleep, like a tattooed golden retriever

My Boy Only Breaks His Favorite Toys (Charles Leclerc x on and off again!reader) -> just say when, i'd play again. he was my best friend down at the sandlot

I Can Fix Him (No Really, I Can) (Pierre Gasly x girlfriend!reader) -> your good lord didn't need to lift a finger. i can fix him. no really, i can. woah, maybe i can't

I Look Into People's Windows (Oscar Piastri x ex!reader) -> does it feel alright to not know me? i'm addicted to the "if only"

Cassandra (Charles Leclerc x platonic teammate!xreader) -> you can mark my words that i said it first. in a mourning warning, no one heard

The Bolter (Lando Norris x situationship! heiress! reader) -> the chariot is waiting, hearts are hers for the breaking. there's escape in escaping

[mostlysignssomeportents]

The art of Daniel Danger

[Image ID: Daniel Danger's art print, 'To all who home to this happy place,' depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

There’s this behavioral economics study that completely changed the way i thought about art, teaching, and critique: it’s a 1993 study called “Introspecting about Reasons can Reduce Post-Choice Satisfaction” by Timothy D Wilson, Douglas J Lisle, Jonathan Schooler, Sara Hodges, Kristen Klaaren and Suzanne LaFleur:

https://www.researchgate.net/publication/240281868_Introspecting_about_Reasons_can_Reduce_Post-Choice_Satisfaction

The experimenters asked subjects to preference-rank some art posters; half the posters were cute cartoony posters, and the other half were fine art posters. One group of subjects assigned a simple numeric rank to the posters, and the other had to rank them and explain their ranking. Once they were done, they got to keep their posters.

There was a stark difference in the two groups’ preferences: the group that had to explain their choices picked the cartoony images, while the group that basically got to point at their favorite and say, “Ooh, I like that!” chose the fine art posters.

Then, months later, the experimenters followed up and asked the subjects what they’d done with the poster they got to take home. The ones who’d had to explain their choices and had brought home cartoony images had thrown those posters away. The ones who didn’t have to explain what they liked about their choice, who’d chosen fine art, had hung them up at home and kept them there.

The implication is that it’s hard to explain what makes art good, and the better art is, the harder it is to put your finger on what makes it so good. More: the obvious, easy-to-articulate virtues of art are the less important virtues. Art’s virtues are easy to spot and hard to explain.

The reason this stuck with me is that I learned to be a writer through writing workshops where we would go around in a circle and explain what we liked and didn’t like about someone’s story, and suggest ways to make it better. I started as a teenager in workshops organized by Judith Merril in Toronto, then through my high-school workshop (which Judy had actually founded a decade-plus earlier through a writer in the schools grant), and then at the Clarion workshop in 1992. I went on to teach many of these workshops: Clarion, Clarion West and Viable Paradise.

So I’ve spent a lot of time trying to explain what was and wasn’t good about other peoples’ art (and my own!), and how to make it better. There’s a kind of checklist to help with this: when a story is falling short in some way, writers roll out these “rules” for what makes for good and bad prose. There are a bunch of these rulesets (think of Strunk & White’s Elements of Style), including some genre-specific ones like the Turkey City Lexicon:

https://www.sfwa.org/2009/06/18/turkey-city-lexicon-a-primer-for-sf-workshops/

A few years ago, I was teaching on the Writing Excuses cruise and a student said something like, “Hey, I know all these rules for writing good stories, but I keep reading these stories I really like and they break the rules. When can I break the rules?”

There’s a stock answer a writing teacher is supposed to give here: “Well, first you have to master the rules, then you can break them. You can’t improvise a jazz solo without first learning your scales.”

But in that moment, I thought back to the study with the posters and I had a revelation. These weren’t “rules” at all — they were just things that are hard and therefore easy to screw up. No one really knows why a story isn’t working, but they absolutely know when it doesn’t, and so, like the experimental subject called upon to explain their preferences, they reach for simple answers: “there’s too much exposition,” or “you don’t foreshadow the ending enough.”

There are lots of amazing stories that are full of exposition (readers of mine will not be shocked to learn I hold this view). There are lots of twist endings that are incredible — and not despite coming out of left field, but because of it.

The thing is, if you can’t say what’s wrong, but you know something is wrong, it’s perfectly reasonable to say, “Well, why don’t you try to replace or polish the things that are hardest to do right. Whatever it is that isn’t working here, chances are it’s the thing that’s hardest to make work”:

https://locusmag.com/2020/05/cory-doctorow-rules-for-writers/

But if I could change one thing about how we talk about writing and its “rules,” it would be to draw this distinction, characterizing certain literary feats as easier to screw up than others, having the humility to admit that we just don’t know what’s wrong with a story, and then helping the writer create probabilistically ranked lists of the things they could tinker with to try and improve their execution.

Which is all a very, very long-winded way to explain why I bought a giant, gorgeous art-print at Comic-Con this weekend, even though I have nowhere to hang it and had sworn I would absolutely not buy any art at the con.

I was walking the floor, peeking into booths, when I happened on Daniel Danger’s booth (#5034, if you’re at the con today), and I was just fuckin’ poleaxed by his work.

http://www.tinymediaempire.com/

[Image ID: Daniel Danger’s ‘It stopped being about the panic,’ depicting a ruined mansion interwoven with the skeletal branches of a tree, with a weeping statue and two human figures]

Now, see above. I can’t tell you why I loved this work so much (and that’s OK!), but boy oh boy did it speak to me. I just kind of stood there with my mouth open, slowly moving from print to print, admiring works like “It stopped being about the panic.”

https://tinymediaempire.myshopify.com/products/2022-sdcc-it-stopped-being-about-the-panic-v4

[Image ID: Daniel Danger’s ‘headlight in the path of,’ depicting a ruined mall with a pair of stags standing at the top of the escalator.]

On the surface, this is moody, post-apocalyptic stuff, heavily influenced by classic monster/haunter tropes, but it’s shot through with hope and renewal and the sense of something beautiful growing out of the ashes of something that has toppled. There’s real “(Nothing But) Flowers” energy in “Headlight in the path of”:

https://tinymediaempire.myshopify.com/products/sdcc2023-headlight-in-the-path-of-v2

[Image ID: Daniel Danger’s ‘We are no longer able to protect you,’ depicting a ruined factory with a coming-apart sign reading ‘We can no longer protect you forever,’ and a statue of a sword-bearing angel.]

Danger isn’t just a

very

talented artist, he’s also an

extremely

talented craftsman. As a recovering pre-press geek, I was (nearly) as impressed by the wild use of spot color and foils as I was by the art, like in “We are no longer able to protect you”:

https://tinymediaempire.myshopify.com/products/sdcc-2022-we-can-no-longer-protect-you-forever-v3

[Image  ID: Daniel Danger’s ‘made of smoke and chains,’ depicting a ruined landscape with a pair of derelict subway trains at the foot of a hill on whose peak is a rotting mansion. A pair of human figures, holding hands, are approaching the mansion.]

Danger himself calls this work “weird sad hyper-detailed artwork of dreamy buildings of ghosts and trees,” which is a very apt description of this work, as you can see in “Made of smoke and chains”:

https://tinymediaempire.myshopify.com/products/made-of-smoke-and-chains-mist-preorder

So I looked at this stuff and sternly reminded myself that there was no way I was going to buy any art at the con. Then I walked away. I got about two aisles over when I realized I had to go back and ask permission to take some pictures so I could put a little link to Danger in my blog’s linkdump, which he graciously permitted:

https://www.flickr.com/search/?sort=interestingness-desc&safe_search=1&tags=danieldanger&min_taken_date=1687478400&max_taken_date=1690156799&view_all=1

[Image ID: Daniel Danger’s art print, ‘To all who home to this happy place,’ depicting a ruined Disneyland castle in a post-apocalyptic landscape with a statue of Walt and Mickey in the rubble.]

But then I got all the way ass over to the other ass end of the convention center and I realized I had to go back and buy one of these prints. Which I did, “To all who come to this happy place,” because fuckin’ wow:

https://tinymediaempire.myshopify.com/products/sdcc2023-this-happy-place-v6-foil

This was unequivocally the best thing I saw at this year’s SDCC, but I also got some very good news while there, namely, that Emil Ferris’s long, long-awaited My Favorite Thing Is Monsters Vol 2 is finally on the schedule from Fantagraphics:

https://www.fantagraphics.com/collections/emil-ferris/products/my-favorite-thing-is-monsters-book-two

It’s coming out in April, which gives you plenty of time to read volume one, which I called, “a haunting diary of a young girl as a dazzling graphic novel”:

https://memex.craphound.com/2017/06/20/my-favorite-thing-is-monsters-a-haunting-diary-of-a-young-girl-as-a-dazzling-graphic-novel/

If you are or were a monster kid or a haunter, this is your goddamned must-read of the summer. It’s a fully queered, stunning memoir for anyone whose erotic imagination intersected with Famous Monsters of Filmland.

(Also, if you’re that kind of person and you’re in the region, you should know about Midsummer Scream, a giant haunter show in Long Beach; I’ll be there on Sunday, July 30, for a panel about the Ghost Post, the legendary Haunted Mansion puzzle-boxes I helped make:

https://midsummerscream.org/

Now Favorite Thing book two was the best news, but the best experience was watching Felicia Day get her Inkpot Award and give a moving speech:

https://en.wikipedia.org/wiki/Inkpot_Award

And then learning that Raina Telgemeier also got an Inkpot; I love Raina’s work so much:

https://memex.craphound.com/2016/10/04/ghosts-raina-telgemeiers-upbeat-tale-of-death-assimilation-and-cystic-fibrosis/

[Image ID: A photo of me with Chuck Tingle, who wears a pink bag over his head on which he has written ‘Love is Real.’]

To cap yesterday off, I also ran into @ChuckTingle, which is as fine a capstone to a successful con as anyone could ask for:

https://www.flickr.com/photos/doctorow/53065500076/in/dateposted/

If you’d like an essay-formatted version of this post to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/23/but-i-know-what-i-like/#daniel-danger

[emryyyyyss09]

me, everyday, feeling like i should make myself get a hyper-fixation on one of those really popular fandoms, or on a really popular ship so that there is a heap of media to consume and im not just reading and watching the same things over and over: yes, this is smart.

me at 3 a.m, going back to a really small fandom with only 600 fics on ao3: fuck.

[imsodishy]

"You’re such a snob."

Eddie has to actually look around to see if someone else has snuck into his room who Billy could possibly be addressing. Billy's not looking at him, after all. He's digging through Eddie’s music collection, blonde curls obscuring most of his face, except the bemused little smile at the corner of his mouth.

But no, they're still alone.

"Excuse me?" Eddie demands.

When Billy flicks his gaze over to him Eddie gives a performative (theatrical even) second look around the room. "Have you not noticed where we find ourselves at present? Have you confused this trailer for a mansion somehow?" Billy just rolls those baby blues, always so eloquent.

Eddie sets aside the campaign notebooks he'd been doodling in, shifts off the bed, onto the floor to start crawling towards Billy, who turns back to the tapes, making a show of ignoring him as Eddie goes on, "Did you forget which boyfriend you're with right now? You must be thinking of the other one; hair like a rooster," he wiggles his fingers above his head like a crest, "Golden dubloons falling out of his pockets?"

"Dubloons." Billy snorts softly.

"Because I am not a snob." Eddie concludes as he sidles up behind Billy and wraps around him like an octopus, arms and legs and even chin all latched on.

"You absolutely are," Billy disagrees blithely, holding up Eddie's own Iron Maiden cassette above his shoulder for Eddie to inspect. "Music snob."

"Because of Ozzy?" he mumbles into the soft warm spot behind Billy’s ear, honestly rapidly loosing interest in the conversation.

"Because of what's not here."

"I am not nearly stoned enough for you to get all philosophical on me, Blondie."

"To that point," cassette clamshells click-clack together as Billy starts tossing them aside, "Metal. Metal. Metal. Metal, metal, metal, metal."

"I like metal. You like metal too." He flicks at the little spike dangling from Billy's earlobe with his tongue.

"It's not all you like." He reaches back to bury his fingers in Eddie’s hair as he starts kissing and sucking at his neck.

"You can't prove that," he says between nibbles.

Billy's breath has gone gratifyingly shaky, "Oh so that wasn't you grooving to Bryan Ferry in Harrington’s car the other day? That was some shaggy dog we picked up?"

Billy gasps when Eddie bites down hard on the spot where his neck meets his shoulder, "Shut up and put on some music."

[byrdstrolls]

You scoot your rolling chair over to the adjacent cubicle.

“Dulkyu” you say. “I have a present for you” you say, with an undertone of feminine wiles sure to put the wool over her eyes(hopefully)

But the woman doesn’t take off her headphones, nor stop typing into the comment section of the vocaloid song on grubtube she’s viewing.

“Fool me once, shame on you” she says. “Fool me twice, I’m a shit telepath” she says, having read your intent to give her the damaged lollipop from your mind.

[notbecauseofvictories]

as a sidenote, it's very sad that I can't find a gifset showing just how incredibly handsome bashir salahuddin is in South Side, because he is.

[sicktember]

In anticipation of the questions to come, we would like to go ahead and clarify the prompt ‘Pulling a Ferris Bueller’ for anyone who may not understand the reference. 

Pulling a Ferris Bueller is a pop culture reference born from the 1986 American teen comedy, Ferris Bueller's Day off.’ In the film, the titular character, Ferris Bueller, not for the first time, decides he wants to skip school. It’s a nice day and he’d like to go to Chicago with his best friend and girlfriend. He devises a complicated plan that starts with faking sick, after which he goes to great lengths to avoid being caught. These lengths include (but aren’t limited to) telling plenty of lies, creating an elaborate setup to make it appear he’s never left his bed, borrowing an expensive car and later rolling the odometer back, and hacking school records. This all becomes especially humorous as the school’s dean becomes increasingly desperate to prove that Ferris is continually absent despite the perfect attendance that had been recorded.  While out and about the trio hit several comical snags and engaged in a great deal of banter. During the film, Ferris often breaks the fourth wall to explain his choices and thought processes.

Basically, the saying, 'Pulling a Ferris Bueller' usually means faking sick to skip school/work for no reason other than to have a good time. As a trope, it tends to lean more heavily into the movie's plot and themes. You can use Either! ... or Neither!

Below, you'll find some resources to help you better understand the movie this prompt refers to. Or, you can swap this one out for one of the provided alternate prompts!

Resources ⬇

Official Trailer [Youtube.com]

Short Clip or Ferris' Sneaky Setup [Youtube.com]

Extensive Summary [Gradesaver.com]

Wiki Page [Wikipedia.og]

Tropes within the Trope [allthetropes.org]

[avnasace]

for some reason i need furina and scara to be bitchy best friends

i need scara and furina complaining about arlecchino

i need them venting about how much their respective gods fucked them up

i need them bonding over reinventing themselves

they would actually be such an iconic duo

[novelties-and-notions]

Roll up! Roll up! For Novelties and Notions: Everything is genuine– We don't run scam promotions!

Poetical and prosy, We are daft and we are silly; We have things that move and things to read: We post them willy-nilly.

We have puppets, we have whimsy, We have satire, we have funny; There is magic and surrealism– And it don’t cost any money!

Nothing is quite as it seems, So leave the world aside: Get up upon that ferris wheel– Enjoy the merry ride!

[the-trash-eating-llama]

Hello Tumblr!

You may call me Llama.

Ðis is ðe start of my edited pinned post, for more about me, look under ðe cut.

Now, trump (at time of writing) is slated to win his second term in presidency. What does ðat mean?

Well for one, it means you can stop worrying about putting kamala in office. She's out, and isn't coming back. What can we expect from trump? Noþing, he's a puppet and a hose for whatever his party wishes to do, which is mostly ðe rich and monopoly companies.

Ðis is what you are to do.

1. Make Friends

Gaðer your community. Friends, enemies, acquaintances, relatives, everyone around you, and make friends.

Friends will watch each oðer's backs, friends will help each oðer grow, and most importantly, friends will stand by you when you go to your representatives to tell ðem what you want.

Fascists only took Germany because ðey could separate ðe people, so take your new president as your target and move! Vote in local elections, vote for district judges, vote on new bills, not just for a desk in a marble building.

2. Go to (your state).gov

Ðis is where you'll find most of what you'll need. News on state activities, where to vote, how to apply for government jobs, etc. To find Representatives, I'd recommend using (www.house.gov), or (www.congress.gov).

Now ðat you have information, use it. Inform your friends of local news, bills, and voting times. Explain to your friends what certain bills aim to do and what ðey can do. Donate to Wikipedia so we don't lose a major information highway. You get ðe picture.

Lastly, and you cannot forget ðis,

3. Don't worry about it

I'm serious, don't.

Trump is going to try to push project whatever? Vote against it and ask your representatives to do ðe same, after ðat, follow up if it still makes you nervous but you can't let it take too much of your mental healþ.

Half ðe country could but didn't vote in ðe presidential election? Ðey always did ðat, now ðey will learn not to.

Are you scared of what ðe people around you might do to you? So are ðey of you! Make friends to show ðat you are no þreat, and ðey will reciprocate!

In conclusion,

Get togeðer, wield information and strengþ in equal measure, and let your fear fuel you, not control you.

Professor Llama out!!!

Any pronouns work, but we prefer she/her, and we always encourage creativity.

If you wish to know, we are an artist, writer (soon to be auþor), composer, photographer, and general consumer of trash!

We have a vast knowledge of ðe cosmos, as any good witch does, and we always appreciate more knowledge, so feel free to send us asks about your hyper-fixations!

You can find us here, cohost (under ðe same username), and (coming soon) YouTube! (And maybe bandcamp in ðe future)

For my (Ferris's) writing work, you can find it mostly under "#llama writes", and all my (Cria's) art under "#llama art". We won't be posting our art very often here due to recent up ticks in bots scrubbing for art, but you will be able to find almost all of our writing on cohost under ðe same tags soon.

Our previous pinned post can be found here

Read it.

Oh, and here is a comprehensive list of ðe current labels ðat best describe us, but we must admit, ðe English language is limited when it comes to descriptions.

Our music is here btw!

(Full album on Google Drive)

(Post for our second album music)

Have a wonderful evening to all, and we will be forever yours, until ðe sun and moon collide,

A. Llama

[miredball]

I have to say one of my favourite parts of the show is just watching sydney take the train home/to work. all these shots of her arms crossed waiting for the train and the sky dark behind her. at her seat by the window watching like game highlights on her phone. at her seat tired. sometimes sad. head leaning on the window. her eyes big and bright. or maybe she’s just thinking. and it’s not sad that she’s not driving, it’s just life! actually the train scenes are shot quite sweetly. it’s this really intimate and slow and vulnerable and quiet moment alone that the audience gets to share with her. and it’s like. I can’t not love her when I watch her take the train home!