#having my alone time is crucial

[neonhairspray]

.

[heartslobbf]

hater alert! far too many people say that juri’s character arc ‘isn’t about her being sad about being gay, it’s about being sad about unrequited love that happens to be gay’ and. well. that is not true and by saying that you are completely flattening the brilliance of juri’s character arc which literally culminates in her being able to accept her own lesbianism despite her unrequited love, despite all her shame and self-loathing, despite this pursuit by Some Fucking Guy to try and ‘save’ her from these feelings. like if you think juri’s entire character is just ‘sad about shiori’ how do you appreciate even a modicum of the emotion packed into that final juri duel. it is both about shiori and, even broader, her lesbian identity and what that means to her intrinsically as a person, removed from romantic relationships and just purely as like. you know. Who She Is. the idea that even when juri’s locket is cut from her neck she is still a lesbian that’s still who she is and she cant change that and, crucially, she doesn’t want to even as she is agonised by these feelings. that’s why she forfeits the duel!!!! she’s clocking out she’s quitting she’s saying no!!!!!! this is me and ive got to be ok with that this is me and i can accept that this girl might not love me and i can keep living despite that. like. god im so normal arisugawa juri im so sorry that no one understands you and your intrinsically unapologetically lesbian storyline like i do

[stop-breaking-my-heart-dragonage]

This. This. This entire conversation with Morrigan actually makes me want to sob. She and my Tabris always becomes close friends over the course of DAO; that, paired with the fact that my Tabris always romances Alistair, makes everything about this hurt so much more when you take DAO's ending into account.

Her confusion over why my Tabris didn't send her away. Why she didn't abandon her after they learned of Flemeth's plans. Why Tabris went out of her way to slay Flemeth and bring her the true grimoire. She asks Tabris why, and is baffled when the answer is, "I did it because I'm your friend," as if it's that simple.

The way Morrigan looks at the warden, the way her voice cracks when she says, "I want you to know that while I may not always prove... worthy... of your friendship, I will always value it."

She knows how this will end; Flemeth sent her with the wardens with the end goal of stopping the blight and obtaining the old god soul through the dark ritual. Morrigan knows that Alistair and Tabris are the only Grey Wardens here, and assuming they don't find more, one of them will have to die defeating the archdemon unless they agree to do the dark ritual.

With that context, her asking Alistair, "And what if a Grey Warden has forced to choose between the Warden he loved and ending the Blight? What should his choice be?" suddenly has so much subtext weaved through the words that I'm gonna start foaming at the mouth. She's practically telling Alistair that a warden has to die. She's scrutinizing his reaction to find any hint that suggests he would agree to the dark ritual in order to save himself and the woman he loves. And when he doesn't choose, she has her answer.

Morrigan made comments to Tabris about him, almost hopeful that their relationship was just a physical thing between them and not actually riddled with feelings... and then gives disapproval when Tabris says she loves him.

She doesn't want the warden to die; hell, she doesn't want Alistair to die, either; whether because she does actually care about him or because she knows it'll break her friend's heart if she loses him, or both!

Things would be so much easier if the only two Grey Wardens left to defeat the blight didn't fall in love, wouldn't they, Morrigan?

She knows that in the end, no matter the outcome, she will lose the woman she called sister and it's devastating.

Morrigan, who has never known true friendship. Who grew up isolated in the woods with an abusive mother and terrible implications for her future. Who discovered said mother planned to take over her body just as she did with her other daughters. Who doesn't understand kindness as it was rarely given to her without a catch. Who isolates herself from the others in camp. Who finally has a companion she cares about... and in the end, if her plan works and the dark ritual is completed, she'll end up pregnant and alone and wearing Tabris' resentment like a tender wound on her heart.

Or Tabris will reject the ritual, and will die to the archdemon.

Or her lover will.

I just- the dynamic between the warden, romanced Alistair, and Morrigan is so good and painful and rich that I'm gnawing on furniture as we speak.

[quietwingsinthesky]

obsessed with the idea of the doctor and the master standing together in opposition to gallifrey post-end of time. less in it being the reality of the situation, and more in it being what the master perceives it to be in the immediate aftermath of being. well. told he was going to be disposed of. the combination of that rejection with the doctor choosing him, the way that sets them up with a common enemy. but where that enemy for the master becomes gallifrey in the abstract with the council as the face of it, the doctor never sees it that way, never thinks of it as the two of them against their own world. the doctor, crucially, kept count of the children. when he saves gallifrey, it isn’t about the master at all, not to anyone but the master themself. because how are they supposed to take the doctor choosing gallifrey over them as anything other than a betrayal.

[eternal-brainrot]

being hassled and spammed by my boss fuck offff im not coming in at 5am on my day off tomorrow cuz you the manager cant be arsed to cover someones shift IT IS 9PM LEAVE ME ALONE

[suncaptor]

Perhaps it's good to acknowledge how much at a breaking point I am at. That I cannot be this trapped. That something has to change. In theory, I would have already changed it, since the problem is the helplessness. Like I need to stop living with this amount of financial deprivation and unsustainability. I need help and support. I need rest and distance from crisis. I need to feel safe.

[ereborne]

Song of the Day: March 25

"Groovy Little Summer Song" by James Otto

[red-winters]

MY MOST LOW EFFORT GONCHAROV POST BREACHED CONTAINMENT AND IS NOW ON ITS WAY TO ALMOST 4000 NOTES AND I CANT SEE THE MUTUALS IN THE ACTIVITY PAGE ANYMORE

[ghadafamily]

🚨 Vetted Fundraiser 🚨

My name is Ghada, I am 32 years old, and my life has always been filled with dreams and ambitions. I began my educational journey by studying Public Relations and Advertising in 2013. Then, I decided to broaden my knowledge and pursued a degree in Primary Education in 2016. As time went on, I felt that technology was the future, and now I am studying Information Technology, believing that knowledge is the strongest weapon to face life's challenges.

This was my home before it was destroyed🤍.

I live with my father and my younger brother Khaled. Khaled completed his studies in Accounting and works with my father. My father used to own a workshop for aluminum manufacturing, and our lives were relatively stable despite the challenges we faced.

This is my home after it was destroyed💔.

But the war did not spare us. In an instant, everything we owned was destroyed. Our home, my university, which I considered a refuge, and my father's workshop, which was our source of income, were all gone. We were forced to flee from northern Gaza and found ourselves living in a school in the Al-Zawayda area, trying to adapt to our new reality.

The killing of dreams and aspirations 💔.

This is my younger brother Khaled. He finished his university studies and was aspiring to continue his education and earn a master's degree 💪. But the war shattered his dream when his university was destroyed 🏫💔.

These are photos of our current place.💔

Despite everything I have been through, I have not lost hope. I know I must start over, but this time not alone. I want to help my family build a new life and achieve the dreams I have not given up on. To do this, I need your support. I aspire to launch a fundraising campaign that will help me travel, continue my education, and build a better future for myself and my family🤍💪.

I believe that life is lived with love and hope, and that despite all the pain and loss, a person can rise again if they find someone who believes in and supports them. My story is not just one of displacement and war; it is a story of strength and determination. I have not given up on my dreams, and I need your help to achieve them.

Your support through donations will be crucial in protecting my family from the brink of death. Every euro you contribute could play a vital role in saving our lives 🙏🏻🙏🏻.

[blueeyeswhitegirlcock]

:DDD my old manager offered me a temp position doing hardware setup

[keets-writing-corner]

Thinking a LOT about Lucifer in the latest Hazbin episode. Idk what I was expecting but not this??

As I was watching my immediate thought was just "huh... Lucifer is kinda of weird..." but as the episode went on I realized the issue

the dude is off the chain depressed, like he says it as a joke but holy cow it is SO BAD

He's manically just creating rubber ducks cuz his daughter really like it that one time but it's empty, it's never good enough but he keeps doing it, maybe cuz he doesn't know how to pass the time otherwise.

like I get the feeling he HAS better things he SHOULD be doing than making rubber duck after rubber duck. At first I was like, "Bruh why isn't the king of hell doing anything?" aaaaand then it became clear...

The dude is disassociating so bad he can barely hold a conversation let alone remember information. He clearly WANTS to, he wants to be involved with his daughter so bad, he wants to care about the things she's doing so bad, but his depression keeps interfering. It's like he can only hear every other word and he grasps onto the ones he does hear semi-out of context. Like you can see every time he catches something that he hadn't before and he just "well shit I didn't catch that part"

and that's why he reacts so weird when people talk to him. He is struggling so bad to engage with the conversation he's only getting 50% of it

does that look like the face of a man who knows what the hell the conversation is even about??? he is STRUGGLING

like Charlie spent so long telling him about the hotel, and he STILL didn't understand what she wanted. Yeah it comes off as ditzy but literally I've been in that position where your brain just "nope, not doing this right now" and nerfs your conversation comprehension. So as someone who's BEEN in that position, to me it feels exactly like what he's dealing with. He's sorta engaged with the conversation, but only as much as his brain will allow

For example, when I'm dealing with this, this is what someone talking to me feels like this where the crossed out parts are what I missed and bold is what I catch, "Hey! You know I was thinking for dinner we could either make some chicken with rice? But if you don't feel like cooking, pasta is super easy and you love that right? What do you want to do?" you can kinda get that someone is trying to talk to you about dinner, and towards the end you get the impression that they asked something that needs your input so you can decently put 2 and 2 together and try and pass off, but crucial bits were left out, I would have no idea that either chicken or pasta is in the conversation only having heard "rice". When someone is just talking at me, I can decently pass off as being engaged but the second I'm required to participate in the conversation I'm screwed. Seem familiar? At which point I have 2 options, try to give a bullshit answer, or admit that I missed what they were saying and ask them to repeat

Lucifer, unfortunately, is trying so damn hard to hide that he's dealing with like 24/7 dissociation, so he can't admit that he's missing entire chunks of the conversation, hence his really weird replies. He does eventually get the full picture and then he and Charlie start having the real conversation

Also, the Alastor/Lucifer rivalry was hilarious but also really indicative of more of what Lucifer is dealing with

Alastor is, unfortunately, really good at picking up people's insecurities, and thanks to Charlie's description earlier and watching Lucifer clearly trying to overcompensate, he immediately picks up on the fact that Lucifer KNOWS he struggles to be a good dad (we know cuz it's cuz of the depression, hard to be engaged when your brain keeps turning off) and decides to rub salt in the wound by pretending he's been acting as a surrogate father to Charlie. Now why Alastor decided to pick a fight with the king of hell is beyond me, I do not understand Alastor (and I LIKE IT) (maybe it's cuz Alastor thinks he's hot shit and was expecting Lucifer to at least have heard of him but Lucifer just treats him like a nobody? who knows)(why would Lucifer listen to radio anyways when he can't even pay attention to a conversation it'd just be white noise)

But yeah I just was expecting someone who oozed either charisma or presence and instead I got a depressed dad who's dissociating so bad he can barely function and be present in his life. The only thing it seems he CAN do is make rubber ducks cuz his daughter really liked it that one time

Idk Lucifer is tragic to me. Whatever the full details of what heavan did to him absolutely broke him and he can't deal with it. He's aware of it, and he doesn't know how to fix it, so he tries to over compensate and sorta makes an ass out of himself but no one says or does anything cuz this guy is supposed to be THE king of hell

Suddenly it's making a lot more sense why he just rolls over and lets heaven do what it wants and even told Charlie to go in his place the start of the show. He's not in any headspace to hold a basic conversation let alone negotiate! He didn't even know who Alastor was, he's been so out of touch

idk I like him, he seems sweet, I hope Charlie brings some light back into his life. He really needs to get out of that rubber duck room

[orchidbreezefc]

ok. years have passed and we've had some distance, so i'm finally gonna take the leap of faith that tma fandom is finally ready to hear me on this. let's talk about tannins.

161 was the first tma episode i heard on early release, and i felt the bit where martin declines wine and cites tannins was pretty obvious in its implications. cool, got it, say no more.

imagine my surprise when i was one of maybe three people i saw read between the lines there, in a fandom famous for red stringing--a fandom that immediately caught the much less obvious thread of ignition sources in the same episode. i'll spell it out: alcohol is an issue for martin.

maybe it just felt obvious because addiction is a pet issue for me--as it is for jonny, who has said everything he writes is filtered through a lens of addiction. i don't know if that's due to his own experience or a loved one's, and i won't speculate; i also don't know if martin personally struggled with drinking or just avoids it for fear he would, but alcohol would fit what we know of his family. his dad walking out and his mum spiralling into bitter wallowing and verbal abuse? i'd bet one or both of them drank, yeah.

on a basic level martin tries to decline alcohol, and that alone should have raised eyebrows given what we know of martin and, again, a fandom that dissects everything. we already knew martin "K" blackwood lied about his personal life and his family in particular, especially pre-canon, which is when this flashback took place. i was shocked that everyone took his flimsy excuse at face value with no further questions.

and the excuse is flimsy. martin turns down wine by--nervously--exclaiming tannins are "a proven headache trigger!" which sounds like trivia from a magazine cover and not the words of someone who actually has headaches--and it hasn't come up before or since. jon, confused, points out that tea, a drink martin consumes to a degree that is memetic both in- and out-of-universe, also contains tannins, and martin squawks a panicked, "what?!"

if tannins are enough of a concern for martin that he knew they're in wine and so avoids it, why didn't he know they're in his drink of choice? why does he still drink tea at the time of canon, and why doesn't he struggle with constant headaches from consuming 'a proven headache trigger' day in and day out? why, indeed, would someone avoid wine and not tea?

when sasha insists martin drink he caves and agrees to 'just a drop'. i imagine him pouring it in a plant, which admittedly he could have done if tannins really were the issue. i will say that i, for one, would be less likely to falsely agree to something that makes me physically ill than to a private issue that i'd rather not be pressed on any further. this scene also establishes martin's birthday was an ice cream party instead of the more traditional visit to a pub.

also, this scene was in the first episode of the final season, as one of three flashbacks that could have been to any pre-canon event in the archives. prime narrative real estate. not really time one would waste on establishing the important character context that martin has... headaches. which never comes up before or after, even regarding the week he spent in spiral town. but you know what is pretty crucial character background...?

it felt like a no-brainer, and yet all i saw was h/c fluff about jon attending to martin's headaches. and i hate feeling bitter about disability representation. i want folks with chronic headaches to feel seen and have fluffy escapist fantasies. i don't want to be mad about people portraying a character with a disability. but, guys? you got the wrong disability. jonny sent a clear message, and it went over fandom's head.

[thewriteadviceforwriters]

The Telling Truth: When 'Show, Don't Tell' Doesn't Apply (You Don't Always Have To Show, Don't Tell.)

Hey there, fellow writers and beloved members of the writeblr community! 📝✨

Today, I want to talk about something that's been on my mind lately, and I have a feeling it might resonate with many of you too. It's about that age-old writing advice we've all heard a million times: "Show, don't tell." Now, don't get me wrong – it's great advice, and it has its place in our writing toolbox. But here's the thing: it's not the be-all and end-all of good writing. In fact, I'd argue that sometimes, it's perfectly okay – even necessary – to tell rather than show.

First things first, let's address the elephant in the room. The "show, don't tell" rule has been drilled into our heads since we first picked up a pen (or opened a Word document) with the intention of writing creatively. It's been repeated in writing workshops, creative writing classes, and countless craft books. And for good reason! Showing can create vivid, immersive experiences for readers, allowing them to feel like they're right there in the story.

But here's where things get a bit tricky: like any rule in writing (or in life, for that matter), it's not absolute. There are times when telling is not just acceptable, but actually preferable. And that's what you all will explore today in this hopefully understandable blog post.

Let's start by breaking down why "show, don't tell" is so popular. When we show instead of tell, we're engaging the reader's senses and emotions. We're painting a picture with words, allowing the reader to draw their own conclusions based on the details we provide. It's a powerful technique that can make our writing more engaging and memorable.

For example, instead of saying "Sarah was angry," we might write, "Sarah's fists clenched at her sides, her jaw tight as she glared at the broken vase." This gives the reader a clearer image and allows them to infer Sarah's emotional state.

But here's the thing: sometimes, we don't need or want that level of detail. Sometimes, efficiency in storytelling is more important than painting an elaborate picture. And that's where telling comes in handy.

Imagine if every single emotion, action, or piece of information in your story was shown rather than told. Your novel would probably be thousands of pages long, and your readers might get lost in the sea of details, losing sight of the main plot or character arcs.

So, when might telling be more appropriate? Let's explore some scenarios:

Summarizing less important events: If you're writing a story that spans a long period, you don't need to show every single day or event. Telling can help you summarize periods of time or less crucial events quickly, allowing you to focus on the more important parts of your story.

For instance: "The next few weeks passed in a blur of exams and late-night study sessions." This sentence tells us what happened without going into unnecessary detail about each day.

Providing necessary background information: Sometimes, you need to give your readers some context or backstory. While you can certainly weave this information into scenes, there are times when a straightforward telling of facts is more efficient.

Example: "The war had been raging for three years before Sarah's village was attacked." This quickly gives us important context without needing to show the entire history of the war.

Establishing pace and rhythm: Alternating between showing and telling can help you control the pace of your story. Showing tends to slow things down, allowing readers to immerse themselves in a moment. Telling can speed things up, moving the story along more quickly when needed.

Clarifying complex ideas or emotions: Some concepts or feelings are abstract or complex enough that showing alone might not suffice. In these cases, a bit of telling can help ensure your readers understand what's happening.

For example: "The quantum entanglement theory had always fascinated John, but explaining it to others often left him feeling frustrated and misunderstood." Here, we're telling the reader about John's relationship with this complex scientific concept, which might be difficult to show effectively.

Maintaining your narrative voice: Sometimes, telling is simply more in line with your narrative voice or the tone of your story. This is especially true if you're writing in a more direct or conversational style.

Now, I can almost hear some of you saying, "But wait! I've always been told that showing is always better!" And I completely get it. I'm a writer myself and prioritize "Show, Don't tell." in my writing all the time. We've been conditioned to believe that showing is superior in all cases. But we can take a moment to challenge that notion.

Think about some of your favorite books. Chances are, they use a mix of showing and telling. Even the most critically acclaimed authors don't adhere strictly to "show, don't tell" all the time. They understand that good writing is about balance and knowing when to use each technique effectively.

Take, for instance, the opening line of George Orwell's "1984": "It was a bright cold day in April, and the clocks were striking thirteen." This is a perfect blend of showing and telling. Orwell shows us it's a bright, cold day (we can imagine the crisp air and clear sky), but he tells us about the clocks striking thirteen. This immediate telling gives us crucial information about the world we're entering – it's not quite like our own.

Or consider this passage from Jane Austen's "Pride and Prejudice": "Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character." Here, Austen is clearly telling us about Mr. Bennet's character rather than showing it through his actions. And yet, it works beautifully, giving us a quick, clear insight into both Mr. Bennet and his wife.

The key is to use both techniques strategically. So, how can you decide when to show and when to tell? Here are some tips:

Consider the importance of the information: Is this a crucial moment in your story, a pivotal emotion, or a key piece of character development? If so, it might be worth showing. If it's more of a transitional moment or background information, telling might be more appropriate.

Think about pacing: If you want to slow down and really immerse your reader in a moment, show it. If you need to move things along more quickly, tell it.

Evaluate the complexity: If you're dealing with a complex emotion or concept, consider whether showing alone will be enough to convey it clearly. Sometimes, a combination of showing and telling works best for complex ideas.

Consider your word count: If you're working with strict word count limitations (like in short stories or flash fiction), telling can help you convey necessary information more concisely.

Trust your instincts (Important): As you write more, you'll develop a feel for when showing or telling works better. Trust your gut, and don't be afraid to experiment.

Now, let's talk about how to tell effectively when you do choose to use it. Because here's the thing: telling doesn't have to be boring or flat. It can be just as engaging and stylish as showing when done well. Here are some tips for effective telling:

Use strong, specific language: Instead of using vague or generic words, opt for more specific, evocative language. For example, instead of "She was sad," you might write, "A profound melancholy settled over her."

Incorporate sensory details: Even when telling, you can include sensory information to make it more vivid. "The room was cold" becomes more engaging as "A bone-chilling cold permeated the room."

Use metaphors and similes: These can help make your telling more colorful and memorable. "His anger was like a volcano ready to erupt" paints a vivid picture without showing the anger in action.

Keep it concise: One of the advantages of telling is its efficiency. Don't negate that by being overly wordy. Get to the point, but do it with style.

Vary your sentence structure: Mix short, punchy sentences with longer, more flowing ones to create rhythm and maintain interest.

Remember, the goal is to create a seamless narrative that engages your reader. Sometimes that means showing, sometimes it means telling, and often it means a artful blend of both.

It's also worth noting that different genres and styles of writing may lean more heavily on one technique or the other. Literary fiction often employs more showing, delving deep into characters' psyches and painting elaborate scenes. Genre fiction, on the other hand, might use more telling to keep the plot moving at a brisker pace. Neither approach is inherently better – it all depends on what works best for your story and your style.

Now, I want to address something that I think many of us struggle with: the guilt or anxiety we might feel when we catch ourselves telling instead of showing. It's easy to fall into the trap of second-guessing every sentence, wondering if we should be showing more. But here's the truth: that kind of constant self-doubt can be paralyzing and ultimately detrimental to your writing process.

So, I want you to understand and think: It's okay to tell sometimes. You're not a bad writer for using telling in your work. In fact, knowing when and how to use telling effectively is a sign of a skilled writer.

Here's some practical ways to incorporate this mindset into your writing process:

First Draft Freedom: When you're writing your first draft, give yourself permission to write however it comes out. If that means more telling than showing, that's absolutely fine. The important thing is to get the story down. You can always revise and add more "showing" elements later if needed.

Revision with Purpose: When you're revising, don't automatically change every instance of telling to showing. Instead, ask yourself: Does this serve the story better as telling or showing? Consider the pacing, the importance of the information, and how it fits into the overall narrative.

Beta Readers and Feedback: When you're getting feedback on your work, pay attention to how readers respond to different sections. If they're engaged and understanding the story, then your balance of showing and telling is probably working well, regardless of which technique you're using more.

Study Your Favorite Authors: Take some time to analyze how your favorite writers use showing and telling. You might be surprised to find more instances of effective telling than you expected.

Practice Both Techniques (Important): Set aside some time to practice both showing and telling. Write the same scene twice, once focusing on showing and once on telling. This can help you develop a feel for when each technique is most effective.

Now, let's address another important point: the evolution of writing styles and reader preferences. The "show, don't tell" rule gained popularity in the early 20th century with the rise of modernist literature. But writing styles and reader tastes have continued to evolve since then.

In our current fast-paced world, where people are often reading on devices and in shorter bursts, there's sometimes a preference for more direct, efficient storytelling. This doesn't mean that showing is out of style, but it does mean that there's often room for more telling than strict adherence to "show, don't tell" would allow.

Moreover, diverse voices in literature are challenging traditional Western writing norms, including the emphasis on showing over telling. Some cultures have strong storytelling traditions that lean more heavily on telling, and as the literary world becomes more inclusive, we're seeing a beautiful variety of styles that blend showing and telling in new and exciting ways.

This brings me to an important point: your voice matters. Your unique way of telling stories is valuable. Don't let rigid adherence to any writing rule, including "show, don't tell," stifle your natural voice or the story you want to tell.

Remember, rules in writing are more like guidelines. They're tools to help us improve our craft, not unbreakable laws. The most important rule is to engage your reader and tell your story effectively. If that means more telling than the conventional wisdom suggests, then so be it.

As I wrap up this discussion, I want to leave you with a challenge: In your next writing session, consciously use both showing and telling. Pay attention to how each technique feels, how it serves your story, and how it affects the rhythm of your writing. You might discover new ways to blend these techniques that work perfectly for your unique style.

Writing is an art, not a science. There's no perfect formula, no one-size-fits-all approach. It's about finding what works for you, your story, and your readers. So embrace both showing and telling. Use them as the powerful tools they are, and don't be afraid to break the "rules" when your instincts tell you to.

Remember, every great writer started where you are now, learning the rules and then figuring out when and how to break them effectively. You're part of a long, proud tradition of storytellers, each finding their own path through the winding forest of words.

Keep writing, keep growing, and keep believing in yourself. You've got this!

Happy writing! 💖✍️ - Rin T.

Before you go, why not join us at The Write Right Society? We're a supportive Tumblr community where writers lift each other up. Whether you're a newbie or a pro, we'd love to have you! Share your work, get feedback, and connect with fellow wordsmiths, writers and aspiring authors. 

[defmaybe]

Sticky

ITZY’s Shin Yuna x Male Reader

1.9k words

Prequel to Party Police

See also: Not Shy

A/N: I write this in two sittings for probably the only mommy Yuna fic lol - BFH-type shit. No editing, no beta-reading, just pure lust again.

–

The clickings of the keyboards displace silence. Again, you’re stuck in the mundane cycle of doing another proposal for the project you’re going to lead. Sighs and sighs don’t keep you from drowsiness building up inside. Others don’t seem to do better even, some even folded on their desks already. The chilly breeze from the conditioner really is relentless right now, so damn perfect for a nap.

“Miss Shin wants you,” the secretary says, keeping you from falling into slumber.

You quickly get up from your desk, pacing towards the glass-paned office. You see your other co-workers dreading their assignments, clicking on their keyboards with blank eyes. On the opposite side, you can see, through the horizontal blinds, the vibrant office with your boss, Shin Yuna, doing the decorations inside. She’s tall (well, taller than you, at least), often confident, and so energetic, contrary to the department she just got handed over a few weeks ago.

You knock on the transparent door, seeing her putting on her Lady Bird poster on the wall. She’s wearing a one-piece raven black dress, one that hugs her slim, otherworldly curvy body so well. You can see her wide hips being so prominent, stripping away your fatigue.

“Come in!” she says, looking over her shoulders as she’s finishing the touch-ups.

You open the door, greeted with the scent of her air purifier—spring. The white fur carpet on the floor welcomes you with the sensations on your soles. Her office is spacious, and the colorful decorations fit her attitude and personality so much.

“Please, sit down,” she says with a smile, hand pointing to the seat in front of her desk. Even the cluttering trinkets on her table never look crowded, they are so meticulously placed to give her a perfect amount of space left for her work.

You accept her invitation, walking towards the seat. Yuna also retreats from her sprinklings back to hers, sitting down in her chair gracefully—a charming boss.

The air hangs heavy for a while, as Yuna takes some time to clear her desk. You glance around the room like the other times. The crucial difference being the Lady Bird poster, of course, and a few more band posters that you can’t quite recall from your listening history.

“So…” Yuna breaks the silence, tapping a finger on her chin, contemplating. “I see that you’ve been looking a little tired. Is that true?”

You blabber out, “N-No! I’m not tired a-at all.” You even put your hands up to deny the allegation.

“Those eyes don’t lie, baby.” The utterance of the last word alone freezes you. Is she flirting?

Let’s pause for a bit. Shin Yuna just got promoted to being your department’s manager—now three weeks in tenure. Her bubbly and kind personality receives multiple acclaim from your co-workers. And combined with her insanely high performances in projects, you cannot see how she wouldn’t get the position. 

Now, that friendly personality can be a bit, to say the least, slightly invasive. Yuna has always been so eager to fire up a talk with people, even if it means robbing someone’s silence. She’s also always happy to help those around her, no matter the methods. You’ve heard some complaints about her vivacious nature, but with the results saying otherwise, you just cannot dislike her for that.

“A-Are you suggesting I should go home or s-something?” you ask, unable to register how she’s getting up to close the blinds, as if she’s asking for some privacy from the outside right now. The room seems to shrink.

“Oh, does it look like that? Not at all, baby,” there it is again, baby.

“As your boss, I have to make sure that you stay productive for the day’s work!” Her smile lights the room up, as she walks towards her chair and sits down again. “I can’t have my employees dreading their jobs and expect a satisfactory performance.”

“Y-You’re very kind, M-Miss Shin,” you stammer out, and she seems to be happy with your words.

“Now tell me.” Yuna leans in closer to you, giving you the fine details of her face—doe eyes, minty breath, rose-colored lips. “Are you familiar with… mommy kink?”

You freeze, not expecting such a question from your manager. The gears in your head are working their best to seek the best answer you can give her, let alone making sense of the peculiar situation.

“A-Aga-”

“I’m certain of what I’ve said, mister,” she cuts you off, stern. Her expression reduces into an emotionless state. “Mommy kink, yes or no.”

“Uh…” That’s the only answer you can give her. The prospect of fully submitting to Miss Shin Yuna seems too enticing. Yet, perhaps it’s your inhibition that’s stopping your desire from falling into places.

“Come, sit on my lap,” Yuna instructs.

You glance around the room—left, right, back—as if to delay the inevitable of her pleasuring you.

“Now,” Yuna now commands, her voice steps down a few notes. 

“And there’s no camera hidden here, I promise,” she says with a smile, comforting you a little.

You slowly get up from your seat. What if I don’t do well enough for her? You walk around her table to land at your destination, your back against her face. She adjusts her position on her chair a little to accommodate your ass.

Her thighs feel… strong—definitely a result of workouts she has had after work. The images of those sweaty, skimpy sessions are making your mouth quiver—the fluid dripping down her body, just for you to taste.

Her hands start from grabbing the both sides of your slutty hips, earning a small whimper from you.

“So yearning for mommy’s touch, aren’t you?” Yuna giggles, moving her frisky fingers to unbutton your blue shirt.

“Y-Yes, mommy.” Your breath comes out in a false rhythm.

With your abdomen being gradually exposed, she uses a hand to feel it a bit, sending shocks and shocks through your faltering body.

“F-Fuck.”

“Hmm, so needy for mommy~” Yuna then continues her groping, until the last button is freed. Your upper body is bare under the cold air of the conditioner right now, as she brings the fondling hand up to your throat.

“Do you want my lips on you, baby boy?” Yuna asks, breaths warming the back of your neck. You can only nod at her.

Consented, she plants her lips on your body, and you are sure that the rosy prints are going to stick with you until the end of the day. Still, is it a fact that you should care right now? Getting groped by your goddess of a manager, with her being your mommy, on top of it.

You shiver at her kisses.

She frees your throat  before drawing her hand down to play with your raging bulge. She can definitely feel your cock aching to be freed right now.

“Need a hand, baby?” again, she asks, hand fondling the tent in your pants.

You become a stuttering mess at this point. “Y-Yes, m-mommy, please.”

“Please… what, baby boy?” She’s playing coy with you for sure.

“P-Please use your hand on my c-cock, please,” you utter out.

She whispers into your ear, “Good boy.” 

She unzips your pants, hand then slithering into the hole. The sensations are even stronger right now, with your underwear being the only barrier between you and her.

She keeps kissing your moaning neck, printing roses wherever she can reach. Her hand is stuck in fondling your cock through the slim cloth.

“Mommy, p-please,” you whimper, desire burning too brightly.

“Say please again, baby boy, and I’ll touch your cock.” Yuna giggles, enjoying how you’re submitting to your boss so damn easily.

“Please, m-mommy.”

Yuna wastes no time to push all of your lower garments down in a single motion, exposing your throbbing, twitching cock in glory. She hums in satisfaction at the sight.

“Hmm~, baby boy, so hard for me already?” she asks, finger drawing a line on the back of your cock from the bottom to the top. It twitches in response.

“Ngh, y-yes, m-m-mommy.” Yuna seems to be happy with your answer as she strokes your cock leisurely.

Her slender fingers only do what they have to do: sliding up and down to make you shatter under her touch. She starts at a slow pace, only teasing you about what’s coming. Her other hand roams under your shirt, moving down onto your juicy ass.

“Ngh, mommy,” you utter, pleasure building up in your loins. The sensations become stronger as seconds passed.

Yuna giggles at your whimpering, “Yes, baby boy?”

“I-I-, ngh,” you cannot form any words under her spell. Fuck.

Yuna cannot hold her chuckle inside, clearly satisfied with her baby boy melting under her touch. “Use your words, baby. Tell me what you want.”

“Faster, please,” you finally respond, slightly out of breath from the overwhelming sparks all over your body.

Yuna listens to your plea, quickening the strokes, bringing you closer to the edge. Fuck, your slutty moans are probably heard by the people outside now.

The squelches of Yuna’s strokes are filling the room, along with your needy whimpers and her satisfactory hums. “I just wanna spend the whole day jerking this cock~” Yuna expresses, your heart flutters at her words.

“And I mean it, really,” she continues, still keeping the moderate pace of her hand from behind. 

“The size, the curvature, the thickness, god, I’m sure it can stretch mommy’s cunt out so well,” she whispers, and your length just cannot get harder at this second.

“M-Mommy, would you berate me i-if I- fuck.” you struggle to lead your words out, stuttering everywhere you can. She’s still jerking your cock, nursing you with another hand roaming over your body to over stimulate.

“Fast cummer, baby?” She chuckles at your apprehension. “You’re doing well, baby. I think this is the perfect pace for us.”

“T-Thanks, mommy,” you say, feeling the tightening of your knot already. “M-Mommy, where c-can I cum?”

“Ooh, that’s an interesting question, baby boy,” Yuna laughs. “I don’t think the higher-ups would mind a few stains from us~,”

“W-Wha-”

“Shh, let mommy handle this,” she affirms. “Just stay on my lap and let me milk your cock, okay?”

Your mind goes feral, aching for release. Her hand relentlessly stroking your length and another traversing your compact frame just overloads your mind. “Y-Yes mommy.”

“Good boy, now, cum for me, please.”

And it hits, you become undone at her touch, like a lightning. Your sticky cum is shot everywhere—on her desk, on the floor, hell, even on yourself. You moan in the pleasure of her touch and the mind-shattering orgasm. “Mommy!” you shout. Yeah, everyone is going to hear that.

“Wow,” Yuna pants, before planting a kiss on your neck. She doesn’t seem to mind the fact that your seed is on her precious report right now. “You came so much for mommy.”

You try to catch your breath, before speaking out, “Thanks, mommy.”

–

[genderqueerdykes]

i was reading the recipe suggestions on some of the cans of mackerel i have in my cupboard, and I've noticed that on all of the recipe suggestions for pasta, seafood, anything really say "try this for a low-calorie, low carb, low fat, low sugar dinner". you. need those things when it comes to be mealtime. calories are a measure of how much "energy" you can burn, not how much weight you will gain from eating the food. carbohydrates get broken down into starches, sugars, and fibers, which are all necessary for you to function.

your brain & body operate primarily off of fats, sugars, and proteins, but i've noticed that protein is the only thing we push as absolutely necessary, which just isn't true. whenever you idle and not in motion, your body has nothing to do with the extra protein you're bringing in. it will be stored as extra fat if you do not give that protein a reason to build muscle tissue instead.

your brain consumes 20% or more of the sugar you take into your body- our brains NEED glucose, you literally need sugar to think. if you feel depressed and like you're sluggish reacting to things, thinking, remembering things, and other mental processes, if you are the kind of person who refuses to eat any sugar at all due to wanting to be skinny, you are doing your brain a huge disservice:

i can't stand the hatred towards dietary fats, because it's causing so many people to be outright miserable or even sick. you need fats to function. they are an excellent source of energy and are literally required for you to be able to move, think, and combat disease. they are not this icky thing that you need to avoid at all costs. fats are extremely important for brain development, as well as brain function, and even immune system function:

also for many people, 2,000 calories or less per day is nowhere near enough. your brain actively consumes calories, fats and sugars while you are awake, no matter what you are doing:

i sincerely refuse to believe that if JUST YOUR BRAIN ALONE consumes somewhere in the ballpark of 400-500 calories just for being awake and active that we can only survive off of 2,000 calories a day. capitalism, diet culture and fat shaming forcing us to starve ourselves of vital nutrients so we are weak and too tired to fight back against the bullshit we face every day. food is important.

food isn't just to satiate the feeling of an empty stomach. it is the ONLY way you get vital fuel in order to keep moving, living, thinking, and breathing. vitamins and minerals are NOT the only vital aspects of food. you're not meant to restrict how many nutrients you get at FUCKING MEAL TIMES. YOU NEED FUEL. PLEASE FUEL YOUR BODY AND BRAIN. A CONVENTIONALLY ATTRACTIVE BODY ISN'T WORTH SUFFERING AND LIVING YOUR WORST LIFE!!!!!!!!!!!!!!!!!!!!!!!

[and-fishing-equipment]

one of my favorite iwtv concepts is a louis/lestat/armand polycule. it wouldn't fix things. it would probably make them a thousand times worse. however, i think they should give it a try anyway because it would be SO funny.

lestat is fine with the fact that armand and louis are fucking but if he's not part of it? the house is getting burned down. armand forgets to do the dishes? they want to hunt at different times? louis is a coffin hog? the other two are cuddling closer with each other than with him? he's pulling out the THIS IS NOT A LIFE immediately. giant tantrum every night like "I CANT DO THIS ANYMORE YOU TWO DONT LOVE ME ANYMORE YOURE GONNA RUN OFF TOGETHER AND LEAVE ME BEHIND I KNOW IT" and he'd go sleep on the vampire equivalent of the couch idk and then come back to the fuckass big coffin later like heyyyy :((( cant sleep. sorry about the yelling. can i be middle spoon now?

armand is going to not say no to anything ever. is he down for that? doesn't matter. he will do it. he'll be going on and on about how damn healthy they are now that they've resolved their love triangle to a healthy flourishing throuple. if he never mentions any problems whatsoever he can create a romanticized version of them in his head where they all love each other equally and no one is ever jealous. doesn't matter what he wants, he's going to get a good grade in polycule which is both normal to want and possible to achieve.

louis is the one who suggested it in the first place and was like pls pls pls pls pls can you guys get along for me pls pls pls but now he spends all his time withdrawing and pondering if he's made a mistake, leaving armand and lestat alone together because he's off eating cats and shit and not actually participating in the relationship, then getting mad at them for having an affair with each other to spite and manipulate him (they are also together louis. louis this is a crucial part of a throuple. louis.)