#i spent a long time thinking of how to draw this one

[vanesycho]

f!reader x bf!vernon | m.list | wc:0,8k

request:hii can i please request a vernon imagine where svt doesnt believe theyre dating reader because hes so nonchalant but svt finds them either in a sweet or sexual position or something? its up to you! thank you <3

a/n: I apologize to the person who wrote the request. your request was deleted because the tags did not work in a way that I did not understand and I have to repost it...I hope it works this time.

I added a little texting at the end to make it a little more fun, enjoy reading!

"From the world to Vernon." Vernon looked up at Seungkwan's call "Oh sorry, were you saying something?" Kwan rolled his eyes, turned to the front and started muttering to himself "Oh really...What's wrong with this kid, his mind has been elsewhere lately." Jeonghan who entered the room answered him "Don't mess with him, he's probably texting with his girlfriend." It was obvious that the sentence he said was in a mocking tone and a few members laughed at this but Vernon didn't care and continued texting you. He didn't feel the need to prove to anyone that he was dating you because he didn't want to deal with it, and deep down he knew that they were all wrong and he was going to continue this as long as he could.

The rest of the day was spent both texting you and chatting with the others. When it was evening the next day, you were going to his house to surprise him because you missed him. In the meantime, a few members were gathered at his house watching a movie, unaware of everything. Dino, who was bothered by the notifications on Vernon's phone, whined "Yah! Either turn that sound down or answer." Vernon picked up his phone and smiled when he saw that the message was from you.

'I'm outside the door.'

'I missed you...can I see you for a few seconds?'

He cleared his throat and stood up, drawing attention to himself for a moment. "Go on without me, I have something to do, I'll be back." When he realized that they were continuing with the movie without questioning it, he went to the door. You ran to him as soon as you saw him and wrapped your arms around his shoulders. His arms that had been waiting for you found your waist and pulled you closer, burying his head in your neck and breathing in your scent. "I missed you." He mumbled, you chuckled and when you pulled away, he kissed you on the lips. "Did I come at the wrong time?" You knew the others were home so you didn't want to disturb them, but your longing for him got the better of you.

Vernon shook his head, one hand moving to your cheek, feeling him stroke it with his thumb. “It’s okay, after all, they wouldn’t believe me even if I said my girlfriend was here.” You laughed at that, he would send you a few voice recordings when they talked about Vernon lying, and it was definitely worth listening to. “So..When are we going to prove this to them?” you asked, although you didn’t mind it, you were curious about how far he would go. Vernon closed the gap between you again, his hand on your cheek moving to your neck, slowly pulling you closer to him as he murmured “I don’t really care if they believe me or not. All I care about is you right here with me, so just let me take care of you.”

His lips brushed gently against yours, and you couldn’t wait any longer because of your longing for him, and wrapped your arms tightly around his neck, kissing his lips more passionately. He laughed at how hungry you were in between the kisses, and didn’t hesitate to respond. He sucked your lower lip gently and his hand started to roam your body to feel every part of you that he missed. You opened your mouth and brushed your tongue against his-

"WHAT THE FUCK IS HAPPENING??" Hoshi's shout echoed in the dark street, you backed away in fear and turned to the owner of the voice. His shout must have caught the attention of the other members because some of them opened the door and moved towards you while others settled at the window. "I think it's time they believe us now." You looked at the eyes looking at you as Vernon spoke as if nothing had happened. Dino was the last one to leave the door and complained "The movie is half-finished, can't you be surprised by this later?" When the others ignored him, he muttered a curse and went back to watch it alone. Kwan pursed his lips and folded his arms "So you weren't lying the whole time?" Vernon frowned in disbelief "Why would I lie about this?" And you guys tried to understand what he was saying by stealing glances at each other as Kwan continued to rant.

Once the strange event was over, you were invited to watch the rest of the movie. You were curled up on the couch with Vernon, your head on his chest. His hand was on your shoulder, he kissed your head, and still unused to this situation, the others exchanged strange glances. At least he wouldn’t be made fun of anymore, even if it was in a strange way.

[runawaymun]

Hey! Any advice on writing multi chaptered fics or just longer stories?

I feel like I'm okay for like snippets but have no idea how to write the middle of a story or move a character or story from point a to point b.

And asking you because you're writing is phenomenal and I'd love some advice.

(But if no brain space for advice I totally get that too and feel free to hide this ask or something)

(Anyway great updates on boundless and the one shot Brimbrond)

Sorry for taking so long to respond to this! I just wanted to take some good time to gather my thoughts because oh man oh boy I am a bit of a nerd about plot structure, even if I pants it a lot of the time -- because middles and structure absolutely plagued me when I was a beginner and so I spent a long, long time studying it and breaking it down.

I'm going to start with some very, very basic advice and then get into some more specific stuff. So let's talk first about how to structure a long-form plot first.

DISCLAIMER: this is how I personally structure plots. More often than not I veer off my own track. And this is a very western way of structuring a plot. It's well worth looking into how storytellers from around the world structure their work because it can vary wildly (Miyazaki is a great example of this). Take this with a grain of salt. It's a guideline which I find helpful. This is going to get very, very long. Bear with me:

When I'm first thinking about how to create a plot around a story I want to tell, this is the process I walk myself through, and it tends to work about 75% of the time for the stories I like to tell (I'm not much of a thriller or mystery writer and those tend to have different kinds of structure). Main recipe is as follows:

Status quo - establish the setting and the character. Do this by the middle-to-end of chapter one, preferably. You can get away with drawing it out a bit in sci-fi or fantasy works that require more worldbuilding, but try not to.

Inciting incident - I won't tell you to start in media res, as that varies from writer to writer and story to story. Generally you want to have this somewhere in chapters 1-3. Say we're talking about LOTR - I'd say the inciting incident is when Bilbo goes invisible at his birthday party and leaves for retirement. Everything sort of snowballs from there (Gandalf confirming this is The One Ring, the Ring being passed to Frodo, the adventure beginning, etc. etc). This is where your character can lose something, or be confronted with a huge problem, or gain some new information. This is the point where your story really picks up.

Point of no return - your character has been presented with a problem or is put in a situation and now they have to decide what to do about it. Sometimes characters choose to run away, or choose inaction. It's up to you and your character as to what they do next.

The annoying part - the most helpful way I've ever found to think about middles is in terms of a series of decisions and consequences. Your character must decide what to do (or try to get what they want), and this will then come with consequences to those decisions. I ignore a lot of writing advice because writers seem to be very cagey about how they compose middles and plots for some reason, but the one piece I heard that helped me was: "What does my character want, and what stops them from getting it?" -- and this can be anything, right? Frodo wants (has to) take the Ring to Mordor. Luke wants to learn to be a Jedi like his father. Inspector Poirot needs to catch the murderer. Odysseus wants to return home. Each of these characters are going to make a series of decisions toward their goal, and they may be working from incomplete information, or bad paradigms, or racing against the clock, or against impossible odds. They're going to make mistakes. Over and over and over again. The middle is a series of decisions, consequences for those decisions, and obstacles (more on that later).

Point of no return 2, electric boogaloo (i.e. the actual midpoint to the story) - the part right before the climax -- the climax IS NOT the midpoint of your story, nor is it the end. This is your midpoint where Everything Fucking Sucks. Your character's back is against the wall. They have to change, or fail.

Paradigm shift: your character learns something new, or develops in some crucial way that leads to:

The climax/confrontation: 3/4 - 7/8th of the way through your plot. Frodo decides to keep the ring. Luke uses the force to blow up the death star. Anakin's fear and the manipulation from Palpatine overtakes him and he turns to the dark side. Inspector Poirot gets his last crucial piece of information and gathers everybody together for the Big Reveal. Odysseus gets home and chases the suitors out of his house. Etc. Etc. This is that Big Point in the story we all think as the most important or crucial point (but it's not. That's the key here. THE most important point is the whole middle of how we got here).

Consequences and paradigm shift 2 electric boogaloo: varies from story to story, but this is the fallout of the last decision or confrontation. Your character may reflect on what they've learned. The killer goes to jail. Frodo returns to the Shire and it's saved, but not for him. The journey your character has been on has irreparably altered them, or the world around them -- for better or for worse.

Resolution: the place where you land the story ;) what is the final impression you want your readers to have of your character, or this world?

Alright so that's all kind of nebulous. Let me give you a slightly more specific form of this plot structure that I use pretty often, because I almost exclusively write character and relationship-driven stories since that's what interests me most:

So most of this looks much the same (the inciting incident is some kind of meetcute. The characters then have to decide if they want to have some kind of relationship -- I like to name this part the callback). Then we have a whole weird squishy section of building interest and tension, before once again we have The Big Fight (darkest before the dawn or what have you), before one or both characters have some kind of paradigm shift, they confess their feelings (or resolve the fight or whatever), and the security of the relationship is established -- happy go lucky times, everything is beautiful and nothing hurts.

So the middle here is of course still squishy and nebulous, but the focus here is still on "What decisions are the characters making? What are the consequences of those decisions? What are they learning, and how do they respond to it?" Maybe the tension is in one character being more reticent, while the other is more open. Maybe the tension is a sexual tension (will they, won't they?). Maybe a character is working off of incomplete information, or a misunderstanding, and that needs to be cleared up before the relationship (or even their own personal growth) can progress (both Elrian and Thalionel in Stars and Boundless Sky follow this pattern). The middle is a push-pull between your character's desires and outside forces that are stopping them from getting what they want, or achieving what they want to achieve.

So okay, that's all well and good. That's basic plot structure. Let me get into my thought process about middles specifically:

Begin with your ending in mind. I do not mean that you need to have like the whole resolution to your story fleshed out. If you're that kind of writer, great! But if you're more of a pantser like me, then that can be a big ask. Instead, ask yourself: what do I want my character to have learned by the end of the story? How do I want them to have changed, or grown? Do I want it to be for better, or for worse? Is there a specific plot goal you have in mind? (saving the world, or catching the murderer, solving the mystery, exorcizing the ghost, the couple getting together at the end, the found family finally gelling with each other, or whatever).

Once you have that thought in mind, now start to think about what your character might need to get from their starting point to their ending point. If it's a murder mystery, this is your information gathering section. You can lead your character to wrong or right conclusions. Have them make mistakes. Etc. etc. If it's a romance, this is where you create a string of scenes where the characters have opportunities to interact and learn more about each other (works for platonic slowburns, too). If this is a traditional hero's journey, this is where you plop in your actual journey.

Not to repeat this ad nauseum, but your middle is all about getting your character to your end goal, but in the most difficult way possible lmao. Let them make mistakes. Let them make bad decisions -- and then follow through with the consequences of those bad decisions. Give them bad information. This is where understanding your character's fundamental flaws becomes extremely important. Your entire plot, imo, stems from your character's fundamental flaws -- because ultimately that is what is going to slow them down the most from reaching their goal. Sure, you may have the big bad evil guy (bbeg), but we're not worried about him. That's an external factor and that's easy to drop in when you need a quick problem to place in front of your protagonist -- but that problem needs to be in service to your character or your worldbuilding. Teach them something. Give them an opportunity for growth. Aragorn needs to lead at Helm's Deep so he can inhabit his leadership role. The mountain pass of Caradhras needs to force the Fellowship through the mines so that Gandalf falls fighting the Balrog and comes back leveled up and ready to fight, and other characters in the fellowship have a chance to grow into their roles without relying on Gandalf for leadership. Your middle is all about crafting little opportunities for character growth, always while moving toward your end goal -- whatever that may be.

The paradigm shifts are crucial, and they can shift for better or for worse. It's up to you and your characters and the story you want to tell as to which it'll be.

If you're bored, your reader is bored. Only write what excites you, skip all the rest, and make it make sense at the end -- I'm so serious. Yes you need to add in breaks for pacing (like the whole Rivendell section in LOTR), but in those breaks still make sure that you're either expanding your worldbuilding, or giving your characters and opportunity for growth.

If you want to tell a really long (novel length) type of story, sideplots and alternate POVs are your best friend. They are structured exactly the same as a regular plot, they're just simpler or smaller and generally work in service to the main plot. Maybe there are side characters or side relationships you'd like to develop. Maybe there's a smaller mystery or a part of your worldbuilding you'd like to explore. Action plots can be side plots to romantic or platonic slowburn plots, just as much as it can be the other way around. And this is not something you need to structure out the gate. Just be curious and playful. Find points in your story that interest you, and explore them a bit. You'll find that they expand the story.

Biggest and best tip I can give you, when all is said and done, is to decide what kind of story you want to tell and then examine how other people are doing it. If you want to write a superhero story, pick out your favorites and look at how they're structured. If you want to write a mystery, same thing. If you're writing a romance or a drama, again -- same thing. Look at the pieces of fiction that you like, figure out what you like about it, and then apply it to your own work.

That's all the general advice off the top of my head. IDK how helpful this was lol. If you want more tips on middles I can try to look at it a bit more in depth, but to be quite honest middles are really what defines a genre. Romances have different middles to thrillers. Thrillers have different middles to mysteries. Mysteries have different middles to dystopian sci-fis. Etc. Etc. So take the general advice with a grain of salt and look more specifically at the genre of story that you're looking to tell.

Thanks for coming to my tedtalk <3

[qoldenskies]

HEHE <3 I’m glad you got the symbolism lol, it’s a bit of deviation from the base metaphor but the vision was too strong to not draw hfbfhhf.

forgor to mention, but will say this was drawn like immediately after you mentioned that Don thought they were leaving him to die during the close scene. I imagine Don’s need to know how long he’d spent there definitely stemmed at least partially from the fear and knowledge that with every second he spent there, the closer he was to a very, very painful dark and lonely death.

Also- irony! An aquatic turtle drowning in dry sand, mocked for its foolishness in coming up to land (even when it was once his habitat too)

YOU DREW THAT IN AN HOUR OR LESS?????? thats INSANEEEEEEE and im JEALOUS lmfao

also yes for sure!! four days is such a horrifyingly long time, he was starving and dehydrated and dizzy, especially because he'd hit his head several times. in CL he takes them at their word a lot (because why would they lie?) but he KNOWS the three hours thing was a lie. he KNEW. there's no way that could have been three hours--- at least, he clung to it as desperate hope that it would be true, because he doesn't trust himself fully enough to be one hundred percent on pretty much any judgement he makes on his own.

when he broke down crying when learning about it i cant really say it was relief, he was too overwhelmed to be relieved. it really put into perspective the reality of HOW cruel they were, knowing that he could have died. if he was a human person there's a very good chance he would have died. he thought he was GOING to die and he was so scared he was making up how awful it was in his head again. and he didn't eat for six days and didn't drink for four. it hurts to think about, and he can't help but wonder what would have happened had he not broken and screamed to be let out when they joked about leaving him behind.

[aeleif]

A whimsical poll for the people of tumblr

Hope people enjoy this. I spent a long time making it and I'm really proud of it :D

You are walking through the woods and suddenly you come across 7 tree stumps laid out in a perfect circle.

As you move into the circle, an unknown voice starts speaking, "I've been waiting for you."

Searching for the owner of the voice you look around, but find no one. You decide to look at the tree stumps instead. On each of them lay an item.

"You may choose only one, each come with great power. Choose carefully as you cannot change your mind after," the faceless voice stated.

Only look below the cut once you've chosen.

Once you pick up your item, a scroll appears right in front of you. The ivory paper wrapped in a crimson ribbon floats before you, waiting for its contents to be read.

Once opened it reads,

(Go to the item you chose)

The Golden Potion - This grants you immortality immediately once drank. You will not age past your current age and not die from anything that would kill you otherwise. The immortality can be broken at any time you choose, but you won't continue aging, you will instantly die.

The Silver Pocket Watch - You can use this to manipulate time. You can do this by moving the hands of the watch in the direction you want time to go. The time that shows on the watch will be the time in reality. You can also stop time by stopping the watch from moving.

The Black Notebook - Ah, the elusive death note. With this notebook any person in the world can be sentenced to death, all you need to do is write their true name in it along with how they die. No one will find out you did it. This version also comes with no consequences and no shinigamis.

The Rainbow Jellybean - The jellybean before you can turn you into any creature of your desires. Whether that be a vampire or a werewolf. A fairy or a mermaid. Or a mysterious monster made out of pure darkness. You can be whatever you wish to become. This lasts for the rest of your life, so choose wisely.

The Pink Sketchbook - With this sketchbook you can bring anything you draw inside of it into reality. Want a nice cake to eat? Just draw it in the sketchbook! Have an OC that you desperately want to be real? All you have to do is draw. The sketchbook works perfectly no matter the skill of your art. If you draw a really bad looking cake it will come out looking like the cake that you desire.

The Purple Book - This book is actually a spellbook! It contains all the spells you need in order to become a powerful mage. Want to become an evil wizard and destroy the world? This book can help with that! With spells ranging from destruction to conjuration, all you need to do is work hard to perfect the spells inside and you'll be the world's most powerful being in no time!

The Red Shoes - When you wear these shoes you gain the ability to be transported into any world of your choice. Whether that be from your favourite film or one you made up. But do not let that fool you, you can still get harmed and die in these worlds, choose carefully! You may take off these shoes once in the world, but you will need them to get back to this world, so don't lose them.

-

I made this more writing heavy that I should have as an excuse to practice writing. I'm not a writer but I want to try writing at some point and have no idea where to start.

I hope people like this and aren't put off by all the words. Thank you to anyone who takes part <3

[censoredapples]

"The ocean is calling, are you going to answer?"

Some anglerfish syren Gem for yall uwu <3

[wardingshout]

Zelda goes mushroom girl

[poorly-drawn-mdzs]

I want you whipped into shape!

[First] Prev <–-> Next

[somegrumpynerd]

Cross has trouble getting to sleep alone in his room and goes looking for a distraction, but ends up finding a solution for both of them

[dailyloopdeloop]

DAY 74: practice drawings

[eyes-of-nine]

truly what a guy

[kaiserouo]

(prev)

ability strength +0%

strength +???%

[marcmorrigan]

@fenglianweek day 6: memories/growing up

the best thing thats ever been mine

[janamensch]

How do you make The Mire even creepier? You put ‘em in the ocean! Mermay Mire! Mermire?

[kumakuma-circus]

just randomly remembered that during my like 10+ attempts at the shadow yukiko fight i more or less consistently ran out of revival beads so yosuke was just dead (well unconscious but whatever) on the ground for like half the fight gfhfjvhfhfhd-

[astranauticus]

Do mechanites cry?

[nileart]

this started as a "I think ichi should dual class as a hero and a magical girl" joke but it got out of hand so uhm. arakawa family magical girl au noone asked for.