#it is because i use ... where pauses go

[golvio]

Well, I finally played through "The Princess and the Dragon."

intensely emotionally compromised Borat voice my wife...

[pigeontheoneandonly]

We broke the cardinal rule. Mabel is officially a foster fail and is back home after her spay surgery. :P

She is not the least bit smug about it

[kittylittersmoothie]

Quotober #14:

…Yet remembering was futile; the shuddering softshell ... could not remember the last time that he had felt at all— a lapse of memory like a voracious black hole had long ago sucked at all vague sensation of happiness, stretched and wove it into vaporous fiber, and had consumed Donatello whole.

("Purple Patterns: a RotTMNT Fanfiction" on AO3)

[unproduciblesmackdown]

maybe bsol is that time jen tepper mentions when she was so upset about a review of a show of joe's that she broke a glass (&/or threw it out a window)

[cardassianapplebees]

Watched "Treachery, Faith, and the Great River"

Weyoun 6 fanclub I am running at the clubhouse door at full speed

[winepresswrath]

Fallout is so delightful. I don't know that I have a lot to say about it but it's nailing the video game aesthetic, Lucy is adorable, the Ghoul is a spectacular Walton Goggins deployment, and I'm coming around on Maximus because he becomes infinitely more tolerable when he's sharing a screen with Lucy. Usually if I don't like a guy and then he's presented with a romance subplot he just finds new and worse ways to annoy me more but they're so cute together. I am rooting for him!

[starzwithapen]

Oc rant because im NORMAL

Okay Solar's hair can't stretch since its been fried to a crisp so she gets into a LOT of accidents generally everytime she leaves the golf course . Solar starts noticing that he's been assigned on less and less scouting missions lately . Solar then starts noticing that he's not being assigned on any missions outside at ALL . Solar gets upset and asks Clay, who makes the lists, and he gets confused because her name IS supossed to be there. Solar's name is crossed out in glittery pink ink

[j-esbian]

so so so fucking tired of people who perceive working in an office as the only “”real”” jobs

[youremyonlyhope]

I'm at Episode 4... But it feels like we're about to finish the second book... either that or combine books 2 and 3 even more than they've already been combined...

[amplexadversary]

I like the accessibility, but I’d honestly have expected to see more “fuck you, mine’s better” fanslation takes and I am thoroughly disappointed.

I miss getting a bonus packet of translator’s notes at the end of something as well.

I feel like we've lost something linguistically with the rise of professional subtitles for everything because they just adapt jokes and idioms into their nearest English equivalent and lose cultural context. I miss watching anime in 2002 with subs by some guy who was just really passionate about japanese and would fill half the screen with an in-depth breakdown of why a pun works. I'm serious I want that again.

[prlssprfctn]

AU, where Jason returns to Gotham, but in between of his evil mastermind plans and managing the criminal empire, he starts working in this anonymous psychological hotline services.

And gets a call from Bruce-fucking-Wayne.

Well. It is not like Bruce announces that he is Bruce Wayne — it is anonymous, after all — but Jason knows his father's voice, alright?

'I don't need a physiological help,' his father tells him the minute he picks up the phone.

Jason... Snorts.

'Of course,' he nods, making his voice nicer. 'How can I help you?'

Bruce pauses, his breath hitching for a second; almost as if he recognized Jason's voice.

'My... my son thinks I need it, but I am fine,' Bruce insists. 'Still... I want to, well, fulfil a promise I gave... for once.'

Jason rolls his eyes, a familiar irritation flaring up in green flames before his eyes. He wonders who is this lucky son that gets to have such a diligent, responsible father - Dickhead? Tim? Damian?

'I see,' he breathes out, trying to follow a protocol of the calls. 'I am sure he will appreciate your loyalty. Will you tell him about it?'

'If he appears,' something screeches in the background, and if Jason closes his eyes, he can easily imagine Bruce leaning back on the armchair, in the Batcave. 'I... He only ever appears in my dreams, my boy.'

Jason freezes.

'Excuse me?'

'I... He is dead, my son.'

Had someone else died? Jason frowns, reaching for his phone, typing anxiously Nightwing and Robin in the search bar, trying to see if there is something serious happened; because he can't be talking about the second Robin, can he-

'I am sorry,' he blurts out, eyes drifting back to notes on the table, with some common phrases that can be used in this situation. 'I... Do you want to talk about, sir?'

Bruce is silent for a while. Jason thinks he is about to drop the call, but then, he sighs heavily on the line:

'His name was Jason. And he was the brightest boy.'

Jason mutes the microphone. He thinks he is going to vomit.

[s-soulwriter]

Things Real People Do in Dialogue (For Your Next Story)

Okay, let’s be real—dialogue can make or break a scene. You want your characters to sound natural, like actual humans talking, not robots reading a script. So, how do you write dialogue that feels real without it turning into a mess of awkward pauses and “ums”? Here’s a little cheat sheet of what real people actually do when they talk (and you can totally steal these for your next story):

1. People Interrupt Each Other All the Time In real conversations, nobody waits for the perfect moment to speak. We interrupt, cut each other off, and finish each other's sentences. Throw in some overlaps or interruptions in your dialogue to make it feel more dynamic and less like a rehearsed play.

2. They Don’t Always Say What They Mean Real people are masters of dodging. They’ll say one thing but mean something totally different (hello, passive-aggressive banter). Or they’ll just avoid the question entirely. Let your characters be vague, sarcastic, or just plain evasive sometimes—it makes their conversations feel more layered.

3. People Trail Off... We don’t always finish our sentences. Sometimes we just... stop talking because we assume the other person gets what we’re trying to say. Use that in your dialogue! Let a sentence trail off into nothing. It adds realism and shows the comfort (or awkwardness) between characters.

4. Repeating Words Is Normal In real life, people repeat words when they’re excited, nervous, or trying to make a point. It’s not a sign of bad writing—it’s how we talk. Let your characters get a little repetitive now and then. It adds a rhythm to their speech that feels more genuine.

5. Fillers Are Your Friends People say "um," "uh," "like," "you know," all the time. Not every character needs to sound polished or poetic. Sprinkle in some filler words where it makes sense, especially if the character is nervous or thinking on their feet.

6. Not Everyone Speaks in Complete Sentences Sometimes, people just throw out fragments instead of complete sentences, especially when emotions are high. Short, choppy dialogue can convey tension or excitement. Instead of saying “I really think we need to talk about this,” try “We need to talk. Now.”

7. Body Language Is Part of the Conversation Real people don’t just communicate with words; they use facial expressions, gestures, and body language. When your characters are talking, think about what they’re doing—are they fidgeting? Smiling? Crossing their arms? Those little actions can add a lot of subtext to the dialogue without needing extra words.

8. Awkward Silences Are Golden People don’t talk non-stop. Sometimes, they stop mid-conversation to think, or because things just got weird. Don’t be afraid to add a beat of awkward silence, a long pause, or a meaningful look between characters. It can say more than words.

9. People Talk Over Themselves When They're Nervous When we’re anxious, we tend to talk too fast, go back to rephrase what we just said, or add unnecessary details. If your character’s nervous, let them ramble a bit or correct themselves. It’s a great way to show their internal state through dialogue.

10. Inside Jokes and Shared History Real people have history. Sometimes they reference something that happened off-page, or they share an inside joke only they get. This makes your dialogue feel lived-in and shows that your characters have a life beyond the scene. Throw in a callback to something earlier, or a joke only two characters understand.

11. No One Explains Everything People leave stuff out. We assume the person we’re talking to knows what we’re talking about, so we skip over background details. Instead of having your character explain everything for the reader’s benefit, let some things go unsaid. It’ll feel more natural—and trust your reader to keep up!

12. Characters Have Different Voices Real people don’t all talk the same way. Your characters shouldn’t either! Pay attention to their unique quirks—does one character use slang? Does another speak more formally? Maybe someone’s always cutting people off while another is super polite. Give them different voices and patterns of speech so their dialogue feels authentic to them.

13. People Change the Subject In real life, conversations don’t always stay on track. People get sidetracked, jump to random topics, or avoid certain subjects altogether. If your characters are uncomfortable or trying to dodge a question, let them awkwardly change the subject or ramble to fill the space.

14. Reactions Aren’t Always Immediate People don’t always respond right away. They pause, they think, they hesitate. Sometimes they don’t know what to say, and that delay can speak volumes. Give your characters a moment to process before they respond—it’ll make the conversation feel more natural.

Important note: Please don’t use all of these tips in one dialogue at once.

[ottersinspace-draws]

Not gonna write about it now but I genuinely think I could write an essay on how and why I hate "Um/Erm Actually 🤓" and other linguistic phrases that are generally rude, antagonistic, shut down conversation, and are simply not as funny as the user thinks they are

[anistarrose]

Please don't tune out when you get to the non-partisan section of your ballot this November. First off, where state Supreme Court justices are elected, Republicans are trying their darndest to elect candidates who will destroy reproductive freedom, gut voting rights, and do everything in their power to give "contested" elections to Republicans. Contrast Wisconsin electing a justice in 2023 who helped rule two partisan gerrymanders unconstitutional, versus North Carolina electing a conservative majority in 2022, who upheld a racist voter ID law and a partisan gerrymander that liberal justices had previously struck down both of.

Second, local judicial offices will make infinitely more of an impact on your community than a divided state or federal legislature will. District and circuit courts, especially, are where criminalization of homelessness and poverty play out, and where electing a progressive judge with a commitment to criminal justice reform can make an immediate difference in people's lives.

It's a premier example of buying people time, and doing profound-short-term good, while we work to eventually change the system. You might not think there will be any such progressive justices running in your district, but you won't know unless you do your research. (More on "research" in a moment.)

The candidates you elect to your non-partisan city council will determine whether those laws criminalizing homelessness get passed, how many blank checks the police get to surveil and oppress, and whether lifesaving harm reduction programs, like needle exchanges and even fentanyl test strips, are legal in your municipality. Your non-partisan school board might need your vote to fend off Moms for Liberty candidates and their ilk, who want to ban every book with a queer person or acknowledgement of racism in it.

Of course, this begs the question — if these candidates are non-partisan, and often hyper-local, then how do I research them? There's so much less information and press about them, so how do I make an informed decision?

I'm not an expert, myself. But I do think/hope I have enough tips to consist of a useful conclusion to this post:

Plan ahead. If you vote in person, figure out what's on your ballot before you show up and get jumpscared by names you don't know. Find out what's on your ballot beforehand, and bring notes with you when you vote. Your city website should have a sample ballot, and if they drop the ball, go to Ballotpedia.

Ballotpedia in general, speaking of which. Candidates often answer Ballotpedia's interviews, and if you're lucky, you'll also get all the dirt on who's donating to their campaign.

Check endorsements. Usually candidates are very vocal about these on their websites. If local/state progressive leaders and a couple unions (not counting police unions lol) are endorsing a candidate, then that's not the end of my personal research process per se, but it usually speeds things up.

Check the back of the ballot. That's where non-partisan races usually bleed over to. This is the other reason why notes are helpful, because they can confirm you're not missing anything.

I've seen some misconceptions in the reblogs, so an addendum to my point about bringing notes on the candidates: I strongly suggest making those notes a physical list that you bring polling place with you. Many states do allow phones at the polling place, but several states explicitly don't — Nevada, Maryland, and Texas all ban phones, and that may not be an exhaustive list. There may also be states that allow individual city clerks to set policies.

You should also pause and think before you take a photo of your ballot, because even some states that don't ban phones still ban ballot photographs. But whether it's a photo, or just having your phone in general — in an environment as high-risk for voter suppression as the current one, you don't want even a little bit of ambiguity about your conduct. Physical notes are your friends.

[tricktster]

around when I first started dating my boyfriend i bought myself this novelty blanket that looks like a photorealistic tortilla because I am SUCH A SUCKER for novelty shit. when he saw it in person for the first time his eyes lit up, which should have been a warning sign for the indignities to come.

so he’s a first responder and his day shifts start obnoxiously early as far as I, a pampered corporate asshole, am concerned. almost invariably when he’s at my place there will be an alarm at an hour that is downright unconscionable that will make him wake up and roll out of bed to get ready and will simultaneously make me burrow under the pillows grumbling about how surely nobody actually NEEDS their lives saved this early in the morning, after which I will promptly attempt to go back to sleep

he is a clever man and he knows this is when i am most vulnerable to attack.

every single time we do this dance, he quietly dresses, packs up, goes about getting ready to leave, and then when i have juuuust fallen back asleep, he returns with the tortilla blanket. He finds it no matter where I have hidden it.

He then creeps silently up to my side of the bed and uses his superior speed, strength, and reflexes to wrap me up in it incredibly tightly while i am still dazed and sputtering, so that i cannot move my legs or arms and am reduced to humiliating halfhearted magikarp flops that do not deter him from at least attempting to kiss my forehead.

then he goes to my bedroom door, opens it, then pauses, turns around, looks at me, the soft human filling of the facsimile of an enormous burrito he has just constructed, and says in his best romantic lead voice “I’ll see you soon, beans.”

you cannot understand how devastating it is to my ego that i am beans.

[weirdly-specific-but-ok]

for whom good omens is being written

Hey maggots and the rest of the fandom, it's the Good Omens Mascot here. Today I read a post about this tweet:

The accompanying video genuinely made me cry. And I've been thinking about this for a long while, as far back as February, when I saw a lot of conflicting opinions on what people wanted from the third season. It really is true that no matter what you do, some people will be dissatisfied. But what matters is that Neil is writing this for Terry.

And I was reminded of some paragraphs from the Good Omens TV Companion, which I'd read in Amazon's sample excerpt of the book. I know this is a long post, but I really truly do think you all need to read these, I've done my best to select only the most important parts. Here you go:

'His Alzheimer's started progressing harder and faster than either of us had expected,' says Neil, referring to a period in which Terry recognized that despite everything he could no longer write. 'We had been friends for over thirty years, and during that time he had never asked me for anything. Then, out of the blue, I received an email from him with a special request. It read: “Listen, I know how busy you are. I know you don't have time to do this, but I want you to write the script for Good Omens. You are the only human being on this planet who has the passion, love and understanding for the old girl that I do. You have to do this for me so that I can see it." And I thought, “OK, if you put it like that then I'll do it."

'I had adapted my own work in the past, writing scripts for Death: The High Cost of Living and Sandman, but not a lot else was seen. I'd also written two episodes of Doctor Who, and so I felt like I knew what I was doing. Usually, having written something once I'd rather start something new, but having a very sick co-author saying I had to do this?' Neil spreads his hands as if the answer is clear to see. 'I had to step up to the plate.' A pause, then: 'All this took place in autumn 2014, around the time that the BBC radio adaptation of Good Omens was happening,' he continues, referring to the production scripted and co-directed by Dirk Maggs and starring Peter Serafinowicz and Mark Heap. ‘Terry had talked me into writing the TV adaptation, and I thought OK, I have a few years. Only I didn't have a few years,' he says. 'Terry was unconscious by December and dead by March.'

He pauses again. 'His passing took all of us by surprise,' Neil remembers. 'About a week later, I started writing, and it was very sad. The moments Terry felt closest to me were the moments I would get stuck during the writing process. In the old days, when we wrote the novel, I would send him what I'd done or phone him up. And he would say, "Aahh, the problem, Grasshopper, is in the way you phrase the question," and I would reply, "Just tell me what to do!" which somehow always started a conversation. 'In writing the script, there were times I'd really want to talk to Terry, and also places where I'd figure something out and do something really clever, and I would want to share it with him. So, instead, I would text Terry's former personal assistant, Rob Wilkins, now his representative on Earth. It was the nearest thing I had.'

(...) As Neil himself recognizes, this is an adaptation built upon the confidence that comes from three decades of writing for page and screen. But for all the wisdom of experience, he found that above all one factor guided him throughout the process. 'Terry isn't here, which leaves me as the guardian of the soul of the story,' he explains. 'It's funny because sometimes I found myself defending Terry's bits harder or more passionately than I would defend my own bits. Take Agnes Nutter,' he says, referring to what has become a key scene in the adaptation in which the seventeenth-century author of the book of prophecies foretelling the coming of the Antichrist is burned at the stake. ‘It was a huge, complicated and incredibly expensive shoot, with bonfires built and primed to explode as well as huge crowds in costume. It had to feel just like an English village in the 1640s, and of course everyone asked if there was a cheap way of doing it. 'One suggestion was that we could tell the story using old-fashioned woodcuts and have the narrator take us through what happened, but I just thought, “No”. Because I had brought aspects of the story like Crowley and the baby swap along to the mix, and Terry created Agnes Nutter. So, if I had cut out Agnes then I wouldn't be doing right by the person who gave me this job. Terry would've rolled over in his grave.'

And, finally, this paragraph:

"Once again, Neil cites the absence of his co-writer as his drive to ensure that Good Omens translated to the screen and remained true to the original vision. 'Terry's last request to me was to make this something he would be proud of. And so that has been my job.'"

I think that's so heartwrenchingly beautiful, and so I wanted you all to read this, too, just in case you (like me) don't have the Good Omens TV Companion. It adds another layer of depth and emotion to this already complex and amazing story that we all know and love.

Share this post, if you can, please, so that more people can read these excerpts :")

Tagging @neil-gaiman, @fuckyeahgoodomens and @orpiknight, even if you've definitely read these before :)