#jane: locked out

[akastartatthebeginning]

@drfcstrs

"Hi. I'm locked out of my apartment," Jessica explained, striding inside and setting her bag down. "And I don't feel like breaking the door down right this second. Then I have to fix the damn thing again." She glanced at the babies in the corner and held up a hand. "Sorry, I suck at watching my language. How are the little beasts?" she asked, smirking fondly at the twins.

[pastafossa]

Hi pasta!! What's Jane up to lately? Not like, in the fic but just....banging around in your brain? My characters hang around my head sitcom style sometimes lol

Much love!!

jane is currently roosting on top of matt like a hen with a chick they are both quite happy

Kidding. sort of.

NO BUT FOR REAL, mine do that too! Now and then over the years the scenery has changed (since I started TRT though, my internal headspace where the characters hang out looks suspiciously like Matt's apartment), but the space is always kinda... there for them, and that includes Jane! Half the time she's providing running commentary - she's got a lot to say about the Daredevil rewatch me and @sunflowersandsapphires are going through before Born Again, especially now that we're in S3 which we haven't reached yet in TRT. Like,

Me: (watching the FBI break into Matt's apartment without any difficulty whatsoever) Jane, sipping her coffee and turning the page of her book: Good fucking luck doing that to our door. They'll be lucky to break in before dinner.

Sometimes she's also just reading up there. Probably the Odyssey at present, since all my listening to Epic has reminded her of when her and Ciro were bulldozing through classics together. She also has been watching in amusement as Matt tries yet again to keep other characters out so that I can't write about them or be distracted (Matt at present is grumpily barricading the door to prevent Jack Reacher from getting in, Jane's not helping but she's not stopping him either).

Me to Jane, as Matt drags his wardrobe in front of the front door: why aren't you stopping him??? Jane, leaning against the wall as she watches Matt: he needs enrichment, it's good for him. Me, watching Matt pacing as he watches for any attempts to open he door: I thought you were supposed to be his enrichment. Jane, innocently: he's high energy, he needed more. Also he looks good moving the furniture. Matt: I can hear you both. Jack Reacher, muffled through the door: so can I. Matt, growling: Go away. Michael Kinsella, on the couch with the assigned book for the book club he and Jane started even though there's only two of them in it: has he tried the skylight? We could use a third for the book club. Jane, as Matt drags a long bench down the hall to wedge it against the wardrobe: I thought Bucky was the third, we were going to read Lord of the Rings. Michael: Matt told Bucky there was a stray cat outside, then when Bucky went out to look for it, Matt locked the door. Me: ...we should read Lord of the Rings though, it's been a while.

The oddest part though is when she just comes in with random fucking lore. So like, I'll be doing something unrelated and she'll come strolling into the mental apartment with a mug of coffee and drop shit on me. The most recent one was during this past week. We've gotten a ton of snow, and I was standing at my window watching a snowplow drive by. And Jane just sips her coffee and goes,

"I was a snowplow driver for a single winter. Then I hit a bull moose, got it stuck in the windshield and everything. Swear to god, I was nose-to-nose with that fucker, his antlers on either side of me like an open bear trap. Not sure who was more confused about the whole thing. I thought about sticking around but the amount of insurance paperwork I'd have had to fill out would have been a nightmare. It was easier to just change identities again. So I squeezed out under the antlers, left the moose there with the running truck, hitchhiked home, got my bag, and moved to Houston. Last I heard the moose was fine, though, and left to do moose things, so that's something."

In reality, though, she's very chill. Her and I have been doing this for about... (does math) 8 years or so, so we're comfortable. The only time she really fights me is if I'm writing and she does not think what's happening is the way it should go. But that's rare!

[queeringclassiclit]

congratulations to Anne Shirley and Diana Barry who now hold the top three highest 'no' votes this blog has ever seen. a rare win for the straights <3

[rexscanonwife]

You know, me and Arthur are autism4autism and I think that's beautiful but if I'm being truly honest. We're also cringe4cringe 😅 I'd rather not say how many dishes I've broken at work and I mayyyyyyy have just locked the keys to the cash register...INSIDE the cash register

[19kisoir]

✧ ' 📸 i hope you get to spend lots of time with your loved ones @elwitas ︵ -o-)

[uncannydevotion]

Bit of a silly question but which creepypastas do you think would work best as yanderes?

all of them.

im dead serious about this btw maybe im deranged but i can come up w yandere scenarios for like... a good portion of the creepypastas i know.

most of them don't even know how to have healthy relationships by default, and typically fall into the yandere category already in some way.

like... the bloody painter, for example. due to his upbringing, he's never once had any sort of relationship in his life that was positive and healthy. his parents loathed the way he was born and the one person he considered a friend turned around and made him a target of mass bullying. you could give him a perfectly healthy relationship on a silver platter and he'd still stalk you.

another example could be jason the toymaker, but he's pretty self-explanatory.

jeff the killer is a possessive bastard who would never let you break up with him once you start dating. you became his the moment he decided to let you live, and there's no way he'd ever let you get away from him.

homicidal liu is an overprotective guard dog who would sooner hide you away from the world than ever risk losing you, and sully is worse than him because whereas liu wouldn't hurt others over you unless absolutely necessary, sully has probably already murdered all your friends just for funsies.

ticci toby is so horrifically lonely and has the worst abandonment issues known to man that he'd probably keep you tied up in some dingy cabin in the woods just to make sure you don't leave him.

the list goes on and on, really.

[barbreypilled]

Jane Eyre 1997 is actually an absurdist workplace comedy of which the director was completely self aware

[faerune]

controversial but the paragon/renegade system in mass effect 2 pmo and only serves to limit player's rp and immersion

[podcast-hemocytoblast]

tma pokemon au where tim’s brother was killed by a mr. mime; send post

[insomniacirl]

Me when I want to write a story with my own characters and plotline but I know for a fact it's like a patchwork of eight different series' put together to make a homosexual mess

[coachbeards]

beard could probably be hit by a car and ted would be like :/ dang.......that sucks.................rip <3

[rexscanonwife]

When I'm closing out at work and I've had a shitty day I blast MCR on the radio speakers. The louder it is the worse of a day I had 🙂

[jazbell]

thinking about michael/vanessa and charlie/mike parallels. giggling kicking my feet twirling my hair.

[valentineveils]

okay wait

how messy is it to have a sidestep that flirts with argent outside of her puppet , in her villain edition , WHILE ALSO flirting with ortega and mortum as her puppet . can i do that . . . ,

does that even make sense .

[edgarallen-foe]

i have had... such a wretched day today, that it's... sort of comical.

[thewriteadviceforwriters]

10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.