#learning techniques for adults

[candycryptids]

Btw I fantasia'd Chuu so she's very small now and very cutes and I WILL be insufferable abt her forever and ever. Btw.

She's a cool kid now (I dressed her up for M5 specifically)

Featuring @dustedbooksandreadingnooks who is also being so smalls with me c:

[cognitiveinequality]

finding out that j kenji-alt videos are exactly my jam after hearing people rave about him for several years kind of feels like the first time i watched Casablanca and realized it's exactly as good as everyone had been telling me my entire life.

[uwudonoodle]

Not to be dramatic, but I would die for Mochi. Look at him in his little helmet

[sophieswundergarten]

So. Everyone who yelled at me yesterday for making a ramble on Reynie going blank and then not resolving it, this is for you: (@lemondropletters, you have been tagged)

Also, it's in a Google Doc because it was definitely too long for a Tumblr post, and ~~I don't know how AO3 works~~

The (vague) premise is that, instead of Constance seeing Curtain's broadcast, they all get to the compound mentally sound, but once there, they split up to look for Mr. Benedict, and instead Reynie finds Curtain. This is the wrap up of what would have happened in the last episode.

[abimee]

estinien 🤝 haurchefant

having sex for the first time when theyre 30

[yuukimiyas]

sobs i wish i could find an adult ballet class near me SO bad ૮ ◞ ﻌ ◟ ა

[likemmmcookies]

I'm left-handed and my mom told me growing up that vacuuming was a special task for left-handed people since vacuums were designed to be used left-handed. I happily vacuumed everything in sight for years. It wasn't until I was in my late 20s that I realized she full on made that shit up to get me to vacuum AND it fucking worked.

[thisisgraeme]

A Positive and Tailored Guide to Enhancing Reading Comprehension for Adult Learners: How to Unlock the World of Words

Reading Comprehension for Adult Learners: A Brief Guide As educators in the realm of adult education, we are tasked with the vital role of unlocking the potential within each learner, guiding them through the intricate journey of personal and professional development. At the heart of this journey lies the mastery of reading comprehension for adult learners —a crucial skill that serves as the…

[corkinavoid]

DPxDC "Pick Me Up"

The stream goes live on the first day of the school year. It's the usual song and dance - mad laughing, threats, poor jokes, terror, and about thirty kids huddled together in a classroom behind Joker's back. Tim recognizes it as one of the Gotham Academy classrooms. Dick can't imagine the horror those kids' parents must be feeling right now. Jason jokes about middle school traumatic experiences. Damian is feeling very justified for skipping classes today.

Bruce, all suited up in his Batman garb, is making his way to the Academy as fast as he possibly can. Those are kids.

Gotham is once again anxiously kept on the edge of their seats, watching as Joker decides to interview the kids on their learning experience so far. Something about leaving a good first impression on the new generation or some other bullshit. Most kids stutter over their words - it's true that Gothamites are way more composed when facing life-threatening events, but those kids are only fourteen or fifteen for the most part. They are not old enough to keep their cool in the face of a murder clown.

That is, until Joker points his camera at one of the girls. Black hair in a high ponytail, blue eyes without a trace of fear, a slightly displeased, even bored expression on her face. She looks straight into the camera, not even waiting for the laughing madman to finish his question, and deadpans:

"I don't think I like school. Pick me up, please."

Joker sputters.

"Not so scared, I see," he sneers, and, in the next moment, a comically large gun painted in purples and greens is pointed to the girl's forehead, "How about now?"

The girl scrunches her nose and makes a so-so gesture.

"It's kinda meh," she admits, "Like, yeah, points for style, but you know, size doesn't matter. It's all in the technique."

Dick snorts over the comms. It's a bad time for laughing, sure, but the phrase caught him off-guard. This is not what you'd expect to hear from a teen, and definitely not something you'd expect anyone to say to the Joker. Jason's comms are muted, but Barbara knows he also laughed a little.

"Technique, you say?" Joker hisses, pressing the gun closer to the girl's head, and she winces, leaning away from it, almost as if she is disgusted by the touch.

"Yeah, I mean, guns are not that scary anyway. What are you gonna do with them, blast my brains all over the floor? Been there, done that," the girl shrugs, "Kinda nasty, but overall, it's just like slime, only sticky." She pauses and looks to the side, seemingly lost in thought, "Huh, maybe we should have added Borax to it. Or was it baking soda?.."

"Listen here, you little brat," Joker's fingers catch the girl's chin, and his voice becomes sickeningly menacing. Bruce is almost there, just two more minutes. Tim is already grappling onto the wall.

But none of them get to finish.

"Put your dirty fingers away from my sister," a low, cold, and even in a way that speaks of barely contained fury, voice comes from out of the screen.

The camera spins, like whoever is holding it turned really fast, and everyone watching the stream sees a fairly normal guy standing by the window - a turtleneck and ripped jeans, same black hair as the girl, same blue eyes... Wait, they are not blue.

And that's not a guy.

The camera falls down to the floor, and there are a lot of panicked screams coming from the broadcast now, but none of them sound like children's voices. It's the screams of adults, of grown-ass men, and later, someone even claimed they heard Joker's scream among them, too. The picture on camera glitches a few times, and the angle is awkward, but everyone still gets to see how shadows in the room morph into eyes, wide open and green, and how the darkness grows sharp teeth, countless grinning mouths that don't belong to any faces.

Screams turn into gargling and then to quiet whispers, filling the ears of all those listening with countless words in languages they don't know.

Red Robin turns off the recording and looks to that same guy from the levestream, sitting across him on the couch. The guy - Daniel, or Danny, as he introduced himself - looks him in the eyes and raises an eyebrow.

"Okay, and?"

"How did you do it?" Tim asks for the third time this evening. Danny blinks.

"Did what?" He asks, completely incomprehending. Tim groans. He's been trying to get his answers, any answers at this point, from the guy for thirty fucking minutes already. So far, he's got nothing. Danny, whoever the fuck he is, proves to be the most annoying human being on Earth.

"Seven people in a coma, including Joker himself, with no physical injuries and none of the children remember a thing! How?!" He demands, and a girl's face peeks from around the corner:

"I remember!"

Tim snaps his head at her, "What do you remember?"

The girl pauses, blinks, and looks to Danny. Then shrugs, "My brother picked me up from school."

Tim drops his head down and breathes out in frustration. He can't force the information out of civilians, he is a vigilante, not a mafia.

"Would it make you feel better if I promise not to do it again?" Danny asks, and his voice is way too innocent for Tim to believe him. He raises his head to look the guy in his shameless, amused eyes.

"I hate you."

"Thanks," Danny grins.

[j-hawthorn]

Made a note to be REALISTIC for an accountability calendar I'm making for my studies (I am BEHIND OH NO)

Gotta circle my productivity like its a startled horse I'm trying to wrangle

[mariasont]

I know youre working on a fic right now but can you sometime make a fic where a new agent comes to work at the bau (the reader) and early seasons Spencer catches her interest, to which he's completely oblivious? Like just a cute little fluffy fic where two genius idiots can realise they like each other throughout their case together.

(also a lot of jokes from Morgan lol)

Reading Between the Lines - S.R

masterlist

pairings: spencer reid x reader

warnings: reader just being in love with dr. reid

wc: 1.2k

The two of you were alone in the police station break room, which had become something of unofficial workspace for the team during the case. You'd been sitting there for a while, mostly pretending to read through a file while Spencer, across the table, actually read his — flipping through pages faster than should be humanly possible.

You'd been watching him out of the corner of your eye for the last ten minutes, trying (and failing) to keep your focus on your own. You couldn't help it. He was enthralling to watch. His long fingers moved smoothly over the paper, turning each page with that ridiculous speed-reading technique of his.

And when he tilted his head slightly, his eyes scanning the words so quickly it looked like he was barely reading at all, you were sure you'd never seen anyone more unfairly attractive in your entire life.

And you did mean unfairly in the purest sense. It was undeniably unfair — no, unnatural — for a man to possess such a perfect plethora of qualities, like Spencer Reid did.

You hated how obvious you were being. Every time Spencer glanced up at you, your face grew hot, and you had to fight the urge to duck your head like a nervous schoolgirl. It was absurd. You were a grown adult — a professional in the FBI, for gods' sake. You had no business mooning over someone this hard. But... it was Spencer. How could anyone not?

Eventually, you gave up trying to work and leaned forward on the table, resting your chin on your hand. "How do you do that?"

Spencer glanced up, blinking. "Do what?"

"Read that fast," you said, gesturing toward the file in his hands. "I mean, it's like you're just flipping through the pages for fun, but you're actually... reading them, right? You're not just pretending?"

Spencer tilted his head, his lips twitching into a smile. "No, I'm not pretending. I'm absorbing the information. It's called speed-reading."

You raised an eyebrow. "And you just... taught yourself how to do that?"

He nodded, setting the file down in front of him. "It's not as hard as it looks. Anyone can learn it with enough practice."

"Anyone?"

"Anyone," Spencer said, leaning back into his chair. "It's all about training your brain to recognize patterns in the text and absorb information in chunks rather than word by word. It's just a matter of rewiring how you process what you're reading."

You stared at him for a moment, then a grin spread across your face. "Teach me."

Spencer blinked, clearly caught off guard. "Teach you?"

"Yeah," you said, sitting up straighter. "If anyone can learn it, prove it. Teach me how to speed-read."

For a second, he just stared at you, like he wasn't sure if you were serious. But then his expression morphed into something that looked almost... excited. "Okay. I can teach you."

You tried not to look too pleased as he reached for a book sitting on the nearby counter and slid it across the table toward you. It was some dry academic text about linguistic patterns across extinct languages — typical Spencer reading material — but you figured it didn't really matter what the book was. You weren't here for the content.

"Alright," Spencer said, pulling his chair closer to yours so he could see what you were looking at. He leaned in, his shoulder brushing yours, and every single coherent thought you had ever had evaporated into thin air. You swallowed hard, staring at the page but unable to actually read anything. "The first thing you need to do is stop subvocalizing."

"Sub... what?" you asked, already lost.

"Subvocalizing," he repeated patiently. "It's when you say the words in your head as you're reading them. Most people do it without even realizing it, but it slows you down. If you can train yourself to read without subvocalizing, you'll process the text much faster."

You nodded slowly, though you weren't sure you entirely understood. "Okay. So... how do I stop?"

Spencer smiled. "It takes practice, but one way to start is by using your finger to guide your eyes. Like this."

He reached out and gently took your hand, guiding your index finger to the first line of the text.

Your brain short-circuited for a second. His hand was warm, touch light as he moved your finger along the page. Did he notice the way you tensed up? Did he feel how clammy your palm was? If he did, he didn’t mention it, his focus entirely on the page. Meanwhile, your focus was entirely on him.

"Try to keep your eyes moving with your finger," Spencer said. "Don't focus too much on each individual word — just let your brain take in the whole line."

Every time you inhaled, you caught the faintest hint of soap and coffee — clean, warm, him — and it was becoming impossible to think straight.

"Okay," you said softly, moving your finger along the line as he'd shown you. "Like this?"

"Exactly. Now, try to pick up the pace. Keep your eyes moving."

You tried, but your focus kept slipping — not because of the text, but because of the way Spencer was leaning so close, his shoulder almost brushing yours as he watched you. You could feel his breath, soft and even, against the side of your face, and you were suddenly very aware of the fact that this was probably the closest you'd ever been to him.

"Am I doing it right?"

"Mostly," Spencer said, his hair brushing his forehead as he leaned even closer to point at a section of the text. His long fingers hovered just above yours, and your heart stuttered at the proximity. "But try not to pause at punctuation. Just keep your eyes moving in one fluid motion."

"Okay," you said again, though honestly, you weren't sure how much you were actually absorbing. Your brain was too busy screaming Spencer Reid is touching me. Spencer Reid is this close to me.

For a few more minutes, Spencer guided you through the process, his hand occasionally brushing yours as he helped you adjust your pace. You couldn’t tell if you were actually improving or if you were just doing your best to survive the moment without completely embarrassing yourself.

"You're doing better already," he said. "It just takes time to get used to."

You smiled back at him, cheeks warm. "Thanks. You're a good teacher."

Spencer’s ears turned pink, and he glanced down, his fingers brushing idly at the edge of the book. "I don’t think I’ve ever been called that before. A good teacher, I mean."

You couldn't stop smiling.

"Maybe next time, you can teach me," he said suddenly.

You laughed. "I don’t think there’s anything I could teach you that you don’t already know, Spencer."

"I wouldn’t be so sure about that," Spencer said, his voice quieter now, almost teasing. A faint smile tugged at the corner of his mouth, and for a second, his eyes met yours, before flicking back to the book.

Correction, you wouldn't be able to stop smiling for the next 3-5 business days.

Morgan was leaning against the hallway wall just outside the break room, holding his phone and scrolling casually, when you finally stepped out of the room.

You didn't see him at first — you were too busy floating on a cloud, practically glowing as you replayed the last few minutes with Spencer over and over in your mind. You were smiling so much your cheeks hurt, and you could still feel Spencer's hands on yours.

"Well, well, well," Morgan voice cut through your daydream, startling you so badly you almost tripped. You snapped your head toward him, your heart jumping to your throat. He was grinning like a cat who'd just caught a mouse. "What's got you all smiley? Pretty boy say something sweet, or are you just thinking about those magic hands of his?"

You felt your face burst into flames. "What? No! It's not —"

Morgan held up a hand, shaking his head as he chuckled. "Save it, girl. I know the look of a lovesick rookie when I see one. Trust me — you've got it bad."

You sputtered, desperately trying to come up with a convincing rebuttal, but Morgan was already walking away. "Better make your move before he speed-reads right past you!"

You groaned, burying your burning face in your hands as Morgan’s laughter faded down the hall. Lovesick rookie? Was it really that obvious?

Yes. Yes, it was.

taglist: @readergf @edencherries @aurorsworld @princess76179 @malindacath @broadwaytraaaaash @r-3dlips @m-indkiller @sunfyyre @sleepysongbirdsings @trulycayla @reiderrambles @averyhotchner @hbwrelic @sky2nd @messylxve @alexxavicry @doigettokeepyou @pleasantwitchgarden @kodzukenmaaa @hiireadstuff @dilflover-3 @spenciesslut @phoenix-le-danseur-de-pole @c-losur3 @theylovemelody @alahnizamolo @oliver-1270 @ssahotchbabe @savagemickey03 @justanotherbimboslxt @imoonkiss @spiderladyleah @estragos @khxna @spencerssoup @de-duchess @raysmayhem-72 @piinksdoll @reidfile @sugarbutterbailey @aecd27 @persephonestears @moonyxstars @xxmooxmooxx @spookyysinsanity @proxxyshouse @spoolsofgreenspoolsofblack @jungchloee @she-wont-miss @duchesz @i2rapunzel @historicallyweirdandqueer @lcvealwayss @p13rc3-th3-m4tt13 @babyhoneybyhs

join my taglist here!

[artist-issues]

I Hate How She Talks About Snow White

"People are making these jokes about ours being the PC Snow White, where it's like, yeah, it is − because it needed that. It's an 85-year-old cartoon, and our version is a refreshing story about a young woman who has a function beyond 'Someday My Prince Will Come. "

Let me tell you a little something's about that "85-year-old cartoon," miss Zegler.

It was the first-ever cel-animated feature-length full-color film. Ever. Ever. EVER. I'm worried that you're not hearing me. This movie was Disney inventing the modern animated film. Spirited Away, Into the Spider-Verse, Tangled, you don't get to have any of these without Snow White and the Seven Dwarfs (1937.)

Speaking of what you wouldn't get without this movie, it includes anime as a genre. Not just in technique (because again, nobody animated more than shorts before this movie) but in style and story. Anime, as it is now, wouldn't exist without Osamu Tezuka, "The God of Manga," who wouldn't have pioneered anime storytelling in the 1940s without having watched and learned from Snow White and the Seven Dwarfs in the 1930s. No "weeb" culture, no Princess Mononoke, no DragonBall Z, no My Hero Academia, no Demonslayer, and no Naruto without this "85-year-old cartoon."

It was praised, not just for its technical marvels, not just for its synchronized craft of sound and action, but primarily and enduringly because people felt like the characters were real. They felt more like they were watching something true to life than they did watching silent, live-action films with real actors and actresses. They couldn't believe that an animated character could make kids wet their pants as she flees, frightened, through the forest, or grown adults cry with grieving Dwarves. Consistently.

Walt Disney Studios was built on this movie. No no; you're not understanding me. Literally, the studio in Burbank, out of which has come legends of this craft of animated filmmaking, was literally built on the incredible, odds-defying, record-breaking profits of just Snow White and the Seven Dwarfs, specifically.

Speaking of record-breaking profits, this movie is the highest-grossing animated film in history. Still. TO THIS DAY. And it was made during the Great Depression.

In fact, it made four times as much money than any other film, in any other genre, released during that time period. It was actually THE highest-grossing film of all time, in any genre, until nothing less than Gone With the Wind, herself, came along to take the throne.

It was the first-ever animated movie to be selected for the National Film Registry. Actually, it was one of the first movies, period, to ever go into the registry at all. You know what else is in the NFR? The original West Side Story, the remake of which is responsible for Rachel Ziegler's widespread fame.

Walt Disney sacrificed for this movie to be invented. Literally, he took out a mortgage on his house and screened the movie to banks for loans to finish paying for it, because everyone from the media to his own wife and brother told him he was crazy to make this movie. And you want to tell me it's just an 85-year-old cartoon that needs the most meaningless of updates, with your tender 8 years in the business?

Speaking of sacrifice, this movie employed over 750 people, and they worked immeasurable hours of overtime, and invented--literally invented--so many new techniques that are still used in filmmaking today, that Walt Disney, in a move that NO OTHER STUDIO IN HOLLYWOOD was doing in the 30's, put this in the opening credits: "My sincere appreciation to the members of my staff whose loyalty and creative endeavor made possible this production." Not the end credits, like movies love to do today as a virtue-signal. The opening credits.

It's legacy endures. Your little "85-year-old cartoon" sold more than 1 million DVD copies upon re-release. Just on its first day. The Beatles quoted Snow White in one of their songs. Legacy directors call it "the greatest film ever made." Everything from Rolling Stones to the American Film Institute call this move one of the most influential masterpieces of our culture. This movie doesn't need anything from anybody. This movie is a cultural juggernaut for America. It's a staple in the art of filmmaking--and art, in general. It is the foundation of the Walt Disney Company, of modern children's media in the West, and of modern adaptations of classical fairy tales in the West. When you think only in the base, low, mean terms of "race" and "progressivism" you start taking things that are actually worlds-away from being in your league to judge, and you relegate them to silly ignorant phrases like "85-year-old cartoon" to explain why what you're doing is somehow better.

Sit down and be humble. Who the heck are you?

[moon-ayyye]

What people seem to forget is that jason should, by all means, kick Bruce's ass any time they truly fight.

You're talking about a child who could see untitled at like 8 years old. Talia al ghul saw potential in him but ultimately decided against taking him in. He survived for a while before being adopted, and even then, he had the balls to steal the tires of the batmobile and then swing at batman with a tire iron at 11. A malnourished kid, at 15, was regularly breaking adults' collar bones. This is a kid that terrorised goons with ease while being shorter than 5 feet (his death certificate stated that he was 4'11).

And this is pre death, pre training. He was in a comatose state, and his body remembered how to fight. At 17, he snuck into Titans Tower and knocked out every member in order to clear the area to fight tim. He planted a bomb under the batmobile and CHOSE not to set it off. Then you get to the murder tour in lost days, where he trained with the best, with the ultimate gial of killing batman. This teenager managed to go through the same regiment bruce went through while learning more, since he wasn't bound by a desire not to kill. He learned more techniques and forms from more people and managed to kill the best of the best.

Ra's al ghul, a centuries old man, called him a plague to earth, and he was also deemed fit for the all caste, who are experts on the soul and magic shit. He's the chosen one of a secret sector of warrior monks with magical flaming swords imbedded into his soul while being too young to drink alcohol. The all mother herself said that he'd brung death and destruction wherever he went.

Additionally, he's a strategic genius who managed to run circles around batman and his team, only revealing what he wanted to, all while taking over the underground and beefing with black mask and other kingpins.

No way in hell does he get beat by dick, or future tim, or damian. The only one who could even give him a fight is cass, and even then, she would struggle. When dick got turned into a juiced up vampire, jason stopped holding back and laid him out immediately. When he was drunk and in mouring and damian came in with the intent to fight, he still kicked his ass.

It fucking sucks that DC decided to turn him into a bitch just to prop the batfam up, this man is a THREAT, stop fucking with the powerscaling it doesn't make any sense.

[teaboot]

do u think physical build is an important part of being security? im 5'5 and think i look very timid, but ive seen some entry level security job listings around me that ive been interested in.

I've only been private security for around five years, so I'm still relatively green compared to my colleagues, but I personally am about 5'3" and I've been doing great!

And again, I'm not incredibly experienced, but if I were to make a hire, I'd be prioritizing a number of things before considering height.

Physically you need to be capable of doing your duties without pain- so if you have chronic pain, foot patrol may not be your bag, but CCTV monitoring might work. If you can't drive, being a site manager may not work, but working door duty somewhere local might be.

Physical presence- in regards to 'looking timid'- is something that you can work on if you want to, but sometimes an unassuming appearance is your advantage.

A "problem demographic" (using HEAVY quotations there) for a lot of places like malls and downtown areas is adult women with trauma, addiction, and mental health issues- they're seen by a lot of clients as "crazy ladies" and treated less like people by the general public, and a good number have very good reason not to trust men ESPECIALLY in uniform, but are more often than not perfectly easy to get along with if you're polite, respectful, and don't come off as a threat or authority figure. Being able to offer menstrual products and having resources around the area you can recommend is good, too.

And if I HAVE to move people out from behind buildings and such, saying "fuck off asshole" like folks imagine is NOT as effective as "Hey, sorry, this area is restricted, but here are some other places that might be okay- I need to do another check in about an hour, so heads up, and the church up the street is doing hot chocolate right now".

Really, if you want to do well in security- at least basic work- I'd say you want to focus on the following:

Wear your uniform and keep it tidy

Show up prepared and on time

Be able to approach strangers and talk to them

Keep a positive, non-agressive attitude, and be willing to give people the benefit of the doubt

Learn deescalation techniques to diffuse conflict

Have a strong handle on your personal emotions and opinions

Kerp calm and rational in an emergency

Learn basic first aid and get certified if you can, it's not technically necessary but I've used that more than I'd like to admit

Keep a strong moral compass

Really, I'd say it boils down to keeping to your sense of ethics, showing up on time, and knowing how to follow orders with nuanced interpretation.

Beyond that, you're golden

[topazadine]

Avoiding therapy speak in writing

I think we all know by now that therapy speak is irritating and unrealistic, especially if you are writing in a fantasy world that doesn't even have modern psychology.

Part of the reason that it is so annoying is that it is the definition of telling instead of showing: characters are just plainly informing us of their feelings rather than making us work for a better understanding. It's cheap and boring. Instead of making your characters seem like complex individuals with their own hangups and difficulties, they seem like plot points programmed to tell us things.

But obviously, you want to put these people in situations and have them talk about it! How do you do that without sounding maudlin? Here are some options.

Listen to real arguments/conversations

I cannot stress enough how important it is to listen to how actual real human beings talk to each other during heightened emotional states. They don't have to be nasty abusers, and they don't have to be perfect angels, just everyday people doing their normal thing.

Of course, I'd hope you're not seeing people argue all the time, but if you do happen to see it, listen carefully and notice how people actually address their problems. Think back to tough conversations that you have had, even if you wouldn't classify them as arguments. Consider how people acted and reacted to one another. Notice how normal humans talk about issues outside of therapy, even intelligent and emotionally evolved people.

I've had years of therapy, and even I do not talk in therapy ways about my issues when I'm talking to my family or friends. It just feels cheesy and fake outside of that particular setting - plus, it freaks other people out and can seem kind of manipulative. Try talking like that in a real conversation and see how uncomfortable it is. You'll understand why avoiding therapy speak is important.

Consider the character's own hangups

Just as everyone has their own unique speaking style and mindset, so do we all have our own argument styles. These are often informed by our pasts and upbringing; they are as varied as our own histories. However, there are a few different options.

Someone with a happy upbringing may be more assertive and willing to address their problems because they had that demonstrated to them as children.

A spoiled child will grow up to be a demanding adult who refuses to give any quarter.

Those who got yelled at a lot as children may shut down and fawn to avoid getting hurt.

Someone who grew up in a violent household may mimic that behavior and get incredibly aggressive when upset.

Individuals whose parents didn't teach them emotional regulation will lash out and get loud.

Manipulative people may stay very calm and gaslight the other person, or they may get hysterical to garner sympathy and make people focus on comforting them.

Someone who has gone to therapy may revert to their original argument style, or they may imperfectly apply what they have learned in a way that feels a bit unnatural. They may start out with rage, then force themselves to calm down through grounding techniques.

People who have been coached through previous emotional outbursts could demand a time out, then fail to actually calm themselves down.

Some may refuse to acknowledge they are upset and insist, in increasingly forceful terms, that they are fine.

Others may get quiet or crack a joke to ease the tension, but it doesn't really help.

Keep each confrontation short

IRL, emotional confrontations are generally not that long. They don't go on for hours and hours, though it can feel that way. No one is going on and on about their feelings and sharing every little detail of how they feel (at least not that I know of personally, maybe other people are different).

Even the worst arguments I have had, the real nexus of the argument was maybe an hour or two, though the fallout lasted much longer. I'd say there was an hour maximum of real, active confrontation, preceded or followed by hours/days/weeks of simmering frustration.

Why? Because arguments are exhausting. You don't have the energy for that in the heat of the moment. Yes, feuds and fights can last years, but each actual confrontation is short.

For longer, more serious issues, hash it out over a few sessions rather than all at once. It's rare to get everything out of the way immediately unless the characters already have a strong, loving relationship.

Show incongruencies

Especially for more reserved people, they will likely have their emotions leaking all over the place but won't actually say anything. As such, focus on body language while keeping the conversation more focused on the plot. For example, Character A might be crying but still trying to argue their point about whatever is going on.

Address physical complaints instead of emotional ones

In many cases, people will use "I'm tired" or "I didn't sleep well" or "I'm not feeling great" as shorthand for whatever is actually bothering them. It relieves pressure by not making them talk about upsetting matters while still addressing their discomfort in some form.

You should also consider the fact that some people can't connect physical sensations to feelings, so they may genuinely feel ill and not really understand why. This is especially common in people who can't emotionally regulate or have been through trauma.

For myself, I tend to somatize my feelings, so I might not feel upset, but I will feel physically sick. My stomach will hurt, my chest will get tight, or I'll get a headache, but my emotional state will seem calm. This isn't all that unusual, and many people experience this to different degrees.

As such, you can have your character say that their stomach hurts, or that they have a headache and can't discuss this anymore, or that they need to go lie down because they're dizzy. If we know they're relatively healthy, this can be a clue that they're getting overwhelmed but either cannot pinpoint their emotions or don't want to discuss them.

Let characters advance and retreat

A lot of the time, someone will address a scary emotion and then retreat again, sometimes over a period of hours, days, or even weeks. This is normal: most of us don't have the emotional fortitude to forge ahead through something difficult all in one go. Character A may say something vulnerable, then change the topic, laugh it off, say they're done discussing it, or even leave the situation.

Leave emotions partially unaddressed

Again, it's rare for someone to spill out everything they're feeling all in one go. As such, have Character A address the most important thing - or the least important, depending on their level of emotional maturity - and let it be done for then.

They might say their small piece, but when someone tries to probe deeper, they don't have an answer, or they get "stuck" on that one emotional level and cannot go further.

If Character B keeps pushing, then they may get incredibly upset and push back, or retreat.

Have Character B point out the feelings

Works especially well if the other character is a close companion or a parental figure. Often, people who know us really well will have better insight into our emotions than we do. Or, we might have good insight into our emotions but are still too afraid to open up. Having Character B point out the issue gives Character A grace to be more honest.

I can't tell you how many times I've been really upset, so I've distracted from the issue by getting angry about something completely different. Then, my mom will gently point out that I'm not actually crying about my new plastic cup being broken or whatever; I'm actually upset about XYZ. In that moment, I realize I've been caught out and admit that yes, that's what I'm really upset about.

Have Character A address it with a third character

Who among us hasn't gone to someone else to talk about our feelings? Having a third party serve as a sounding board is normal. Sometimes, Character A will feel such catharsis from this conversation that they don't address it as thoroughly with Character B.

Of course, you can use this to your advantage and create more tension if the third character gives bad advice or is biased.

Remember that just because the third party responded well does not mean that Character B does. You also have to avoid omniscience and remember that Character B wasn't privy to that conversation.

Have one confrontation be a stand-in for a larger one

I always think about the "The Iranian Yogurt Is Not the Issue" post when I think about this. Often times, things like not doing the dishes or whatever aren't actually the big deal: it's lack of boundaries, communication, or respect. A minor argument can be shorthand for a larger one that is too challenging for the characters to tackle.

This isn't just creating drama for the hell of it, though; it's about exploring the larger issues without making the characters lay it out on the table. A good reader will be able to see it's not about the Iranian Yogurt as long as you set up the relationship well.

Currently, I am writing a story where Uileac and his sister Cerie go to rescue Uileac's husband, Orrinir. On the way there, Uileac idly comments on how he wonders where a waterfall comes from because he's trying to distract himself from thinking about the fact that his husband is kidnapped and possibly dead.

Cerie, being pretty wound up too, starts arguing with him about it because she's like "why is this relevant? We're kind of too busy to think about geology right now!" Uileac gets annoyed at her for being so aggro, and she gets annoyed at him for being so irreverent. Both of them are upset about something completely different, but they're too scared and panicked to actually address that, so they release their frustrations by complaining about waterfalls.

Those bad vibes have to go somewhere, but neither of them are very good at talking about their feelings (though very good at stuffing them down). As such, they take the pressure off by sniping at one another. You've probably done this too, when you get into a dumb argument about something absolutely pointless because there's something you don't feel strong enough to discuss.

There's also the fact that if you're mad at someone about something but feel it's too stupid or petty to discuss, that frustration will leak out and everything else they do will annoy you, leading to a bunch of irrelevant arguments.

Use "reaffirmation" gestures

I talked about this in a different post, but after an argument, the "make up" stage doesn't always involve going "ohhh I forgive you" and big hugs and kisses, especially when the two characters aren't emotionally mature.

Instead, Character A makes gestures that reaffirm the relationship. This could be offering to do something Character B needs, making plans for later, or changing the topic to discuss something the other character cares about ("how are your cats doing?") etc.

Note that these "reaffirmation" gestures aren't the same as the cycle of abuse. This is more when two characters have had a difficult emotional conversation but aren't really sure how to continue being emotionally open, so they revert to something safer that still shows they care. They're not over-the-top gestures either, but more a special attention to something the other person loves. Knowing what the other person loves also demonstrates the depth of their relationship.

As always, I can't tell you what to do with your writing.

You are the crafter of your own story, and if you want people to talk like therapists for whatever reason, that's your choice. However, we want characters to feel like real people, and most real people don't lay it all out on the table every single time they're upset. If they do, they might be trauma vomiting, which is icky in and of itself.

Healthy communication isn't always perfect communication. People can have strong, loving relationships and still get things wrong - we're human. Having people calmly and rationally and easily talk about their feelings every single time is not only kind of boring, but it also feels weird, because unless we're primed to discuss those difficult topics and know we're perfectly safe, we're not going to do that.

People don't even do that in therapy, where they are paying for the service of talking about their feelings! Therapists also don't always do that IRL!

We're humans, and your characters need to feel like humans as well. That means letting them be imperfect communicators and using context clues rather than making them do all the work for the reader.

If you liked my advice, consider purchasing my book, 9 Years Yearning, for $3!

[windvexer]

farming magic versus wild foraging magic

It's been on my mind a bit but I really think in Witchcraft, a lot of it is finding power. A LOT of it.

You know I talk about my system a lot, building relationships with ally spirits ("correspondences"), evoking and petitioning spirits, laying a compass, carefully storing and distributing energy between spells.

And this is all kind of like farming; you can learn how to cultivate the magical ecosystem around you to carefully seed, grow, harvest, and store power, and to make friends with the gods and spirits within and around this system who help you (or decline to hinder you, which is also very good).

This farming is good because it serves the same function as regular farming, i.e., it's hard work but it provides reliable and predictable resources available throughout the year.

But that's not finding power, that's farming it.

Several months ago I did one of the most powerful workings I had done in a while, which transformed my life. There was no evoking correspondences or compass laying or invocations or spirit offerings.

I found a free-flowing source of incredible power (an eclipse, and I found it by looking up), called it into myself, and asked that it do something specific.

No candles, incense, bells, talismans, or whatever: the actual technique I performed was extremely basic energy work.

The results were humbling, and continue to humble me, and I believe it is probably beyond what I would have been able to accomplish working only through 'farming'.

After all, I am a competent adult. I could build a fish farm. I could learn to keep it regulated and sustained to provide fish all year round.

But it doesn't matter how good of a farmer I am, I'll never be able to compete with the open ocean.

A lot of this stuff about Witchcraft techniques - if it seems like a lot, that's because it is a lot; it seems like hard work because farming is hard work, and it seems like you must plan ahead so much because farmers must plan seasons ahead.

But that's not all of Witchcraft, and homesteading your magic isn't just farming - it's wild foraging, too.

So if all this Traditional stuff seems a bit stuffy and laborious and lacking in spontaneity, perhaps it's good to ask if you're ever leaving the boundaries of your homestead and venturing out into the woods.

And all those planets and transits and holy days and plant lore and special tricks for foraging power without profaning it are not tedious rules, but maps that show pathways to wild foraging your own power, bringing great boons and benefits to uplift your seasonal farming.